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Paintings (visual works) With digital objects
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Wrecking Ball

Wrecking Ball woodcut and cardboard print

Note from the artist: This print is part of the collection Wank!, a series of six posters for various sources - such as essays, video clips, movies or performances - all dealing with the taboo subject of female masturbation. Acting like a curator of these references, I aim to highlight that any attempt to represent feminine masturbation through a feminist eye still finds its limits where a branded masculine interpretation of feminine sexuality starts.

Campistron, Dominique

Poster for an exhibition of the work of The Glasgow Girls, 1890-1930

This poster for a major exhibition of painting, decorative and applied art by the Glasgow Girls from 1890 to 1930 uses an Eleanor Allen Moore painting as the background. It was a touring exhibition by the Kirkcudbright 2000 group. Over 100 exhibits were provided by the three main Scottish collections of 'Glasgow Girls' work - Glasgow Museums, The Glasgow School of Art and the Hunterian Gallery of the University of Glasgow, and the exhibition ran from 19th Nov to 20th Dec 2010. Artists and makers represented included Annie French, Margaret Gilmour, Norah Neilson Gray, Jessie M. King, Frances and Margaret Macdonald, Jessie Newbery and many others. Several private individuals also lent significant works, many of which had never been viewed in public before. The exhibition was curated by Liz Arthur, formerly a Glasgow Museums curator, who was involved in the last major exhibition on the 'Glasgow Girls' in Glasgow 1990. She also wrote a book to co-incide with this exhibition: 'Glasgow Girls : Artists and Designers 1890-1930' (Alba Printers Ltd, 2010). The exhibition was accompanied by a series of Lunchtime Lectures.

The following additional information was provided by the creator in September 2020:

"During my third year as a Graphic Design student, my fellow student Patrick Macklin who was studying Interior Design approached me with a request for technical help in producing a poster for the “Glasgow Girls” exhibition which he had been asked to produce. As this was the era of pre-digital, creating a poster for printing was quite a specialist task and was really the domain of Graphic Designers.

The artwork began by sourcing an archive image of historical female students in Glasgow School of Art in the Mackintosh era that could be scaled up to the finished size and retain a high enough visual quality. Because the concept that we decided on would heavily reference Mackintosh, I decided to use his signature violet colour and chose the exact colour from a pantone chart, that is so heavily associated with Mackintosh to create a duotone of the archival photograph.

Once I established the finished size of the poster, I drew by hand the printers marks that would establish cropping, registration of the separated colours and alignment of the layers on a sheet of heavy CS10 board (I think I did not eat for a couple of days to afford that board!).

The next stage was to create an area that would convey the information that the poster would communicate to the viewer. As this was the pre-digital era, I had to work out all the line lengths and the subsequent point sizes and weights required for the information block at the foot of the poster using type catalogues, rulers and casting off rulers. Once this was established, I requested to the operator of the GSA’s linotype photosetting machines to print out a galley proof of the type, once I was happy with the layout and weights of the type. I chose the font from the limited range that was available to the operator, as these fonts were mastered on glass slides that would be inserted into the linotype machine and were very expensive and therefore very limited in range. I settled on Book Antiqua as it was one of the least boring of the serif font choices and was also similar to the font used by Prefab Sprout in there “Swoon” album which I had nearly worn out the grooves of by that time!

I then used traditional art materials such as Letraset, drafting film, rubalith, rotring rapidograph pens and scalpels to create the text area. I hand drafted the dashed stroke around the border of the text area to invoke Mackintosh’s distinct use of these in his work. To create harmony and visual balance, I also hand cut a further two perfect squares using a half tone letraset dot matrix on a further layer to fill the void at either end of the “Girls” line of text to make a block so reminiscent of the Japanese wood cut influence in Mackintosh’s typography without being too literal.

It was really difficult in those days to source “camera ready” artwork for the sponsors logos, as companies in those days regarded any activity outside official Design Studios with the utmost suspicion. Eventually we managed to source these and I scaled them to the correct size using an Agfa Repromaster copy camera and the dark room. All these elements were then pasted on to the CS10 backboard or drafting film layers with measurement and precision using low tack spray mount.

The finished artwork was then sent to the Printer to be screen printed. I also supplied the pantone ink numbers they were to use for the screen printing in a list.

