Opinion by Richard Baird.
The Centre for the Study of Political Graphics (CSPG) explores the enduring power and immediacy of the political poster in the fight against injustice and inequality, and believes in the importance of keeping alive the stories and voices that they have come to represent.
CSPG worked with Canadian studio Blok to develop a graphic identity that would honour the role the centre serves as a chronicler and catalyst, reflect its position as a participant in the fight for human rights, and leave space to frame and connect the graphic and communicative diversity of political posters.
Blok effectively channel the necessary impact, immediacy and communicative clarity of political posters into CSPG’s visual identity. They do this through type size, proportionality and arrangement, in conjunction with eye-catching colour and use of contrast. In their type-centric approach, disregarding proprietary imagery, often a critical component of political posters, it essentially takes a step back and functions as a frame or holder for images and messages that have endured or caught the spirit of the recent past or present. These include Jerry Palmer’s Resist October 16, 1967, Barbara Kruger’s Your Body Is A Battleground, 1989, and Alicia Nauta’s End Police Brutality, 2015.
Type choice and typesetting serve to balance moments of character, clear messaging and the utility of a historical archive or white paper. It has an identity of its own, rooted in some of the same visual language of its collection, but really starts to work in conjunction with the colour, detail and graphic gestures of CSPG’s archive.
The approach similarly plays with the material in the same way as posters. It is absent the expense of print finishes, yet in the cropping of type, the use of inserts and newsprint, does invoke a material language. The cropping of type speaks of a grass roots necessity to reuse and repurpose, newsprint perhaps alludes to the roll newspapers play in shaping the political landscape, for good or bad, layering calls to mind fly posters, and polythene bags has something of a magazine or mail shot quality.
Other neat details include the expanding and contracting nature of the initials. This works as a obvious frame with four points, anchors for the common proportionality of large format posters. It functions well to link artwork from a variety of designers, from different times and for a multitude causes. The red and white background options afford CSPG A flexibility and the opportunity to avoid awkward colour clashes, or draw out colour in the case of Resist!
The play with both landscape and portrait within a single piece of communication is a nice way of touching on the portrait nature of posters and the typically landscape format of protest signs.
Initially, there appears to be a simplicity at play, and something of Blok’s own aesthetic preferences, a simple typographic expression of communicative immediacy and visual impact, yet there are a number of smaller details that give it a thoughtfulness, that touch upon the many forms of political dialogue, be that in cropping and layering, arrangement and proportionality, substrate or packing. More work by Blok on BP&O.