Style combination · Contrasts

Australian Poster Collective Screenprints × BUGA UP Billboard Alteration

Same Australian dissent, but studio screenprints made from scratch against alterations made on the advertiser's own board.

From the research on BUGA UP Billboard Alteration

Mix them and make something Australian Poster Collective Screenprints BUGA UP Billboard Alteration

A sample layout drawn from the recipe: shapes from Australian Poster Collective Screenprints, their arrangement from Australian Poster Collective Screenprints, the finish from BUGA UP Billboard Alteration. 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.

Australian Poster Collective Screenprints BUGA UP Billboard Alteration

Type from BUGA UP Billboard Alteration: Hand-lettering
Type as image
Colour from Australian Poster Collective Screenprints: Flat fields
Fluorescent & neon
Form from Australian Poster Collective Screenprints: Stylised figuration
Restrained accents
Composition from Australian Poster Collective Screenprints: Single focal point
Layered information
Surface from BUGA UP Billboard Alteration: Painterly brushwork
Flat

The type

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

Display · BUGA UP Billboard Alteration

Loud

Inter Tight, standing in for Commercial grotesque advertising type of the host ads (altered, not chosen)

Text · Australian Poster Collective Screenprints

Screenprinted posters from the political poster collectives and community workshops that spread across Australia from Sydney's Tin Sheds, where Earthworks began in 1971. Early Earthworks posters borrowed psychedelic and Art Nouveau decoration before turning hard-edged and political; Redback Graphix then set fluorescent inks against black. Unsigned, punning and local, they served union, feminist, land-rights and community clients and were pasted up across the cities.

Archivo; Australian Poster Collective Screenprints used Hand-cut stencil lettering and Press-type (Letraset) display faces

The colours

The ground and leading colours come from Australian Poster Collective Screenprints, with a counter-accent from BUGA UP Billboard Alteration. The ink reads on the ground at 4.5:1 or more.

Australian Poster Collective Screenprints BUGA UP Billboard Alteration

#111111 ground · 36%
#f2ede3 ink · 14%
#f6e000 accent · 18%
#ff8a1f accent · 14%
#c8102e accent · 10%
#ff3e8a accent · 8%

As CSS

:root {
  --ground: #111111;
  --ink: #f2ede3;
  --accent-1: #f6e000;
  --accent-2: #ff8a1f;
  --accent-3: #c8102e;
  --accent-4: #ff3e8a;
  --font-display: "Inter Tight", sans-serif;
  --font-text: "Archivo", sans-serif;
}

Use it with care

Australian Poster Collective Screenprints: Land-rights posters were often made with or for Aboriginal organisations (the Central and Northern Land Councils, Boomalli) and can include designs, stories and clan imagery that belong to particular Aboriginal artists and communities; the Aboriginal flag was designed by Luritja artist Harold Thomas in 1971. Do not borrow Aboriginal motifs, dot or cross-hatch patterns as a 'protest look'; work with First Nations artists and organisations under protocols such as Creative Australia's Protocols for using First Nations Cultural and Intellectual Property in the Arts.

The two styles

A bold cycling campaign interface shows three helmeted cyclists against a large yellow circle and orange city silhouettes on black. Oversized pink and yellow slogans sit above a pink “LET’S RIDE” button and three navigation options.

1971–1994 · Oceania Australian Poster Collective Screenprints Screenprinted posters from the political poster collectives and community workshops that spread across Australia from Sydney's Tin Sheds, where Earthworks began in 1971. Early Earthworks posters borrowed psychedelic and Art Nouveau decoration before turning hard-edged and political; Redback Graphix then set fluorescent inks against black. Unsigned, punning and local, they served union, feminist, land-rights and community clients and were pasted up across the cities.

Oversized lettering reading “BUY JUNK” fills a jagged yellow burst against a red background. Below it, a grinning black-and-white illustrated man gives a thumbs-up, with worn paper texture and distressed ink throughout.

1979–1985 · Oceania BUGA UP Billboard Alteration An Australian anti-smoking and anti-alcohol campaign of unauthorised civil disobedience that altered existing billboards, blanking some letters and adding others so the slogan turned against its product, then signed BUGA UP. It is a style because the method fixes a signature: detourned commercial lettering at street scale under a shared name. Colour is borrowed from each host ad (the palette is illustrative). Peak: late 1970s to mid-1980s; the 1992 tobacco-advertising ban is context.

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