Style combination · Contrasts
Basel Object Poster × Plakatstil
Its parent and nearest relative: Berlin's Sachplakat flattens the product into a silhouette in two to four flat colours with heavy block lettering, while Basel paints the same single object in full light and shadow, glass and tweed included. Choose Basel when the material of the product should sell it.
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.
Basel Object Poster (Swiss Sachplakat) Plakatstil / Sachplakat
- Type from Plakatstil
- Colour from Plakatstil
- Form from Basel Object Poster
- Composition from Basel Object Poster
- Surface from Basel Object Poster
02
The type
Open fonts standing in for each style’s own type, which is often hand-drawn or commercial.
Display · Plakatstil
Form
Big Shoulders, standing in for Lucian Bernhard's hand-drawn block lettering
Text · Basel Object Poster
The Swiss descendant of the German object poster, made in Zurich and above all Basel from 1919 to the early 1950s. One everyday product (a top hat, a tweed coat, a toothpaste tube, a fountain-pen nib, a match, a curl of butter) is painted larger than life with modelled light, cast shadows and tactile surfaces, set on a plain dark, pale or softly graded ground, with little more than the brand name as text. Rooted in the Neue Sachlichkeit, it raises the product to a quiet, uncanny icon; from about 1940 Leupin and Brun added humour and visual puns.
Fira Sans; Basel Object Poster used Brand name painted on the product and Light italic slogan over a heavy name
03
The colours
The ground and leading colours come from Plakatstil, with a counter-accent from Basel Object Poster. The ink reads on the ground at 4.5:1 or more.
Basel Object Poster (Swiss Sachplakat) Plakatstil / Sachplakat
-
#151515ground · 36% -
#efe5cfink · 14% -
#d2382baccent · 18% -
#f0c419accent · 14% -
#24418faccent · 10% -
#2f5d3aaccent · 8%
As CSS
:root {
--ground: #151515;
--ink: #efe5cf;
--accent-1: #d2382b;
--accent-2: #f0c419;
--accent-3: #24418f;
--accent-4: #2f5d3a;
--font-display: "Big Shoulders", sans-serif;
--font-text: "Fira Sans", sans-serif;
}
04
The two styles
05
More combinations
With Basel Object Poster
- Art Deco Contrasts · A source as well as a foil: Leupin studied at the École Paul Colin in Paris in 1935-36 and took strong impressions from Colin and from Colin's rival Cassandre. Both make a product a heroic icon, but Deco stylises it into a geometric silhouette with airbrushed gradation and geometric capitals, while Basel paints the real object, its material and its label, as a still life.
- International Typographic Style Contrasts · The style that displaced it in the same cities around 1950: a grid, objective photography and a neutral grotesque instead of one painted object and a hand-lettered name. Set the two side by side to show the shift from crafted illusion to systematic information.
- Skeuomorphic UI Pairs well · Skeuomorphic app icons rendered glass, metal and leather the same way for screens; a Basel-style single product with a soft cast shadow on a dark ground makes a strong hero image for packaging or a product launch.
- Surrealist Graphics Pairs well · Both paint ordinary things with illusionistic precision until they look strange; borrow a Magritte-like juxtaposition to push a Basel still life from product portrait to visual riddle, as Leupin did with his newspaper and globe.
- Pop Art Graphics Contrasts · Both make an icon of a consumer product, but Pop repeats it in flat screenprinted colour with irony, where Basel paints one specimen with reverent, tactile care.
- West German Conceptual Film & Culture Poster (Hillmann and Rambow) Contrasts · Both isolate one object on a plain ground, but Basel paints a product in glossy lithographic realism to sell it; here the object stands for a film's theme, is cut to a flat silhouette or a grainy photograph, and rarely flatters.
- French Post-War Visual-Gag Poster (Savignac, Villemot, Morvan) Contrasts · Its Swiss contemporary paints the product as a modelled, larger-than-life icon; choose between wit by cartoon drawing and wit by illusion, or set one against the other.
- Finnish Symbol Poster (the 'Finnish School', 1954–1995) Contrasts · Kamekura compared Varis's humour to Leupin's, but the Basel poster paints the object in glossy relief where the Finnish one flattens it into a sign.
With Plakatstil
- Corporate Identity Modernism Pairs well · Its brand-name-plus-object formula prefigures logo-led identity; pair it with a modernist grid for confident product campaigns.
- Victorian Letterpress & Wood Type Contrasts · Against a crowded multi-face bill, one object and one word show how much attention reduction can win.
- Flat Design Pairs well · Sachplakat is the ancestor of the flat product hero; borrow its single-object discipline to sharpen app and packaging graphics.
- Art Nouveau Contrasts · It was conceived against Jugendstil ornament; set a bare object poster beside a floral frame to dramatise clarity versus decoration.
- Vietnamese Propaganda Poster (Tranh cổ động) Pairs well · Both reduce the message to one flat figure or object and hand-drawn words; use Plakatstil's plain ground to calm a busy red poster.
- Beggarstaffs Poster (Nicholson & Pryde) Pairs well · Bernhard and Hohlwein later made the flat silhouette and plain lettering a commercial system; Plakatstil is a later descendant, not a source.
- London Transport Design Contrasts · The Sachplakat reduced every poster to one object and a brand name, while Pick let each artist choose a different picture inside a fixed frame; use the contrast to decide between one formula and a curated plurality.
- Simplicissimus Satirical Style (Munich) Pairs well · The NDB places Heine's posters at the start of the new poster style: borrow the Sachplakat's single object and bold block lettering for a satirical poster that keeps Simplicissimus's flat silhouette and red-on-black.