Style combination · Pairs well

Acid Graphics × Post-Binary Typography

The collective's banners share Acid Graphics' blackletter, spiky stars, gradients and chrome-like lettering; borrow that repertoire for a manifesto banner or flyer, but keep the post-binary glyph legible as the subject rather than the surface effect.

From the research on Post-Binary Typography (Bye Bye Binary and Inclusive French Type)

Mix them and make something Acid Graphics Post-Binary Typography

A sample layout drawn from the recipe: shapes from Acid Graphics, their arrangement from Acid Graphics, the finish from Acid Graphics. Not a real work, and not an image of either style.

What each style brings

Each part of the design comes from the style with the stronger say in it, and each style gives at least two.

Acid Graphics / New Ugly Post-Binary Typography (Bye Bye Binary and Inclusive French Type)

Type from Post-Binary Typography: Experimental & distorted
Eclectic mixing
Colour from Post-Binary Typography: Limited spot colours
Gradients
Form from Acid Graphics: Angular & zigzag
Whiplash line
Composition from Acid Graphics: Visual tension
Collage & layering
Surface from Acid Graphics: Chrome & 3D render
Glitch

The type

Open fonts standing in for each style’s own type, which is often hand-drawn or commercial.

Display · Post-Binary Typography

No!

Jost, standing in for BBB Poppins TN (Eugénie Bidaut and Camille Circlude, 2022), after Jonny Pinhorn's Poppins

Text · Acid Graphics

A late-2010s club and poster style that updates 1990s rave graphics with modern 3D tools: liquid-chrome and melting lettering, neo-tribal spikes, wireframes, op-art patterns and acid-green palettes on black, mixed with blackletter and stretched grotesques. Associated with David Rudnick, Studio Cryo and Anja Kaiser and collected on Instagram's @acidgraphix, it overlaps with the 'New Ugly' turn towards deliberate antidesign.

VT323; Acid Graphics used Liquid-chrome and melted custom lettering and Blackletter and neo-gothic display

The colours

The ground and leading colours come from Post-Binary Typography, with a counter-accent from Acid Graphics. The ink reads on the ground at 4.5:1 or more.

Acid Graphics / New Ugly Post-Binary Typography (Bye Bye Binary and Inclusive French Type)

#f6f3ee ground · 36%
#151515 ink · 14%
#d42a7f accent · 18%
#ff1ad9 accent · 14%
#ee5d63 accent · 10%
#3d5afe accent · 8%

As CSS

:root {
  --ground: #f6f3ee;
  --ink: #151515;
  --accent-1: #d42a7f;
  --accent-2: #ff1ad9;
  --accent-3: #ee5d63;
  --accent-4: #3d5afe;
  --font-display: "Jost", sans-serif;
  --font-text: "VT323", monospace;
}

Use it with care

Post-Binary Typography (Bye Bye Binary and Inclusive French Type): This is the living practice of a queer, trans and non-binary community and of named designers, most of them active: do not use the glyphs as decorative 'Pride' texture or for brand campaigns that ignore the people they were made for; follow the CUTE that comes with the fonts: credit and link the designers, keep the files complete, give on its sliding scale (€300 to €1,000 for a cultural institution) and respect its answer to companies that want an inclusive image to pinkwash: 'Look elsewhere'; and never attribute a generated poster or font to the collective or prompt an image model with its members' names. Image models invent fake ligatures and misspell French, so set real inclusive words in the actual fonts and have them checked by people who use them. Type the median-dot forms and let the OpenType features display the glyphs, rather than pasting QUNI's Private Use Area characters, which screen readers cannot voice meaningfully and which turn into blanks or wrong signs when copied or shown in another font. In France, inclusive writing with the point médian is proscribed in schools by circular (2021) and a Senate bill sought to ban it more widely (2023), so check before setting official French public documents this way.