Stylogeny combining Australian Poster Collective Screenprints × See Red Women's Workshop Feminist Screenprints

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Style combination · Pairs well

Australian Poster Collective Screenprints × See Red Women's Workshop Feminist Screenprints

Sister screenprint collectives of the same years; add their brighter inks and halftone for a louder campaign poster.

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

Mix them and make something Australian Poster Collective Screenprints See Red Women's Workshop Feminist Screenprints

RISEAustralian Poster × See Red1971 · 1974
A sample layout drawn from the recipe: shapes from Australian Poster Collective Screenprints, 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.

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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.

Australian Poster Collective Screenprints See Red Women's Workshop Feminist Screenprints

Type from See Red Women's Workshop Feminist Screenprints
Colour from See Red Women's Workshop Feminist Screenprints
Form from Australian Poster Collective Screenprints
Composition from Australian Poster Collective Screenprints
Surface from Australian Poster Collective Screenprints

02

The type

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

Display · See Red Women's Workshop Feminist Screenprints

Rise

Londrina Solid, standing in for Comic-strip captions and speech balloons in hand-lettered capitals (My Wife Doesn't Work, 1980)

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

03

The colours

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

Australian Poster Collective Screenprints See Red Women's Workshop Feminist Screenprints

  • #f4f0e6 ground · 36%
  • #151515 ink · 14%
  • #d4262a accent · 18%
  • #ff8a1f accent · 14%
  • #1f2f6b accent · 10%
  • #ff3e8a accent · 8%

As CSS

:root {
  --ground: #f4f0e6;
  --ink: #151515;
  --accent-1: #d4262a;
  --accent-2: #ff8a1f;
  --accent-3: #1f2f6b;
  --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.

04

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. 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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