Inspired by the call of Visual Resistance and John Unger, here’s an attempt at a few Guernica stencils:

Click on an image above for a printer-friendly PDF.

They could probably be simplified further, but here’s a first go.

Free to download and distrbute!

Last night, a friend from out of town commented on his disorientation when exiting subway stations in New York City. Which way is North? It always takes a minute or two (or more) to find a street sign, landmark, or other orienting information. In some cases it means walking a whole city block to find out you’re heading in the wrong direction. I’ve lived here for 15 years and I’m still disoriented at far-flung exits where the streets all have names and no numbers.

In midtown they have do little kiosks at street level with maps to nearby landmarks. But this seems like overkill for mostly mixed and residential neighborhoods. So how hard would it be for the MTA to paint a little direction indicator on the pavement near each subway exit?

Hell, how hard would it be to take matters into our own hands? To start a guerilla wayfinding campaign?

To that end, I’ve posted a few free stencils here. I’ve tried to keep it in the MTA style — with the exception of the compass rose. (But then who doesn’t love a compass rose?)

Click the thumbnails below to download a 20KB PDF.

Update 3/7/06: I’ve deprecated the uptown and downtown stencils, since it occurs to me that this could cause some confusion with the subway lines themselves often referred to uptown or downtown lines.

Update 3/28/06: Using their own fancy, two-color stencil, someone’s taken it on!.

Cut&Paint is a zine of stencil templates, ready to cut, ready to paint.

Volume two is in the works with a deadline for submissions on February 20, 2006. In addition to stencils, the issue will include a how-to section, photos of stencils on site, and articles on stenciling, public space, and politics. Check the submission criteria.

The first issue is nearly sold out of its run of 400 copies, so I helped the team post the stencils online. It’s a quick and basic site for now, but will evolve as we add more images. The first 41 stencils are up and ready for download at http://cutandpaint.org.

John T. Unger writes in about his campaign:

“I thought you might be interested in helping spread the word about a call for participation. I’m looking for artists/activists who can help get billboard sized reproductions of Picasso’s Guernica installed in as many US locations as possible.”

From his blog:

“Ideally, the work would stand without any text or headlines or additional commentary: if the painting is all that’s seen, it forces the viewer to make an interpretation instead of being told what to think. Being told what to think is exactly what got Americans in trouble in the first place, no?

In terms of how the project is carried out, I don’t really think it matters whether billboards are rented, plastered over in dark of night (see: BLF, the Billboard Liberation Front) or created just for this purpose. Obviously not everyone has the budget to actually rent billboard space, though it seems like this might be an option for funded activist groups. Now that most billboards are made to hold printed tarps rather than pasted up sheets of paper, it would certainly be easier and faster for guerrilla Guernicas to be painted on canvas and installed at whim. For those who do take the guerrilla approach, it might help to read this basic primer on how to appropriate billboards. Also check out the Wooster Collective for ideas and techniques.

I don’t think it matters whether the images are photos, stencils, handpainted, collaged or what. If the project really took off, part of the excitement would be seeing the results of many different people interpreting a well know work in their own way. I will happily publish any photos sent in by participants of the project.”

Read more from Unger here.

The project is, in part, a test of his idea of “open-sourcing art projects” to involve as many participants as possible.

Via Visual Resistence I found this call for entries:

“SAW (Street Art Workers) is seeking posters for an international street art campaign about land and the effects of globalization. We want you to design and submit posters that will be printed and wheatpasted in cities across Europe and North America. The strongest designs will be published as a mass produced, newsprint poster collection. This will be a 24 page, 2-color newspaper which will include up to 30 posters. SAW will pay for the printing, and volunteers will distribute the posters. The majority of posters will be wheatpasted in public by participating artists and folks who just want to paste up their city.

Based in the U.S., SAW is a network of printmakers, stencil artists, graffiti writers and painters who use the streets for art and activism. We are taking back our cities and towns from the businessmen, cops and politicians who define public space for their own benefit. As a volunteer-run group, we make street art for political campaigns and post each other’s work across North America. Since 2001, our projects have talked about prisons, the mass media and utopian ideas for the future.

We want posters that build connections between international struggles and actual organized projects with high profile publicity. We especially want to see multilingual submissions and work from the perspective of women, Third World communities and indigenous/First Nations. We suggest that artists collaborate with grassroots, social change organizations of their choosing to make posters. We want posters that are both imaginative and relevant to “on the ground” organizing around issues of land, housing and globalization. Working with an organization is not required, but it is encouraged.

