Stylogeny combining Beggarstaffs Poster × Belle Époque Lithographic Poster

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Style combination · Contrasts

Beggarstaffs Poster × Belle Époque Lithographic Poster

Lithographic tone and drawn line against flat cut shapes.

From the research on Beggarstaffs Poster (Nicholson & Pryde)

Mix them and make something Beggarstaffs Poster Belle Époque Lithographic Poster

POPBeggarstaffs Poster × Belle Époque1894 · 1866
A sample layout drawn from the recipe: shapes from Beggarstaffs Poster, their arrangement from Beggarstaffs Poster, the finish from Belle Époque Lithographic Poster. 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.

Beggarstaffs Poster (Nicholson & Pryde) Belle Époque Lithographic Poster

Type from Belle Époque Lithographic Poster
Colour from Beggarstaffs Poster
Form from Beggarstaffs Poster
Composition from Beggarstaffs Poster
Surface from Belle Époque Lithographic Poster

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The type

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

Display · Belle Époque Lithographic Poster

Pop

Ultra, standing in for Fat-face and Clarendon poster capitals inherited from letterpress bills

Text · Beggarstaffs Poster

Posters designed by William Nicholson and James Pryde under the pseudonym J. & W. Beggarstaff: shapes cut from paper and shifted about a board until the silhouette worked, then executed by stencil (Hamlet was stencilled on brown wrapping paper, with details added by hand) in a few flat colours. Figures are left partly incomplete for the viewer to finish. Unlike the later Plakatstil, a commercial system of silhouette and plain lettering, this was a cut-paper collage method made by a studio of two; few designs were printed and they were too avant-garde for the advertisers of the day.

Bodoni Moda; Beggarstaffs Poster used Hand-drawn poster lettering and Plain Victorian sans-serif capitals

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The colours

The ground and leading colours come from Beggarstaffs Poster, with a counter-accent from Belle Époque Lithographic Poster. The ink reads on the ground at 4.5:1 or more.

Beggarstaffs Poster (Nicholson & Pryde) Belle Époque Lithographic Poster

  • #f1e8d4 ground · 36%
  • #1c1b19 ink · 14%
  • #e8b923 accent · 18%
  • #7a4a2b accent · 14%
  • #d7322a accent · 10%
  • #b8a07e accent · 8%

As CSS

:root {
  --ground: #f1e8d4;
  --ink: #1c1b19;
  --accent-1: #e8b923;
  --accent-2: #7a4a2b;
  --accent-3: #d7322a;
  --accent-4: #b8a07e;
  --font-display: "Ultra", serif;
  --font-text: "Bodoni Moda", serif;
}

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The two styles

A black silhouette of a climber with a backpack scales a steep mountainside against a large yellow sun and jagged yellow-and-cream mountain peaks. Oversized yellow lettering across the top reads “HIGHER.” 1894–1899 · Western Europe Beggarstaffs Poster (Nicholson & Pryde) Posters designed by William Nicholson and James Pryde under the pseudonym J. & W. Beggarstaff: shapes cut from paper and shifted about a board until the silhouette worked, then executed by stencil (Hamlet was stencilled on brown wrapping paper, with details added by hand) in a few flat colours. Figures are left partly incomplete for the viewer to finish. Unlike the later Plakatstil, a commercial system of silhouette and plain lettering, this was a cut-paper collage method made by a studio of two; few designs were printed and they were too avant-garde for the advertisers of the day. A dark-haired woman with red flowers in her hair dances in a flowing red dress, raising a tambourine against a golden sunburst beneath the large red word “SOLARA.” Trees frame a distant domed city skyline and an illuminated arched bridge over blue water. 1866–1914 · Western Europe Belle Époque Lithographic Poster The large colour lithographic street poster that turned Paris into an open-air gallery, from Jules Chéret's first posters of 1866 to Leonetto Cappiello before the First World War. One dominant, animated figure, flat or vaporous colour printed from a few stones, and lettering drawn by the artist directly on the stone sell cabarets, spectacles, drinks and bicycles at a glance.

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