Parinya Tantisuk. ‘Calendars and New Year’s Cards’
Siamrath Weekly. Yr.43, Vol. 31, 29 Dec. 2539 / 1996 – 4 Jan. 2540 / 1997.
The New Year is upon us. Everyone is searching for or ordering gifts as ways of sending happiness to one another. Calendars and New Year’s cards are popular. Institutions and offices, agencies, stores and companies – they all make calendars and cards especially for the New Year for their customers as the new year approaches.
l. 8 – 9 For business, media or gifts are the thriftiest, but the market is biggest in New Year’s cards because they are so easy to send. They are less expensive compared with other kinds of gifts. Some use the profits from the sale of these cards for charitable activities, so it is a way of getting together to make merit, too. At department stores there are many types to choose from, designs, layouts, messages and fonts, all developed and getting prettier all the time.
l.18 Both in calendars and new year’s cards there are many providers who use works of art as pictures and works by many artists that have real artistic value. For example, the set which I have used here for illustrations, in part. Please enjoy the keen vision of the institutions and companies which have supported the projects, bringing artworks to use on calendars and cards. It is one way of disseminating art and culture, and it raises the level of value of goods for consumers, too.
l. 27 The desk calendar of Thai Panich Bank uses traditional Thai painting to illustrat – part of the royal treatise on Pramahachanok of His Majesty the King.
l. 31. The illustrations of chapters 10 and 11 of this royal treatise (p.27) are the work of Jintana Premsiri, the only woman artist joining in this project. She uses a very brownish yellow for the structure of the picture. It looks soft and warm. Her brushstrokes for the earth, the grey of the hills, the various trees of all kinds, give the picture its charm. She creates good relations and continuity in the grouping of forms in the pictures.
l. 1(p.47) Jintana completed her BFA and MFA in the Department of Thai Art at the Faculty of Painting, Sculpture and Graphic Art, Silpakorn University (PSG/SU).
l. 4 – 5 The illustrations for Chapters 20 and 21 (p.58 – 61) of the royal treatise are the works of Chalermchai Kositpipat, from the first graduating class of the Department of Thai Art. Today he is a leading artist, very famous and widely known. The works pictured here are from an important part of the story. Pramahachanok swims for many days, showing his determination.
l. 11 He speaks with Nang Maneemekala. The artist knows how to divide the picture rhythmically, changing the state of the image and the forms of the illustration. For example, the waves, the very strong current which slowly becomes gentler; the changes of the moon and the sun giving a sense of space and time.
l. 17 The picture พันตาเกิน is one of the many works of Prasong Leumuang which have been selected to make into new years cards for sale in department stores everywhere. This work has the fragrance of the cool and misty villages and countryside of the North, showing the peaceful, happy and tranquil life close to nature; the lines drawn, the brushstrokes, fresh and direct, pure, making the picture very lively. Prasong is another graduate of the Department of Thai Art. He lives and works in the North.
l. 28 – 29. The picture, Sunrise on Sunday, by Attasit Aniwattchon gives a fresh, lively feeling. Attasit composes the elements very well indeed and manages the color very tastefully. The story is very simple – about nature and the seasons. The use of lines, traced and cut with the various characteristics of lithograph have contributed to the lines of the work. Attasit finished his education with an MFA. He is a special tutor in the Graphic Arts Departmet of PSG / SU.
l. 38 – 39 The picture The Power of Peaceful Joy of Panya Wijintanasarn invites one to look and think. Panya is daring and smart in his idea of presenting the face of the Buddha and the other forms included. This works takes an angle from Thai art out of its typical context which is usually seen. Panya was in the second graduating class of the Thai Art Department. He joined the group that did the murals of the Phuttaprateep Temple in London, along with Chalermchai Kositpipat. Today, Panya is a teacher in the Thai Art Department, and also holds an administrative position, i.e. the university’s vice rector for art and culture.
l. 3-4 (p.48) The picture, หันขวาง, by Chatchai Puipia reflects things which deeply disturb the artist and support the idea of conservation. Chatchai’s work is fun in its bold line, color, materials, textures, brushstrokes and in bringing together various forms and sizes of frames in order to create new forms. Chatchai completed his education (BFA) in painting. Since he finished, he has created a continuous stream of works. He has had many solo exhibitions. He is an experimental artist. His shows always have interesting points of view.
l. 14 These calendars and New Year’s cards made from artworks, I expect they will be more and more popular as time goes by. For example, new years cards on sale on the display racks. They are very popular with customers.
l. 19 As to the advantage gained from doing this kind of commerce, there should be a fair payment for the artist who is the owner of the work. Some companies have agreements about the price of the copyrights for bringing these images for printing. They forbid the artist from releasing the picture for printing by anyone else. The company pays a copyright every time they reprint the image. It seems right, but it is not, in fact, really clear about the time limit. How long do they have control of the image? Artists lose out at every point. If the company doesn’t reprint the image the following year, even if another institution or company wants to use the picture, the image is tied securely in a contract of unspecified length. Thus, the artist who still owns the image misses an opportunity which he or she should, in fact, enjoy.