It could be argued that Christopher Columbus began our current age of globalization when he washed up on the shores of the New World. The slave trade, imperialism and resource theft that followed in Asia, Africa and America were a brutal beginning for globalization. Today imperial conquest has been refined into cold, impersonal corporate bureaucracies. In the last 30 years these corporations have become economic giants more powerful than many countries. Setting up global assembly lines, today’s corporations move freely around the world forcing countries, rich and poor, to surrender their land, resources and labor. In the process, corporations have made massive profits shifting wealth from the global south to the industrialized north, from the impoverished and working people to the rich and powerful.

SAW wants to look at how this form of globalization has affected our lands and how people are fighting back. How has it affected land in the cities — especially housing? How has globalization impacted land and workers in the countryside with farming, mining, drilling, logging and other resource extraction? What are the connections between land struggles in the global south, indigenous nations and the industrialized north? What are some of the connections between the landless peasants movement of Brazil and the squatter movements of Europe and North America? What links together the struggle against dams in India, hydroelectric projects Canada and water privatization in Latin America and South Africa? How are farmers and campesinos resisting industrial agriculture, like biotechnology and GMOs (genetically modified foods), in the U.S., Mexico and India? What organizing strategies have worked and hich ones have failed? These questions are a starting point. We want to see more questions from you and some hard-hitting answers. We want powerful ideas and inspirational art that we can broadcast directly to the streets in 2005.”

The deadline for submissions is September 1, 2005.

For more info, visit streetartworkers.org

Josh MacPhee is collecting submissions of graphics, illustrations and art for a book of freely reproducible graphics to be published by Soft Skull Press in late 2006.

He writes:

“Reproduce and Revolt!: Radical Graphics for the 21st Century is a graphic toolbox to be launched into the hands of political activists. The book will contain over 300 new and exciting high-quality illustrations and graphics about social justice and political activism for activists to use on flyers, posters, t-shirts, brochures, stencils or any other graphic aspects of political campaigns. All the graphics will be bold and easy to reproduce, in addition to being open source/anti-copyright. The book will come with clear instructions on how to best utilize the images so as to improve the graphic qualities of political campaigns. It will also contain a short history of political graphics, an archive of political flyers and posters throughout history, as well as information about and a bibliography of further reading for all of the social justice issues the art will cover....

Reproduce & Revolt! is not intended to be a who’s who of well known and successful political artists, this call is open to all levels of artists.”

Materials are due by October 31st, 2005. Contact ‘reproduce [at] justseeds [dot] org’ for more information.

The daughter of a friend was arrested during the Republican National Convention. Her crime: riding her bicycle.

She was one of 5,000 people who rode with Critical Mass that clear August evening, and one of 250 arrested. She spent 25 hours in jail for riding her bike in support ecology, fewer cars, and a more bicycle friendly city.

“She lost a bit of innocence that summer,” says her mom.

Since the RNC, the New York Police Department have continued their campaign of intimidation and harassment, arresting riders and seizing bikes despite a court order. Now the Department is suing Time’s Up!, a nonprofit environmental group, to prevent them from participating in and promoting the rides and to enforce the ban on assembly of 20 or more people in a park without a permit.

The folks at Visual Resistance are facilitating a street art campaign in support of Critical Mass and are calling for designs. They hope to produce materials before the April 29th ride.

They will make the designs available for download and have a few printed. Some suggested themes include supporting/promoting Critical Mass; defending the right to free assembly; and promoting bicycling as a form of transportation.

For more info on Critical Mass and harassment by NYPD, visit the Time’s Up press room.

Poster designs should be 8.5x11 or 11x17 inches, sticker and stencil designs can be any logical size. Find out more.

In recent months, there have been several open calls to designers to help stir up the electorate.

• Designs On The White House
• Let Down By Labour
• AIGA Get Out the Vote
• No RNC Poster Collective

Designs On The White House

“Designs On The White House is a grassroots fund-raising organization in support of the John Kerry 2004 Presidential campaign. We aim to mobilize the creative community through an online design contest, judged by designers, celebrities, and activists. Winning designs will be available for resale on T-shirts and other products, and all proceeds after expenses will benefit the John Kerry Presidential campaign. Designs on the White House Organization (DOTWHO) is an independent political committee and is not authorized by any candidate or candidate’s committee.

The Categories

• Best Pro-Kerry Shirt (positive spin, no mention of Bush)
• Best Anti-Bush Shirt (negative spin, must mention Bush)
• Best Issue Shirt - Domestic
• Best Issue Shirt - Foreign
• Funniest Shirt
• Best Retro Shirt
• Best Get Out The Vote Shirt
• Most stylish / Most likely to be featured on Queer Eye

Each design will be entered in only one category.”

Anyone with a valid email address can register with the site and cast their votes on the contributed designs.

The site also features blogs about the DOTWH campaign and the Kerry campaign. A recent entry encourages non-designers with design or slogan ideas to post them.

