Stylogeny combining South African Resistance Poster × See Red Women's Workshop Feminist Screenprints

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Style combination · Pairs well

South African Resistance Poster × See Red Women's Workshop Feminist Screenprints

Community silkscreen for movements; add its heavy slogans and organisation emblems to See Red's drawn everyday scenes.

From the research on See Red Women's Workshop Feminist Screenprints

Mix them and make something South African Resistance Poster See Red Women's Workshop Feminist Screenprints

ACTSouth African × See Red1978 · 1974
A sample layout drawn from the recipe: shapes from South African Resistance Poster, their arrangement from See Red Women's Workshop Feminist Screenprints, the finish from South African Resistance Poster. Not a real work, and not an image of either style.

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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.

South African Resistance Poster See Red Women's Workshop Feminist Screenprints

Type from South African Resistance Poster
Colour from See Red Women's Workshop Feminist Screenprints
Form from South African Resistance Poster
Composition from See Red Women's Workshop Feminist Screenprints
Surface from South African Resistance Poster

02

The type

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

Display · South African Resistance Poster

Act

Allerta Stencil, standing in for Hand-cut stencil capitals

Text · See Red Women's Workshop Feminist Screenprints

Screenprinted posters of a London feminist collective founded in 1974 to answer negative images of women in advertising and the media, designed and approved by the group and credited to no one member. In a few flat inks, drawn or photographic housewives, mothers and workers repeat across cells and strips or stand under a wry slogan, turning housework, childcare and the double shift into agitation. From the late 1970s posters also took on racism, Irish and international struggles and lesbian sexuality, some in photomontage. No new designs after 1984; closed 1990.

Comic Neue; See Red Women's Workshop Feminist Screenprints used Hand-drawn poster capitals for the slogans and Comic-strip captions and speech balloons in hand-lettered capitals

03

The colours

The ground and leading colours come from See Red Women's Workshop Feminist Screenprints, with a counter-accent from South African Resistance Poster. The ink reads on the ground at 4.5:1 or more.

South African Resistance Poster See Red Women's Workshop Feminist Screenprints

  • #f4f0e6 ground · 36%
  • #151515 ink · 14%
  • #d4262a accent · 18%
  • #f2b51d accent · 14%
  • #1f2f6b accent · 10%
  • #8fb4d4 accent · 8%

As CSS

:root {
  --ground: #f4f0e6;
  --ink: #151515;
  --accent-1: #d4262a;
  --accent-2: #f2b51d;
  --accent-3: #1f2f6b;
  --accent-4: #8fb4d4;
  --font-display: "Allerta Stencil", sans-serif;
  --font-text: "Comic Neue", cursive;
}

Use it with care

South African Resistance Poster: The photograph of the dying Hector Pieterson (Sam Nzima, 16 June 1976) and the portraits of detainees and the dead show real people whose families and communities still remember them, and ANC, UDF and COSATU colours and the spear and shield are the marks of living organisations. Use them with context and permission rather than as generic protest styling.

04

The two styles

Large black, yellow and red lettering reads “LAND FOR PEOPLE” above a stylised agricultural worker wearing a red headscarf and holding a hoe. Green crop rows, hills, small houses and a tree extend behind the figure beneath a large yellow sun. 1978–1994 · Sub-Saharan Africa South African Resistance Poster The posters of the struggle against apartheid, from the exiled Medu Art Ensemble in Gaborone to the community workshops that served the United Democratic Front and the unions in the 1980s. Low-tech silkscreen from hand-cut stencils was chosen on purpose: cheap, quick to teach, workable without electricity and often illegal. One to three flat inks carry heavy hand-lettered slogans, organisation logos, fists, crowds and photographs converted to line. The red word “ENOUGH” spans the top of a cream poster above a large red woman in an apron raising a cloth overhead. Repeated black illustrations of women washing dishes surround her. 1974–1990 · Western Europe See Red Women's Workshop Feminist Screenprints Screenprinted posters of a London feminist collective founded in 1974 to answer negative images of women in advertising and the media, designed and approved by the group and credited to no one member. In a few flat inks, drawn or photographic housewives, mothers and workers repeat across cells and strips or stand under a wry slogan, turning housework, childcare and the double shift into agitation. From the late 1970s posters also took on racism, Irish and international struggles and lesbian sexuality, some in photomontage. No new designs after 1984; closed 1990.

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