I was lucky enough to receive (as payment for my services) a “free” copy of the poster for my portfolio which I still have today!"

Devlin, Alistair

Poster for a film screening of 'The Passion of Joan of Arc'

This poster is part of a course project organised by the Visual Communications department. The brief for the project required students to design a poster for a particular film they had been assigned. In this example, student Robert Heatherington has designed a poster for the Carl Dreygar film 'The Passion of Joan of Arc'. Heatherington has created the poster using screen print techniques.

Heatherington, Robert

David Donaldson and the 2nd Year Class, Back Studio, GSA, 42

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Study of GSA art students, including Dorothy Ballantyne, Marion Fletcher, Sheila Wilson, Tom Gardner (the artist), Jimmy Spiers, Audrey Scarle, Florence Jamieson, Fay Campbell as well as tutor David Donaldson, his wife Pat and son David, plus a life model who is thought to be a music student from Falkirk who studied at The Atheneum.

Gardner, Tom

Students on Leave, GSA, 43

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Those depicted include Danny Ferguson, Gordon Huntly, Lewis Allan, Eileen Allen, Joan Docherty, Molly Brown and Ishbel Macdonald.

Gardner, Tom

Lunch, Original Refectory, GSA 42/43

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. GSA students and staff featured in this work include (from left to right), amongst others: Harry McLean, GSA student and conservator (seated at table bottom left, resting elbow on table); Hugh Adam Crawford, GSA staff, Drawing and Painting department (standing, front-facing, slightly left of centre); Joan Eadley, GSA student and artist (centre, standing, facing left); John Miller, GSA staff, Drawing & Painting department (slightly right of centre, facing right, carrying portfolio under right arm); Margot Sandeman, GSA student and artist (slightly right of centre, facing right, arms folded, in conversation with Cordelia Oliver); Cordelia Oliver, GSA student, art critic and journalist (slightly right of centre, facing left, in conversation with Margot Sandeman); Margaret McGavin, GSA student and artist (right of centre, adjacent to Cordelia Oliver, front-facing but looking right, in conversation with another female student); David Donaldson, GSA staff, Drawing and Painting department (right of centre, left-facing, positioned between Margaret McGavin and the female student she is talking to); Benno Schotz, GSA staff, Modelling and Sculpture department and sculptor (right hand side, facing left); Timothy Powell, GSA staff, Graphic Design department (right hand side, in the foreground, front-facing, wearing a suit).

Gardner, Tom

Northern Waterway

Abstract watercolour with layered collage. One of seven works presented to GSA by the Scottish Arts Council, as a result of the Council's collection being broken up and dispersed across Scotland.

Reeves, Philip

Papers of Jane Richards and Fiona Jean Paton, students of The Glasgow School of Art

  • DC 083
  • Collection
  • c1908-1980s

This collection relates to Jane Richards and her granddaughter Fiona Jean Paton who both studied at The Glasgow School of Art.

It includes:

  • An artist’s palette owned by Jane Richards, c1910
  • a small box of watercolour paints owned by Jane Richards, early 20th century
  • a portrait drawn by Jane Richards, c1908-1910
  • a photograph of Jane Richards, c1914-1918
  • a photograph of Jane Richards' husband in uniform, c1914-18
  • two watercolour landscapes by Jane Richards, 1907 and 1911
  • seven prints produced by The Dux Engraving Co Ltd, early 20th century
  • two portraits drawn by Robert Eadie, c1909
  • three sketchbooks for product design furniture by Fiona Jean Paton, early 1980s
  • eight photographs and eleven slides relating to product design furniture, early 1980s.

Please note that this material is not yet fully catalogued and therefore some items may not be accessible to researchers.

One item was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014 and was conserved in 2018-19.

Richards, Jane

Poster for the graphic design with illustration and photography degree show

This poster advertised an exhibition of work by graduating students from the graphic design with illustration and photography department which was exhibited as part of The Glasgow School Of Art degree show in 1994. The exhibition was held in the Foulis building at The Glasgow School Of Art from the 25th of June to the 1st of July. The image used on the poster was an illustration by Helen Stephens and the typography was created by Marie There Cassidy and Nadine Lewis, all of whom graduated in 1994.

*Not available / given

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