Tim Marrs is a graphic designer and illustrator who combines many media: drawings, photography, screen printing, Photoshop techniques and more. He has also increasingly used Flash animation.
His work has a frenzied, hand made and dynamic look. However the images are very carefully composed to emphasise this dynamism in terms of colour, composition and style. They have a mix of influences from American pop culture, pulp fiction novels, pop art to polish film posters and surrealism. He incorporates a range of subjects in his work, drawing inspiration from everyday images such as famous buildings, road signs and nature, presented in an abstract and original manner.
Photomontage is the process and the result of making a composite photograph from one or more photographs through:
multiple exposures in-camera or on film in the printing process
cutting, gluing, rearranging and overlapping elements from one or more photographs into a new image. Sometimes the resulting composite image is photographed so that a final image may appear as a seamless photographic print.
Early ‘virtual reality’ shows were made of composited images.
Victorian and Edwardian “combination printing”
The printing of more than one negative on a single piece of printing paper. Fantasy photomontage postcards were popular in the Victorian and Edwardian periods. The first and most famous mid-Victorian photomontage (then called combination printing) was “The Two Ways of Life” (1857) by Oscar Rejlander, followed shortly thereafter by the images of photographer Henry Peach Robinson such as “Fading Away” (1858). These works actively set out to challenge the then-dominant painting and theatrical tableau vivants. The high point of its popularity came during World War I, when photographers in France, Great Britain, Germany, Austria, and Hungary produced a profusion of postcards showing soldiers on one plane and lovers, wives, children, families, or parents on another.
Other methods for combining images are also called photomontage, such as (e.g. O. G. Rejlander, 1857), front-projection and computer montage techniques. Much as a collage is composed of multiple facets, artists also combine montage techniques.
Some artists are pushing the boundaries of digital image editing to create extremely time-intensive compositions that rival the demands of the traditional arts. The current trend is to create images that combine painting, theatre, illustration, and graphics in a seamless photographic whole.
Photomontage also may be present in the scrapbooking phenomenon, in which family images are pasted into scrapbooks and a collage created along with paper ephemera and decorative items.
Digital art scrapbooking employs a computer to create simple collage designs and captions. The amateur scrapbooker can turn home projects into professional output, such as CDs, DVDs, displays on television, uploads to a website for viewing, or assemblies into one or more books for sharing.
Contemporary photograph editors in magazines now create “paste-ups” digitally.
Photograph manipulation refers to alterations made to an image. Often, the goal of photograph manipulation is to create another ‘realistic’ image. This has led to numerous political and ethical concerns, particularly in journalism.
Romare Bearden (1912–1988) produced a series of black and white “photomontage projections”. His method began with compositions of paper, paint, and photographs put on boards measuring 8½ × 11 inches. Bearden fixed the imagery with an emulsion that he then applied with hand roller. Subsequently, he photographed and enlarged them.
Josep Renau Berenguer (es), Following his exile to Mexico in the late 1930s, Spanish Civil War activist and montage artist compiled his acclaimed, Fata Morgana USA: the American Way of Life, a book of photomontage images highly critical of Americana and North American “consumer culture”.
Lola Alvarez Bravo, experimented with photomontage on life and social issues in Mexican cities.
Grete Stern exiled in Argentina during the late 1940s began to contribute photomontage work on the theme of Sueños (Dreams), as part of a regular psychoanalytical article in the magazine, Idilio. Google Images
Alfred Gescheidt, American photographer while working primarily in advertising and commercial art in the 1960s and 1970s, used photomontage techniques to create satirical posters and postcards.
A photomontage may contain elements at once real and imaginary. Combined photographs and digital manipulations may set up a conflict between aesthetics and ethics – for instance, in fake photographs that are presented to the world as real news. For example, in the United States, the National Press Photographers Association (NPPA) has set out a Code of Ethics promoting the accuracy of published images, advising that photographers “do not manipulate images … that can mislead viewers or misrepresent subjects.”
Scarfolk is a fictional northern English town created by writer and designer Richard Littler, who is sometimes identified as the town mayor. First published as a blog of fake historical documents, parodying British public information posters of the 1970s, a collected book was published in 2014.
Littler has said “I was always scared as a kid, always frightened of what I was faced with. … You’d walk into WHSmith… and see horror books with people’s faces melting. Kids’ TV included things like Children of the Stones, a very odd series you just wouldn’t get today. I remember a public information film made by some train organisation in which a children’s sports day was held on train tracks and, one by one, they were killed. It was insane. … I’m just taking it to the next logical step.
Scarfolk, which is forever locked in the 1970s, is a satire not only on that decade but also on contemporary events. It touches on themes of totalitarianism, suburban life, occultism and religion, school and childhood, as well as social attitudes such as racism and sexism.
Scarfolk was initially presented as a fake blog which purportedly releases artefacts from the town council’s archive. Artefacts include public information literature, out-of-print books, record and cassette sleeves, advertisements, television programme screenshots, household products, and audio and video, many of which suggest brands and imagery recognisable from the period. Additionally, artefacts are usually accompanied by short fictional vignettes which are also presented as factual and introduce residents of Scarfolk. The public information literature often ends with the strapline: “For more information please reread.”
The aesthetic is utilitarian, inspired by public sector materials in the United Kingdom such as Protect and Survive.
A television series co-written by Will Smith was described as “in the works” in 2018.