The deadline for entries is May 22, 2004.

Let Down By Labour

“Want to see your film on national television? Want your poster idea on High Street billboards? Want to tell everyone how labour have let you down? We can make it happen for you.

‘Labour isn’t Working’ fast became one of the most famous posters in advertising history. Imagine if you had been able to have a crack at that brief? Just as in 1979 when Labour wasn’t working, today swathes of the population feel let down by Labour.”

The final date for submissions was April 23, 2004.

“We have received a massive response from the people of Great Britain and we would like to thank all of you for your contributions. We will be displaying the best ideas in a gallery so that everyone can see how let down by Labour the British people feel. The large number of submissions we have received means that it will take some time for us to sort through the ideas. But as soon as they are ready to be unveiled to the public we will be presenting a selection of them here. Once again thank you for your support.”

And from the comments of VoxPop:

One thing CCO isn’t shouting from the rooftops is that they opened this competition to the "creative industries" (i.e. trendy spec-wearing ripped jeans fans) the week before they opened it to the public.

Also, there’s absolutely no guarantee that they’ll use any of the entries.

Honestly, this scheme could not have been met by more incredulous stares had it been announced on April 1st - Saatchi coming up with a scheme whereby members of the public do his job for him? Shurely shome mishtake.”

Blogged here previously, that famous poster also turns out to be a fake.

AIGA Get Out the Vote

From the AIGA Atlanta Web site:

“AIGA will again mount a campaign to demonstrate the power of design in the public arena by encouraging designers to contribute to a coordinated get-out-the-vote campaign for national elections in the fall of 2004. The objective is to demonstrate the value of design to the public, public officials and business by providing a clear call to action for an activity that is important to everyone.

The campaign will have two elements to it. The first will be a selection of designers who will be asked to create nonpartisan calls to action that will bear a national AIGA campaign identity. AIGA’s national coordinator will select six designers and each AIGA chapter will be encouraged to select a designer to develop a design, for a potential total of 53 different designs.

The second element will be an open gallery of member designs that will be posted on the website and available for local printing, specifically by our members and also available to any visitor to the website. Any member will be entitled to post a design in the open gallery. This will become the largest gallery of available designs in support of this critical civic function. Some of the unsolicited submissions may be selected to be included among the collection of posters that AIGA will print and will distribute to all chapters for posting locally.

After careful consideration of the success of the previous campaign, this year we are proposing a slightly smaller-scaled window card format rather than posters, since the potential for actual posting in public places increases substantially if the designs are of a scale that can be placed in small shop windows and on public bulletin boards (places where a larger poster would not be posted). The scale also allows for printing out on local color printers as well as commercial printing. Our intention is to demonstrate the strength of our communication design, regardless of the production values of the print. This is in the spirit of civic postings since Revolutionary times....

The purpose of this campaign is to encourage voter turnout. There is no single message, although the intent is a call to action, motivating people to register and to turn out to vote. The visuals and the text of the message must be nonpartisan—we are supporting the basic democratic premise of citizen participation, not a partisan position on candidates or issues. Messages or images that are likely to offend substantial numbers of citizens will not be selected nor included on the site, since they would be counter to our intention of developing messages that encourage voter participation through effective use of images, text and ideas.”

The deadline for submissions was April 1, 2004. You can view or download the posters here.

I also note that the designs must include the AIGA logo:

“All posters must incorporate the required branded band (this will be embedded in the supplied template). The band will include the AIGA logo and the tagline ‘Good design makes choices clear’ along with sponsor information.”

No RNC Poster Collective

“No RNC Poster Collective is a small collective of friends with experience in graphic design and independent media. We came together with the goal of facilitating visual resistance for the anti-RNC activities in NYC this summer. We want to make protest beautiful and connect artists with organizations working against the RNC.

Our goal for the project is to create a visual blitz in New York City against Bush and the Convention, and to blend art with politics in the finest New York style.

We are putting together in a free book of posters relating to the Republican National Convention in New York City, August 29th -September 4th. We are mass producing these posters on newsprint for distribution across New York City and the country in bookstores, apartment windows, picket signs and pasted up on the street.

We are looking for artists who can make posters with themes anywhere in the range from anti-Republican to anti-RNC-being-held-in-NYC to anti-Bush to antiwar to anything else you think is relevant. The plan is to have some posters about specific marches and actions and others that communicate a general anti-RNC message.

We are printing the posters in early June so that we can circulate them all summer. Submissions should be in black and white. Dimensions are 14" x 21" (that’s 15" x 22" with a half inch border). Deadline for submissions is May 30th. If you are at all interested, please e-mail us at: [email protected].

