Style combination · Pairs well
Australian Travel Poster × Early Turkish Republican Graphic Design
A state-promoted lithographic school of the same years that also advertised tourism under bold drawn lettering. Görey's figures, from his Munich training in Hohlwein's orbit, stand in crisp patches of light on a light ground where ANTA opens a painted vista; borrow its framed emblem and giant letters for a tighter, flatter ANTA sheet.
Mix them and make something Australian Travel Poster Early Turkish Republican Graphic Design
01
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 Travel Poster (ANTA Era) Early Turkish Republican Graphic Design
- Type from Australian Travel Poster
- Colour from Australian Travel Poster
- Form from Early Turkish Republican Graphic Design
- Composition from Australian Travel Poster
- Surface from Early Turkish Republican Graphic Design
02
The type
Open fonts standing in for each style’s own type, which is often hand-drawn or commercial.
Display · Australian Travel Poster
Kin
Poiret One, standing in for Hand-drawn Art Deco sans capitals
Text · Early Turkish Republican Graphic Design
The pictorial poster, label and ticket art of the young Turkish Republic, led by İhap Hulusi Görey after his Munich training in Ludwig Hohlwein's orbit, with Münif Fehim Özarman and, after 1943, Kenan Temizan. Lithographed figures modelled in crisp patches of light and shadow, sometimes in only one or two inks, giant numerals and letters, framed emblems and bold hand-drawn lettering in the Latin script adopted in 1928 advertised banks, the State Lottery, the state monopolies and tourism, and promoted the state's new alphabet.
Oswald; Early Turkish Republican Graphic Design used Hand-drawn Latin display capitals with Turkish diacritics (Ç, Ğ, İ, Ö, Ş, Ü) for brand and institution names and Shaded and extruded display letters and giant numerals
03
The colours
The ground and leading colours come from Australian Travel Poster, with a counter-accent from Early Turkish Republican Graphic Design. The ink reads on the ground at 4.5:1 or more.
Australian Travel Poster (ANTA Era) Early Turkish Republican Graphic Design
-
#1f1d2bground · 36% -
#f3e6c2ink · 14% -
#c8381eaccent · 18% -
#e3b23caccent · 14% -
#4a8fb8accent · 10% -
#45633daccent · 8%
As CSS
:root {
--ground: #1f1d2b;
--ink: #f3e6c2;
--accent-1: #c8381e;
--accent-2: #e3b23c;
--accent-3: #4a8fb8;
--accent-4: #45633d;
--font-display: "Poiret One", sans-serif;
--font-text: "Oswald", sans-serif;
}Use it with care
Australian Travel Poster (ANTA Era): This was settler Australia's image of itself for tourists, settlers and investors. Its designers borrowed Aboriginal imagery for 'a distinctly Australian look': the National Library's curators note motifs drawn from x-ray art, rock paintings and material culture, as in Sellheim's boomerang poster of 1957, and Jillian Barnes shows how Trompf's 'Winter Tours to Central Australia' for Commonwealth Railways 'applied the Santa Fe railway aesthetic', the American railroad's romantic tourist image of Native Americans, to Central Australia, replacing 'Indians' of the pueblos with Arrernte ('Arunta') men, and put modern white travellers at the centre and the Arrernte men small, servile and at the rear, standing for the past. Do not reuse its boomerangs, corroboree figures, x-ray or rock-art motifs, or its picture of Aboriginal people, as period decoration: Aboriginal designs belong to particular peoples and clans, so work with First Nations artists under Creative Australia's Protocols for using First Nations Cultural and Intellectual Property in the Arts. Treat its colonial subjects, Cook's landing at Botany Bay and 'the tallest trees in the British Empire', as celebrations of British settlement on unceded Aboriginal land, not neutral heritage. Many posters are still in copyright, credited by the National Library to the Percy Trompf Artistic Trust, the Northfield family and the Sellheim and Annand families: license them or paint your own place and light.
Early Turkish Republican Graphic Design: Atatürk's likeness, the Turkish flag and the star and crescent are living national symbols, and Turkey's Law No. 5816 (1951) criminalises insulting Atatürk's memory, so do not caricature, distort or trivialise them when borrowing this style. Much of this imagery was produced for a one-party state and its campaigns, and Kemalist iconography (the unveiled "modern" woman, the six arrows, Atatürk portraits) is still politically charged in Turkey, read differently by secularists, religious conservatives and minorities whom the nation-building imagery left out. Do not present the regime's modernising narrative as neutral, and do not reuse party emblems as decoration.
