Ben-Day was first used in newspaper images, prompting the ensuing collaborative relationship between comics/newspapers and dots. Before the technique was applied to fine art, it was applied predominantly in comic books, comic strips, and newspapers. But as cheaper and faster printing methods adapted toward mass consumption were invented, the dots became an alternative production technique in the world of art. Pointillism is an artistic technique characterised by the meticulous application of small, distinct dots of pure colour on a canvas. These dots, usually of uniform size, are placed closely together, allowing the viewer’s eye to blend them optically and perceive a broader range of colours and tones. The technique aims to create a luminous and vibrant effect, enhancing the overall visual impact of the artwork.

Most art commentators and writers agree that Lichtenstein painted dots “similar to” or “derived from” the Ben-Day dots of the comics. Only non-professionals and journalists with little knowledge of art state downright that Roy painted Ben-Day dots. It seems Into the Spider-Verse was trying to evoke the aesthetic of the classic Silver Age of comics. However, it is worth noting that Warhol and Lichtenstein actually riffed on different types of printer’s spots. While Lichtenstein painted dots similar to Ben-Day, Warhol dots, which vary in both spacing and size, come from halftone screening. Create your own Ben-Day dots How to create your own Ben-Day dots character with adobe illustratorThere are numerous ways in which you can create these famous dots right in your studio, but we will talk about just a few of them today. Use Crayons Whaam!" (1963): This large-scale diptych is one of Lichtenstein's most recognizable and celebrated works. It depicts a fighter jet firing a missile at an enemy plane, with the onomatopoeic word "Whaam!" emblazoned across the canvas. The painting showcases Lichtenstein's expert use of Ben-Day dots to create dynamic and vibrant visuals, capturing the energy and action of comic book imagery. Lichtenstein uses the materials of his time in his work. His artwork ‘Sandwich and Soda’ 1964 is a screen-print on polystyrene. Printed on plastic, this is one of Lichtenstein’s earliest Pop prints and the first to be made on a surface other than paper. Lichtenstein carefully selected and placed the dots to mimic the halftone patterns and shading techniques commonly found in printed images. This technique allowed him to recreate the bold, graphic style of commercial illustrations and comment on the pervasive influence of mass media on society. Lichtenstein’s incorporation of Pointillism and Ben-Day dots into his art was driven by his fascination with popular culture and the visual language of mass media. He drew inspiration from comic books, advertisements, and popular illustrations. He then transformed this illustration style into large-scale paintings, often exaggerating and re-contextualising the imagery.

Furthermore, Pointillism was driven by a desire to elevate painting to a more scientific and intellectual level. Artists saw their work as a reflection of the advancements in scientific theories and sought to incorporate these principles into their artistic practice. Comics became more popular in the 1930s, and the first print of Superman was created in 1938. The publishers made a lot of money from the comics business and lived lavish lifestyles, but they did not bother to share the proceeds with the creatives. By appropriating this technique, Pop artists explored the visual language of popular culture and reinterpreted it within the context of fine art.Roy never painted Ben-Day dots; instead, he painted his own dots. For example, if you compare one of Lichtenstein’s pieces titled Sleeping Girl (1964) with its comic book source No Cure For Love – Heart Throbs no. 70, Feb –Mar 1961 by John Romita, you will clearly spot the difference. They do not look alike. In addition to Ben-Day dots, Lichtenstein’s incorporation of other Pop Art techniques is evident in his precise rendering of lines and shapes. Similar to Pointillist artists, Lichtenstein paid meticulous attention to detail. But instead of optical blending, Lichtenstein carefully outlined and defined his subjects with crisp, clean lines. This technique allowed him to achieve a sense of precision and accuracy reminiscent of Pointillism, while also referencing the mechanical nature of commercial printing. Before applying the Ben-Day dots, the artist would first get transparent overlay sheets, which came in various sizes and distribution, allowing for a broader range of shades, depth, and dimensionality when an image is rendered. Particularly, these overlay sheets were cut into different shapes and tonal regions, delivering shading once the image was reproduced photographically. Ben-Day Dots vs. Halftone Dots Follow this link for the complete tutorial with images. How to create Ben Day Dots for your next comic art