Tadeusz Trepkowski – Nie! (1952)

I have looked into the Polish political propaganda posters ranging from the 1940’s to the 1970’s. Posters are very important in the Polish culture. During the communist regime they were probably the only colourful things one would see on the streets. Each poster is a genuine expression of the artists feeling towards the subject, not just a catchy slogan or image. This poster captures the memory of the devastation wrought in World War 2. Trepowski used straight, forward composition and pure colour in this poster. He pared down imagery only to what was important specifically a war torn city inside the outline of a bomb with the simple message ‘No!’ The building and sky inside the bomb emphasizes death and destruction. The bomb has a dual role, not only as a bomb, but also as a window showing us the destruction it would cause.

Walerian Borowczyk – Dzuma – The plague from the U.S.A (1952)

The Soviet government used certain posters such as this as an attempt to keep the Polish public thinking they were under the constant threat N.A.T.O and the U.S.A. This was an excuse to restrict their civil liberties. It shows the image of a scientific boiling tube ready to land on them as if it was a bomb. I like the red brush stroke that gives it the sense of falling down at a high speed. I also like the great use of scale.

Olga Siemaszkowa – You have to lose your head to vote (1946)

The poster uses an image of a headless figure wearing a suit. The poster was used to promote the ‘Three time yes’ referendum, which people would express their political opinions. The poster was used to show the public not to have the wool pulled over their eyes. . The poster has simple composition like many other polish posters but has a touch of surrealism with the headless figure.

 

Vertigo – Saul Bass

Saul Bass is one of my favourite designers. He left a clear imprint on the communications industry, particularly in film and advertising. I am an admirer of his stark, symbolic images, which were used in both print and animated ads. He implemented a design form that relied on visuals over language to deliver the message. The ‘Vertigo’ poster is based on a simple two-colour process that uses hand drawn lettering against a bright orange background.

Anatomy of a Murder – Saul Bass

This particular poster symbolically features the dissection of a corpse silhouette into seven pieces. The image relates perfectly to the film title. The image has indexical connotations of death and violence. Saul Bass’s posters are characterised by his minimalistic style and distinctive hand-cut typography.