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Art of the poster label
The hop gardens of Kent, 1921 :
The dramatic use of heightened or unnaturalistic colour, as seen here, became a common feature in poster design. The clever distribution of flat colour enabled the poster to be printed with just five or six inks, although the result suggests greater complexity.
'Oh, I want to see the country
Like when I was a boy
When the sky was blue and the clouds was white
And the green fields was a joy
I want to see the country
But the posters seem to show
The country ain't no more the place
Like what I used to know
For the sky is pink and the fields are mauve
And the cottages all turned yellow
And the sheep all green or tangerine
Enough to stun a fellow
Oh, I want to see the country
And I wouldn't mind where I went ter
So long as I knoo the trees weren't blue
And the cows all turned magenta!'
Plaint to the poster artist, Manchester Guardian, c1921
Beyond the city
Leisure travel into the area now known as Greater London (and beyond) was promoted to increase revenue during off-peak periods. For similar commercial reasons, commuters were encouraged to live further out from the city in the new suburbs.
Posters advertising days out by tube, bus or tram, were prominently displayed at station entrances and on the vehicles themselves. They include some of the most attractive and evocative posters produced by the Underground/London Transport.
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Posters advertising days out by bus, tram and tube were originally printed to fill empty advertising space. They soon became important in their own right as a way of filling empty seats outside rush hour.
Trips to the country by Green Line coaches or tube were particularly popular, with attractive publicity promoting different seasons of the year.These posters played an important part in establishing the reputations of artists such as Edward McKnight Kauffer and Walter Spradbery.
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