Wednesday, August 28, 2013

Time for an Ice Cream Break


Taking a much needed ice cream bar and popsicle packaging break today. Next to these frozen confections, the packaging design wins me over every time. Most all of these unused old stock wrappers date between the 1930s to 1950s, and available from MisterCola. The last two are in cold storage in the Letterology Archives. Enjoy! 

Tuesday, August 27, 2013

Smoking Hot Labels Sequel

These late 19th century cigar labels are a postscript to my earlier post I did several weeks ago, of salesman samples printed in Germany. They all happen to be slightly skewed, yet this doesn't detract from their distinctive lettering and design which are particular standouts. For more information, check with the dealer.

Friday, August 23, 2013

A Portrait of Ripolin With a Fine Brush

For many years Ripolin paint, was synonymous with commercial household paints. The industrial paint company was first developed in the Netherlands by chemist Carl Julius Ferdinand Riep, but established their manufacturing in France when they merged with a French maker of artist materials near the turn of the 20th century. Since this time, their trademark of the three French painters painting, has become so well recognized, it is still widely parodied to this day.
Dutch poster source: Live Auctioneer

This large French poster is for sale from Master Posters.

A Ripolin ink blotter from Accro Buvards
Ink blotter below from Delcampe

Flickr find from Tom Robertson taken in Pont-Saint-Vincent, Meurthe-et-Moselle. The ghost mural below is from Rennes and spotted on pepsiline's flickrstream

Front and back of a 1925 Ripolin paint sample card for cars found currently on eBay.
The charming photo below of the three sign painters belongs to Jacques Zanghi and was taken in Paris in 1935 of his grandfather and his two uncles. Source: Linter@ute 

A fine set of Ripoline paint set cards which doubled as a game of dominos. As seen at Ellen Turning Pages

Ripolin was so successful during the first half of the 20th century, that many fine artists took to using it for their paintings. Was this because the three Ripolin Men were always painting with a fine brush? It seems their message could have easily been interpreted as being a paint for fine artists or sign painters, or they would be painting with a broad brush. Perhaps the more logical conclusion would suggest that the drying time of the paint might have been the motivation. An industrial paint will dry in a matter of hours, as opposed to the several months it can often take standard oil paints to dry, and this was often a big concern for artists preparing work for exhibition. 
     The image of the Ripolin paint samples and promotions seen above is from a recent exhibition held at the Chicago Art Institute. The image was spotted on Emily Barney's Flickrstream. The text accompanying it reads: 

The materials in this case include paint cans and promotional brochures with actual paint samples (1895-1946) as well as a novelty toy truck related to Ripolin, the French house paint that Picasso employed to achieve the varied surface effects of The Red Armchair. At the center of the second shelf is a brochure for the product called Ripolin Mat, which features blanc de neige 501, the exact material that Picasso used in 1931 to make the painting.
     The "Ripolin Project" spearheaded by a group of museum scientists at the Art Institute of Chicago has been specifically investigating some of Picassos' works, as they suspect he may have used Ripolin industrial enamel paints prior to 1950. Miro, Kandinsky, Le Corbusier and others are also reported to have used Ripolin paints. Researchers at the Art Institute turned to eBay to find some old cans of the paint in order to test and create samples for their paint databases. They would like to learn the long-term behavior of the materials so they can establish an analytical protocol for future conservation concerns. Just something to think about if you intend to purchase a Picasso someday.  

Monday, August 19, 2013

Space Planning

Ask any sign painter and they will tell you that lettering is all about space... how much physical space each letter occupies and how much space there is between each letter and word. For maximum readability and legibility, the spacing should be proportional and uniform. This gem was sent to me a while back from master sign painter and comic illustrator Justin Green, and it belonged to a friend of his. On that same note, but an altogether different tune...

A novelty sign which was a recent 25 cent garage sale find, but with a clear message.

Thursday, August 15, 2013

Grumpy Cats and Children

Cats have always gotten a bad rap. Grumpy cat is no exception. In fact the original grumpy cat dates back to the late 19th century when these sourpusses were portrayed on Staffordshire transferware dishes. These scarce pottery dishes with their hand-lettered alphabet borders were commonly presented as gifts and rewards of merit to good little children. 

Transferware takes its name from the printing process first developed in England in the later 18th century. A dampened tissue paper is placed on an engraved and inked copper plate, and then run through a press to reveal the design. The printed paper is then carefully peeled away from the copper plate, and the freshly inked design is transferred onto a piece of pottery. Once this pottery is glazed and fired, it becomes a permanent design. Multiples of any design could easily be made by this method, making it far more affordable than much of the hand-painted pottery of the day.

Some of the transferware pottery for children often had an impression of an alphabet around the rim, as in this rare child's tea party plate which also includes a signing alphabet for the deaf, and two grumpy little children. Just a cautionary tale kids; be good, clean your plate, and learn your ABCs, or you'll be living with the grumpy cats! 

::All alphabet transferware dishes featured here are sourced from the Childhood Antiques Rubylane shop, where you can find more of this nature.