Montpelier examiner. [volume] (Montpelier, Idaho) 1895-1937, 1896-09-25
ART IN THE CAMPAIGN.
Lightning Work Done by Brush on Point
icai Banners.

iCal Banners
Already the campaign banner is
swinging midair across the avenue and
adorning the various political head
quarters, says the Washington Star.
Very few people, as they gaze on these
works OF art have any idea Of their man
ufacture, simply knowing that they an.
pear after the selection of the candidates
for presidential honors, and associating
them with fireworks, brass bands and
oratory.
The making of campaign banners is,
however, an extensive business, several
firms devoting themselves exclusively
to their manufacture. It is true that
banners are sometimes gotten up bv
sign painters and the small shops that
spring up for the occasion, but they are
not to be classed with the banners
turned out b. the regular factories. A
visit to one of these establishments re-
veals some interesting facts.
On the cheap banners only the names
and sentiments of the candidates an
pear, but the large and costly ones have
the portraits of both nominees painted
In ovals, separated by fanciful designs.
Shields, eagles and figures of Liberty
are the most popular. The emblems are
wonderfully and fearfully gotten up, the
eagle performing feats that would tax a
contortionist, airily balanced on a shield
his talons filled with enormous bundles
OF arrows, pennant expressing his DO
litieal opinions floating gracefully from
his beak; or with a shield suspended
from his neck he takes his wild fight
across the rising sun The Goddess of
Liberty and other designs are executed
an equally striking manner.
The first'class campaign banner is the
product of the combined efforts of three
men-the portrait painter, the sign
painter and the sailmaker. In making
the banner the work is divided up. The
painting, which is done on sized muslin
may be accomplished in two wavs. If
the man is an expert, he takes a large
circle of Pasteboard, having the features
cut out, and traces the general utline
and size of the head, using photograph
to finish the portrait from.
But the usual method is by the use of
stencils, each stencil being for differ.
erent color. The large pieces of mus
lin, tackled on boards, are ranged in
row around the room and men with
pots of paint pass from one TO the other
with great rapidity. Painter No. Laws
in the hair, No. 2 follows with the flesh
tint, No. puts on the shirt and collar.
and No. a the coat thus the foundation
is laid in for the artist, who comes alono
with his huge palette and completes the
portrait.
Meanwhile, Il sign painters, perched
on stools and boxes, are putting on long
strips of muslin. "The People Choice,''
and other squally hattering sentiments.
The sail-makers cut roll of square
meshed net into the different banner
sizes, binding them with a thick rope
covered with canvas.
No stencils are used for the emblems;
they are spontaneous bursts of the ar
lists imagination. He can indulge his
taste in eagles as fierce and warlike as
he Pleases, and Liberties as defiant.
This is not all.
A banner once painted is not loss,
even If it remains on the firms hands
AS the artist remarked, putting on or
taking off mustache or beard, rear
ranging hair, an extra touch of fat or
lean as the case requires, is small mat
ter, accomplished by a few strokes of the
BRUSH The sign painter is equally handy
at altering the political notices.
The banner takes some days to dry,
and week to finish. A section is
placed paint downward on the floor and
the net put over it. The same design is
arranged on top, and the sailmaker, sit.
ting on the floor, sailor fashion, sews
all together. Then the banner is reaav
to be raised with cheers and flare of
re dire