Whilst sorting out stuff in my attic recently, I came across an almanack I made for a project at Glasgow School of Art in 1996 or 1997. This thing is made of paper mounted on mounting board in a concertina-style book: 13 ‘pages’. It lives in a box made of mounting board. Box and almanack are decorated with orange acrylic paint (unmixed orange and a peach-coloured tint) and graphite. I’m far enough away from the person I was when I made it that I think I can start to unlock some of its meanings.
(Images © Matthew Herring)
My first year supposedly on the illustration course at Glasgow was frustrating. Neither of our two tutors were practicing illustrators – one was a packaging designer and the other I think had been a commercial artist (i.e. graphic designer) in the days before computers – and neither had any interest in teaching illustration. Most of the projects they set were either idiotic (“design a planet”) or basically graphic design briefs. Into this context came: “Make an almanack”. It had to use two colours only, as if it were to be printed using a two colour process. One of our tutors, remember, harked back to the days when artists made colour separations by hand. Peculiar thing to teach, on the brink of the digital/internet/multi-media age.
An almanack is usually heavy on type. For a computer-phobe who went to art school to learn to illustrate, almost nothing could be more calculated to turn me off a brief. Either: learn Adobe QuarkXpress (and how to use a computer in general), or do the whole thing by hand. This was in the days when computers lived in a special room guarded by a technician more unhelpful than any librarian; crashed if you breathed on them; and had to be fought over tooth and nail. In 1996/7 I was a frustrated fine artist pretending to myself I wanted to be an illustrator while being extra frustrated at not even being taught that. (The 40 year-old me wonders why I didn’t leave and go to a different art school).
To top it all, a suggestion: why not do something about Charles Rennie Mackintosh? Saint Mack of the Dollars. Into this plays the tension of Glasgow School of Art in those days and hopefully not still: be a Mackintosh theme park for tourists, or a working art school. The fine artists in the Mackintosh shared their space with tourists. For the illustrators and graphic designers in the leaky Foulis building over the road, since demolished, it was this: do something Mackintosh and it might get produced for the gift shop. Our tutors were in cahoots with the gift shop.
So. My almanack was an anti-Mackintosh, anti-graphic design, anti-commercial, anti-sense, anti-almanack. On one side of the concertina: a front cover and twelve images. On the other side, a jumble of calendars, mad handwriting and scribbled drawings. Nowhere does it say which year it is for and it is utterly unusable, as intended. I barely remember what my tutors said to it. I think they were more-or-less indifferent to it. If they realised it was a deliberate and frustrated attempt at a riposte to their project and whole approach to teaching, they didn’t care.
This is what is going on in it:
Page 1: front cover
Has the following hand-drawn text in smudgy graphite on a pale-orange ellipse on an orange ground: “The This Almanack Was DesiGNED by Me for Me And is DeDICATD TO ME”. Orange was my colour of the apocalypse: the colour of a nuclear sunset. A pale ellipse surrounded by a ‘burnt’ black border on an orange ground was a nihilistic gesture: a vacuous “that’s all folks!” portal at the end of everything. A burnt out tunnel to nothing (not even Bugs Bunny).
On top of a C.R. Mackintosh motif of four squares sits a sack with eye holes and ‘z’s coming from it, some backwards, as something is asleep in the sack. Behind it, a distraught girl I copied from the Beano says in a large speech bubble: “Charles Rennie Mackintosh ate my hamster!!”. This, in a puerile way, closed the door on it being sold in the school shop.
A Bold washing powder box label copied in mirror image. My attack on packaging design? A landscape intrudes on the design, in the middle ground of which is a strange hand motif that will feature in many of the other motifs. What does the hand mean? Self pleasing? The manual process of making the almanack opposed to the coming onslaught of the computer? Drowning, not waving? I didn’t know at the time.
An image copied from a Polish painting I knew: “Zdzisiek jumps of the Palace of Culture & Science every morning”. I was interested in the Polish Poster School and anti-communist Polish art from the 1980s. Did I see myself as having to engage in irony against an unsympathetic regime? The city in the background could be Glasgow.
A fat man with no eyes and a fish for an arm. In his stomach: a knife, an Avro Anson aircraft, a bolt, a WC sign, a mouse, a star in a circle, a Polish flag, a can of Old English cider, and several hands. The knife: murder? The aircraft: I had started to rekindle my childhood interest in aeroplanes as a refuge from what I hated about my course. The cider: probably what I would have drunk. The rest:? I was probably the fat man with the fish hand ingesting all of these.
