Style combination · Contrasts

Australian Poster Collective Screenprints × Screenprinted Gig

Both hand-pull flat, hand-lettered screenprints from the same psychedelic root and both reach for fluoro inks; the Australian collectives printed for unions, marches and community causes (and some bands), often from photo stencils, and pasted them up at night, while the gig and alt-movie poster prints for one show, one film and a collector's wall, trading agitation for wit and nostalgia.

From the research on Screenprinted Gig & Alt-Movie Poster

Mix them and make something Australian Poster Collective Screenprints Screenprinted Gig

A sample layout drawn from the recipe: shapes from Screenprinted Gig, their arrangement from Australian Poster Collective Screenprints, the finish from Australian Poster Collective Screenprints. 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 Screenprinted Gig & Alt-Movie Poster

Type from Screenprinted Gig: Hand-lettering
Ornamented display
Colour from Australian Poster Collective Screenprints: Flat fields
Fluorescent & neon
Form from Screenprinted Gig: Stylised figuration
Restrained accents
Composition from Australian Poster Collective Screenprints: Single focal point
Layered information
Surface from Australian Poster Collective Screenprints: Halftone & Ben-Day dots
Flat

The type

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

Display · Screenprinted Gig

Pop

Londrina Solid; Screenprinted Gig used Hand-drawn display lettering by the poster artist, drawn into the image and Condensed sans-serif and wood-type-style capitals for the band, venue and date line

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 Screenprinted Gig. The ink reads on the ground at 4.5:1 or more.

Australian Poster Collective Screenprints Screenprinted Gig & Alt-Movie Poster

#111111 ground · 36%
#f2ede3 ink · 14%
#f6e000 accent · 18%
#f2b134 accent · 14%
#e2482f accent · 10%
#ff3e8a accent · 8%

As CSS

:root {
  --ground: #111111;
  --ink: #f2ede3;
  --accent-1: #f6e000;
  --accent-2: #f2b134;
  --accent-3: #e2482f;
  --accent-4: #ff3e8a;
  --font-display: "Londrina Solid", cursive;
  --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.

Screenprinted Gig & Alt-Movie Poster: Film characters, logos and band names belong to their owners: Mondo's Star Wars and Marvel posters were made under licence from Lucasfilm and Disney, so clear the rights before printing a fan 'alt poster'; gig posters are the living trade of named independent printmakers, so commission or credit them rather than generating look-alikes of a recognisable artist's hand; and when you borrow the scene's sweet-and-sinister mix, keep the sinister half to monsters, skulls and noir rather than hate symbols or real atrocities: Kozik's own art drew on the iconography of Franco's fascist regime, under which he spent his earliest years in Spain, and that is not a costume to reuse.