Set of 7 Rolls - Day Dot Food Stickers - Catering Labels Individual Dispensers

Product Information

Ben-Day dots played a crucial role in the artistic style of renowned American artist Roy Lichtenstein. Lichtenstein, often referred to as the "father of Pop Art," incorporated the dots into his paintings to replicate the mechanical process of printing and to evoke the aesthetics of comic books and popular culture. Choose your colors. You can decide to go for the colors used predominantly in pop art comics to create a more noticeable effect or choose the tones that you want to express the character’s emotions.

The impact of Lichtenstein's use of Ben-Day dots extended beyond the art world. His bold and graphic style became a defining characteristic of Pop Art and influenced subsequent generations of artists, illustrators, and graphic designers. The legacy of his innovative approach to incorporating commercial aesthetics into fine art continues to resonate, underscoring the enduring significance of Ben-Day dots as a visual element in contemporary visual culture. Essentially, every photographic print is made up of numerous tiny dots that are irregular in form and greyness but are too little to be used in printing the photograph. They successfully create continuous grey tones. Spider-Man: Into the Spider-Verse is a computer-animated superhero film from 2018 produced by Sony Pictures Animation and Columbia Pictures in collaboration with Marvel. The film is touted as one of the best examples of translating comics into motion pictures, and the creators did so without losing anything in translation.The Ben-Day dots are tiny dots in different colors used in a commercial printing technique. The technique was invented by illustrator and printer Benjamin Henry Day, whom it was named after, in 1879. Thomson said the following about the thought behind these flourishes appropriated from the source medium: The use of Ben-Day dots allowed Lichtenstein to achieve a mechanical and impersonal quality in his artwork, mirroring the industrialized and mass-produced nature of popular culture. By appropriating the dots as a signature element of his style, he created a visual language that was instantly recognizable and associated with his work.

Besides Roy Lichtenstein, Andy Warhol also employed the Ben-Day dots technique in his “ Most Wanted Men 1” series from the early 1960s, in which he created a contrast between comic visuals and criminal mug shots. The exhibition also includes some interesting screen prints. Modern Art 111, 1996 screen print on paper combines motifs from different artistic movements associated with modernism; all tendered in Lichtenstein’s trademark style. There is something similar to Picasso, the elements are deconstructed stylised and relate to cubism. There is a grid arrangement, diagonal lines and geometric influences that relate to Piet Mondrian, ‘’a parody of modern art, witty fusion, paying homage to artists he admired’’. References to Seurat and Monet are also very evident and the idea of cropping an image so that the image becomes refocused and reframed as well as the painted dots purposely not being painted flush with the canvas, highlight Lichtenstein’s appropriating motifs from Art history and shows how he is also aiming to break free of the pictorial frame. Neither of the above is correct, even though even Roy Lichtenstein also committed this same rookie error. Artists known to have used the Ben-Day dots The exhibition highlights Lichtenstein as primarily an easel artist, exploring his career as a painter., Other artists such as Tracy Emin who used her bed as a source of exploration are in some ways similar to Lichtenstein in the way she focuses in on the bed, composing it like a painting and reinterpreting the narrative of the bed, Lichtenstein is doing something similar except he is using popular culture, comic books and advertising to reinterpret their original context. The exhibition shows a deeper more complex side of Lichtenstein’s creativity, exploring his style from past to present, indicating that it is not so much the subject matter that interests him but more the way he approaches his subject.Lichtenstein uses the materials of his time in his work. His artwork ‘Sandwich and Soda’ 1964 is a screen-print on polystyrene. Printed on plastic, this is one of Lichtenstein’s earliest Pop prints and the first to be made on a surface other than paper.