2. • Cyril Kenneth Bird, pen name Fougasse (17 December 1887 - 11 June 1965) was a British cartoonist best
known for his editorship of Punch magazine and his World War II warning propaganda posters. He also
designed many posters for the London Underground.
• Born in London and educated at Cheltenham College and King's College London (B.Sc).
• As one of the best known cartoonists of the time, he was one of 170 authors who created doll-sized books
exclusively for Queen Mary's Dolls' House; his illustrated verse tale, written on postage stamp-sized
pages, was published as a regular-sized hardback in 2012 by the Royal Collection and Walker Books.
• In the course of the 1920s and 1930s, his drawings evolved from the traditionally representational to an
innovative, spare, style that was both unique and popular, featuring in many advertising campaigns as well
as in magazine editorial. He became art editor of Punch from 1937 to 1949, then editor until 1953. He was
the only cartoonist ever to edit the magazine. During World War II, he worked unpaid for the Ministry of
Information, designing humorous but effective propaganda posters including the famous "Careless Talk
Costs Lives" series. For this work he was awarded the honour of Commander of the Order of the British
Empire in 1946.
• died in London, aged 77.
Fougasse
3. The campaign included posters entitled 'Careless Talk Costs
Lives', which were distributed to offices, shops and pubs
around the country, featuring enemy figures, including Hitler
and Goering, overhearing members of the British public
discussing the war. They aimed to dissuade people from
gossiping and inadvertently giving away secrets to the enemy
about the British war effort
Fougasse was best known for his wartime public information
posters, such as ‘Careless Talk Costs Lives',
'War's brutalising influence'
Fougasse
5. Eugène Atget (French: 12 February 1857 – 4 August 1927) was a
French flâneur and a pioneer of documentary photography, noted for his
determination to document all of the architecture and street scenes of
Paris before their disappearance to modernization.Most of his
photographs were first published by Berenice Abbott after his death. .
Jean-Eugène-Auguste Atget was born 12 February 1857 in Libourne.
He gave up acting because of an infection of his vocal
cords in 1887, moved to the provinces and took up
painting without success. His first photographs, of Amiens
and Beauvais, date from 1888
In 1890, Atget moved back to Paris and became a
professional photographer, supplying documents for
artists: studies for painters, architects, and stage
designers
In 1920–21, he sold thousands of his negatives to
institutions. Financially independent, he took up
photographing the parks of Versailles, Saint-Cloud and
Sceaux and produced a series of photographs of
prostitutes.
Atget
6.
7. • Atget's work is unique on two levels. He was the maker of a great
visual catalogue of the fruits of French culture, as it survived in and
near Paris in the first quarter of this century. He was in addition a
photographer of such authority and originality that his work remains
a bench mark against which much of the most sophisticated
contemporary photography measures itself. Other photographers
had been concerned with describing specific facts (documentation),
or with exploiting their indivisual sensibilities (self-expression). Atget
transcended both approaches when he set himself the task of
understanding and interpreting in visual terms a complex, ancient,
and living tradition.
• The pictures that he made in the service of this concept are
seductively and deceptively simple, wholly poised, reticent, dense
with experience, mysterious, and true.
8. •Both symmetrical fougasse split the page down the middle had
the two people sitting in the same place in same position close
together. Atget used lines of the building and made the centre
block and balanced out the sides.
•Fougasse used colour to
highlight certain areas for
example the yellowish line
highlighting hitlers hidden face
within the wallpaper. As
fougasse didn't use colour he
uses light and dark to control
the viewers eyes. The really
dark windows draws the viewers
attention .
•The intention of the different artists is
going to effect the work fougasse had to
send a message about the war whereas
Atget had no intentions just to photograph
urban cities and this has effected the work
as fougasse needed to attract peoples
attention which is why he has centred his
illustration and Atget has just separated his
image into thirds.
