1951 Unknown Use it for peace

‘Vote Attlee’ [№ 036] poster goes very much against Scholz’s rules of political design, and it verges into a very authoritative style of design, there is no aspiration in the visual. But as Sheena and I discussed, the homage to Attlee in this large colour image would have been seen as a sign of pride,52 as an impressive piece of printing. Every other piece of design from 1955 is seen surrounding the Attlee poster, dwarfed by its 52 Sheena Calvert, size. Using Scholz’s rules I’m still not convinced Interview by Amir Saidani, 2020 that this message makes sense; that adulation <https://rca.cloud. panopto.eu/Panopto/ was inspiring, of confidence or decisiveness. Pages/Viewer. aspx?id=c27b5d17But in the further posters there are lessons in 4115-4a8a-95c8abed00a32236>. how they sit with our reference points, the criticisms and promises set of posters as I referred to them in the case study follow a similar aesthetic to 1951, the use of brush type, attempting to bring it’s tone down, to talk to the people, and where these posters are successful in our barometer, is the use of harmonious colour, the design and text complement each other, they are legible, if not at times a bit outlandish. So we see that although these idealistic opinions of design may have gone, we are moving to an area in which these designs are shifting to meet their audience, not follow the rules that the party may have imposed. Simplistic visuals are king in this election, and although the Attlee poster dominates the proceedings, it’s the other simplistic posters that as pieces show interesting elements of where design and political thinking was at the time. But it’s important, and I will cover more of this within my conclusion, to not conflate the two worlds of political ideology and design choice, there are links there, but sometimes a design choice was made because that felt like the right thing to do, and the humanist element of Labour posters throughout this period is one of their biggest charms.