04
The two styles
05
More combinations
With Australian Travel Poster
- WPA Silkscreen Posters Contrasts · The Federal Art Project also made travel and national-park posters in the 1930s, but in flat, layered screenprint for public programmes; set them side by side to choose between commercial painted lithography and a few opaque public-service inks.
- Mexican Calendar Chromo (Cromos calendáricos) Contrasts · Its nearest neighbour by genome: both print idealising painted realism in deep space for a romantic, sunlit ideal. The calendar puts a small sponsor's name under an academic oil-painting melodrama; the ANTA poster sells a place by name, in big drawn capitals on a solid band, with a bather or rider as the traveller's stand-in. Use the calendar for legend and glamour, this for a destination.
- City Pop Illustration Pairs well · Both paint idealised, sunlit leisure places under a deep blue sky; add city pop's hard-edged shadows and empty pools to an ANTA beach for a contemporary resort poster.
- Socialist Realist Propaganda Poster Contrasts · The same lithographed naturalism, deep space, giant foreground figures and lettered slogans for official clients. Socialist realism makes the figure a heroic worker on a rising diagonal under red; ANTA makes it a bather, rider or tourist at leisure in a landscape of light. Choose by whether the poster calls people to work or to a holiday.
- Greek Tourism Modernism (EOT) Contrasts · Both are national tourism posters selling sun to foreign visitors under the country's name, but ANTA painted a deep, peopled vista while EOT set one cut-out sign on flat colour; compare them to choose between the painted destination and the modernist emblem.
- Art Deco Contrasts · Its parent: Trompf's colour lithography is described as 'bold, simplified realism in an Art Deco style', and the National Gallery of Victoria's resource for its Art Deco exhibition says Sellheim 'has incorporated a distinctive Art Deco typeface into his designs'. It keeps Deco's capitals, airbrush and flat colour but swaps Cassandre's machine geometry, chevrons and luxury for sunlit beaches, bush and wildlife; use Deco when the subject is speed and glamour, this when it is a place and its light.
- London Transport Design Pairs well · The National Gallery of Victoria traces ANTA's poster programme to the London Underground and LNER posters, and ANTA also commissioned Tom Purvis, the LNER's poster artist from 1923 to 1943 and by the late 1930s 'the biggest name in British commercial design', to make its 1938 150th-anniversary posters for London billboards (NLA Z100). Borrow Pick's fixed emblem and consistent lettering band to hold a series of varied painted views together.
- Australian Poster Collective Screenprints Contrasts · Forty years later Australian screenprint collectives pasted up land-rights, union and feminist posters that answered the official sunlit image; pair the two to show whose Australia a poster sells.
With Early Turkish Republican Graphic Design
- WPA Silkscreen Posters Pairs well · Both are 1930s state-backed poster programmes for public institutions and tourism; combine WPA silkscreen flatness with Görey's modelled figures for civic campaigns.
- Urdu Katib Lithography Contrasts · Urdu print kept hand-written Arabic-script lithography for another century, while Turkey abolished Arabic letters in 1928; set the two side by side to show two answers to modern print.
- Contemporary Arabic & Dual-Script Type Design Contrasts · Turkey replaced Arabic letters with Latin in 1928, and Emin Barın carried calligraphic habits into the new script; contemporary dual-script type design keeps both scripts and matches them as equals. Compare the two to show replacement against coexistence.
- Die Neue Typographie Contrasts · In the same years German modernists replaced illustration with sans-serif type and photography; Turkish Republican graphics kept Munich's pictorial poster and hand-drawn letters.
- Egyptian Painted Film Poster Pairs well · Görey was born in Cairo and worked for Egyptian clients; Cairo's painted lithographic posters share his modelled faces and hand-lettered titles, in Arabic rather than Latin script.
- Mongol Bichig Calligraphy & Ugalz Ornament Contrasts · Both make the state's alphabet part of its official graphics, by opposite moves: Turkish Republican posters hand-letter the new Latin alphabet at display size to promote it, while Mongolia sets its revived old script beside Cyrillic on seals, signboards and letterheads as a national mark.
- Yeşilçam Film Poster (Turkish Hand-Painted Afiş) Pairs well · Both use hand-drawn Latin Turkish lettering; Republican graphics are calm and official, the film poster is crowded and emotional.
- Ottoman Tughra & Dîvânî Chancery Calligraphy Contrasts · The end of the sultanate in 1922 retired the tughra (its last on stamps that year), and the Republic replaced Arabic script with the Latin alphabet in 1928; its hand-lettered Latin posters are the deliberate opposite of the chancery's sultanic calligraphy.
All 12 combinations with Early Turkish Republican Graphic Design