A flying anvil with the insignia of the hand in a sky shot with orange clouds. It has a propellor and flimsy wings. The left-hand third of the page is a flat orange ground with a scalloped edge, pushing the anvil image almost off the page. A picture of absurdity flung back at my tutors? Being an artist as impossible as a flying anvil?
In the top half: three hand motifs and an assortment of symbols: hearts, gunsight, stars in circles, knife and fork, ladies’ toilet sign. One of the hands has an eye and fork-arm, with which he menaces the other two. They also look like wild-west cacti. In the bottom half a Royal Canadian Air Force Grumman Avenger. Aircraft formed part of my personal surreal at this stage. Aircraft are extremely specific (to those in the know) and bring with them such specific associations that to juxtapose them is very pungent. Part of the poignancy of aircraft, particularly military ones, is their ephemerality: advances in technology make them quickly obsolete, and scrappage and destruction in war make them extinct as types. I discovered the work of Guy Johnson at this time.
A sort of strange hand-tree-thing with part of a B17 bomber behind it. A Christmas tree and a cedar from the Lebanese flag.
The British Rail logo in a mocking sort of cartouche and the words: “Happy Birthday BR 1st Jan 1948”. Three hand logos and birthday candles. My dad worked for BR. It was a cynical and I guess ironical thing to wish BR happy birthday (it wasn’t because I cared about BR, though I kind of did). Again it is a symbol with very specific resonances: personal, national, nostalgic. The BR logo had, by that time, become a sort of generic sign for a railway in the UK. BR was already dead. The BR sign is as ubiquitous and unremarked as a WC sign and, hence, intrinsically comic. BR would have been 48 or 49 – I discovered the offbeat anniversary at least a year before the first Google Doodle.
An orange egg shape with a lion logo from something or other and the ‘CE marking’. A hand emerges from the egg, like a hermit crab. In the background, drawn in graphite: spheres and stars in circles.
WG Grace with an orange beard with a childishly-drawn floral border which invades the picture-space, threatening WG’s eyes. WG Grace looks like Engels, who appears later. I was aware of Terry Gilliam’s use of WG Grace’s image a Monty Python animation. Big beards hiding stiff upper lips: the afterglow of the twentieth century’s dismemberment of the nineteenth, before the current century’s rediscovery of it as a comfort bolt-hole for hipsters.
The Mcdonald’s logo with three arches and the words: “McSwindle”. A thumbs-down symbol. I worked in Mcdonald’s just before going to art school and didn’t like it. An obvious candidate for a bonfire of the symbols.
Marx, Engels, Lenin and Stalin in profile on top of some walking hands and a leaf-litter of stars in circles. The commie leaders came from a film still from a book on Polish art. I didn’t care that much about capitalism or communism; they were just grist for the same mill. I developed the star-in-the-circle further in other work. It is a symbol of optimism and power (and American imperialism – it is the US air force insignia), but I piled it up like discarded aircraft parts at the corner of a field in one drawing.
The ‘calendar side’
The other side of the almanack is all painted orange and most of the drawing is in graphite. The calendars are muddled and jumbled together on three only of the 13 pages, again like discarded things. There are some crudely drawn monsters, like those from the margins of a child’s schoolbook. There are more apocalypse-ellipse-voids and some black holes. There are some piled up circles (without stars). Various texts, some of them swiping at commercial entities: “Sweet nothings”; “Oblivion wellcomes [sic] Graham Kendrick [a Christian singer]”; “Pizza Hut says: Never go with stranglers”; “Metsa Serla [paper company] says: 1999 has been cancelled”; “Christmas has been cancelled”; “No Yom Kippur”. One page has: “17 Historic Wednesdays. 17 things invented on a Wednesday: 1 Snakes + ladders, 2 Snakes + ladders […] 17 Snakes + ladders”. Presiding over the whole are the words, in white in carefully traced Octopus typeface: “Everythin ends here” (around it, in white, in my handwriting: “The World ends”; “Party’s over folks!”; “All change!”. Octopus was my favourite way of kicking back at graphic design (now it’s Times New Roman).
I’m not really quite sure what to say in conclusion to all this! As a thorough negation of the brief it barely raised an eyebrow (I doubt I got a good mark, though). The frustration of youth. Funny that in a setting where one is taught ‘visual communication’ nobody thought to even attempt to discern what I was communicating. Including me. I don’t know really….
Oh, the box is titled: “aHistor y O th world”, and it does actually have the year – 1998 – crossed out (in letraset).