Stylogeny combining Spanish Bullfight Poster × Egyptian Painted Film Poster

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Style combination · Contrasts

Spanish Bullfight Poster × Egyptian Painted Film Poster

Both are painted lithographs that announce star performers, but the Egyptian poster collages star heads under huge calligraphic titles, while the cartel paints one scene and names its matadors in set capitals beneath.

From the research on Spanish Bullfight Poster (Cartel Taurino)

Mix them and make something Spanish Bullfight Poster Egyptian Painted Film Poster

BLOOMSpanish Bullfight × Egyptian Painted
A sample layout drawn from the recipe: shapes from Spanish Bullfight Poster, their arrangement from Egyptian Painted Film Poster, the finish from Spanish Bullfight 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.

Spanish Bullfight Poster (Cartel Taurino) Egyptian Painted Film Poster

Type from Spanish Bullfight Poster
Colour from Egyptian Painted Film Poster
Form from Spanish Bullfight Poster
Composition from Egyptian Painted Film Poster

Spanish Bullfight Poster avoids collage & layering: this is where the two pull against each other, which is the point of the contrast.

Surface from Spanish Bullfight 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 · Spanish Bullfight Poster

Bloom

Anton, standing in for Mecana (even-stroke slab serif) and heavy condensed grotesque capitals for the matadors' names, printed in black, red or blue

Text · Egyptian Painted Film Poster

The painted publicity of Egyptian cinema from the early talkies to the 1990s, designed outside the studios by artist-printers such as Hassan Mazhar Gassour and printed as colour lithographs in Cairo. Star portraits copied from stills float as cut-out heads above a melodramatic scene. The Arabic title is painted as a one-off calligraphic logotype whose swelling, interlocked strokes can act out the film's theme.

Archivo; Egyptian Painted Film Poster used Hand-painted Arabic calligraphic title logotypes and Hand-lettered Arabic cast and credit lines

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The colours

The ground and leading colours come from Egyptian Painted Film Poster, with a counter-accent from Spanish Bullfight Poster. The ink reads on the ground at 4.5:1 or more.

Spanish Bullfight Poster (Cartel Taurino) Egyptian Painted Film Poster

  • #f3ead5 ground · 36%
  • #161616 ink · 14%
  • #f2c230 accent · 18%
  • #d1262f accent · 14%
  • #1f5fa8 accent · 10%
  • #2f8f4e accent · 8%

As CSS

:root {
  --ground: #f3ead5;
  --ink: #161616;
  --accent-1: #f2c230;
  --accent-2: #d1262f;
  --accent-3: #1f5fa8;
  --accent-4: #2f8f4e;
  --font-display: "Anton", sans-serif;
  --font-text: "Archivo", sans-serif;
}

Use it with care

Spanish Bullfight Poster (Cartel Taurino): Bullfighting is a living but contested practice, opposed by animal-welfare campaigners in Spain and abroad, so borrowing its imagery for unrelated products brings that dispute with it; the painted manolas also belong to a folkloric picture of Andalusia rather than a record of it. Ruano Llopis (d. 1950), Roberto Domingo (d. 1956) and Juan Reus (d. 2003) are still in copyright in Spain, so paint new pictures in the manner rather than reprinting their motifs.

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The two styles

An ornate Spanish bullfighting poster shows a matador sweeping a red cape beside a charging black bull in a crowded arena, with historic buildings and mountains behind them. Large red and blue lettering, floral borders, and a smaller scene of mounted riders herding bulls surround the central painting. 1879–present · Southern Europe Spanish Bullfight Poster (Cartel Taurino) The Spanish bullfight poster in its illustrated form, from Marcelino de Unceta's lithographs (from 1879) to the Valencian house of Ortega, which supplied rings across Spain. From the 1910s the tall sheet, at its largest over two metres, usually splits in two: a brushy, naturalistic painting of a matador's pass, a picador or manolas in Manila shawls above, often under the ring's name, and below it a centred programme of date, bull breeders and matadors in mixed faces between rules, the names in heavy capitals. The picture was often a stock print, its text added afterwards by another printer. A vintage-style painted poster combines large portraits of a dark-haired woman and a mustached man in a white turban with Egyptian ruins, torch-bearing men, and sailboats on a river at sunset. Red Arabic lettering spans the top, while a woman in a flowing red dress crouches beside a carved stone wall below. 1932–1996 · Middle East & North Africa Egyptian Painted Film Poster The painted publicity of Egyptian cinema from the early talkies to the 1990s, designed outside the studios by artist-printers such as Hassan Mazhar Gassour and printed as colour lithographs in Cairo. Star portraits copied from stills float as cut-out heads above a melodramatic scene. The Arabic title is painted as a one-off calligraphic logotype whose swelling, interlocked strokes can act out the film's theme.

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