In mid-June, we’ll head to the printers with the best designs we get, and then set up a distribution network to get thousands of them up on the streets, in storefronts, in apartment windows, on picket signs.... everywhere there’s room.

We’re also setting up an online gallery to display all the great work that people are sending in. In addition to that, we’re working on a gallery show-style event where we can show everything together, which will hopefully also act as a small fundraiser for the project.

We’ll also be doing stickers, stencils, pins, and more over the course of the summer, so please keep in touch if you have other designs or ideas.

Also, one of our goals in starting this project was to hook up artists with organizations — if you think you might be interested in designing a poster for a specific group or event, let us know, it’d definitely help. Info on all the events and groups is here: http://rncnotwelcome.org/logistics.html. Check it out and see if anything leaps out at you.

We hold regular meetings in Brooklyn every Wednesday night, which people are welcome to come to — e-mail us if you have any interest. We’re currently working on fundraising and other logistics,

We’re working closely with the fantastic folks at Arts in Action, who are planning all sorts of fun, creative, and challenging work in the city this summer. Check them out at http://www.thechangeyouwanttosee.org for more info on what they’re up to.”

The budgetary and printing limitations will also give the No RNC posters a consistent, low-tech aesthetic despite the variety of designs and designers.

You can view the final posters here.

...

Though the projects follow much the same format, the politics differ considerably. And though each is an open call for entries, distributed primarily through email and the Web, each seems to target participants much like the organizers themselves, though each in the end aspires to influence a broader public.

Designs On The White House is a grassroots initiative endorsing a major political party. They are rallying a younger crowd seeking to inject a sense of style and hipness into the stodgy, elitist political machine.

Let Down By Labour is a top-down initiative, probably financed by the political party. As noted by the commentor, they seem to be looking for free labor, particularly from other advertising professionals.

The AIGA, a national professional association of dues-paying designers, while explicitly non-partisan, is encouraging participation in the electoral process. The competition was only open to members, and is as much about promoting the AIGA and the public value of design as it is about getting out the vote.

The No RNC Poster Collective, an a grassroots, open, volunteer collective is explicitly partisan, and while challenging the Republican convention, is tied to the protest and civil disobedience to take place around the convention. They are accepting contributions from anyone.

Judging for Let Down By Labour is secret and closed. The judges are unknown. Judging for the AIGA and Designs on the White House are via celebrity panelists, though Designs on the White House does open some voting to the public through the Web. Judging for the No RNC Poster Collective project is open, though one has to physically travel to Brooklyn.

The motivation pitched by each also varies: Let Down By Labour promotes pure self-interest and the prospect of fame for oneself; The AIGA sells the high ideals of civic engagement; Designs on the White House pitches the fun of it; while the No RNC Poster Collective provides a place to focus one’s outrage.

I also note how the choice of media plays into the politics.

Designs On The White House focuses on T-shirt design, seem to implicitly target an audience in their 20’s and 30’s that would wear cheeky political T-Shirts. T-shirts with the winning designs will be put on sale for anyone to purhcase.

Let Down By Labour focuses on advertising, specifically national television and billboards, expensive media generally only accessible to wealthy corporations, advertising agencies, and the big political parties themselves. While this might seem to be an opportunity to the grassroots to gain access, it is still corporate spaces purchase by corporations in the service of a conservative, corporatist party.

The AIGA Get Out the Vote initiative and the No RNC Poster Collective both focus on poster design. Both will have open distribution via the Web, and printed posters will be distributed on an ad-hoc basis. The AIGA posters will probably have perennial use for future election campaigns, though the RNC posters are specifically located towards the convention in New York City, the walls and public surfaces of the City, setting the stage for the massive civil disobedience.

Some political stencil graffiti I spotted this weekend on the sidewalks of San Francisco and Oakland. Click an image below for a larger version.

That’s Mayor Gavin Newsom to you.

Most buildings built before June 1979 are rent controlled. However, housing prices are so high that some landlords are willing to destroy their buildings to build new ones that can rent at the city’s incredible market price.

“PROTECT THE BAY / DON’T DUMP”

There’s lots more at http://www.stencilarchive.org/.

“The Peace Pumpkin Project is a simple way to demonstrate your opposition to a war in Iraq. The idea is this: this year, carve the words ‘No War’ into your [Halloween] jack-o-lantern. That’s it. Do it to as many pumpkins as you want, and put them wherever you want as long as you don’t break the law or hurt anyone. If you’re carving-knife impaired, You can download a stencil in .pdf form. You could carve other words into the pumpkin, if you feel that ‘No War’ doesn’t express your opinion well enough, but I think it would increase the overall impact if people keep seeing the same simple message over and over: NO WAR.”

Found via Metafilter. Pumpkin shown is by the author of the Project Without a Name.