Style combination · Pairs well

Chilean Unidad Popular × Pop Achorado

Contemporary Andean-Pacific reform graphics with black-contoured figures and hand-drawn letters; pair a Ramona Parra emblem frieze with a Peruvian halftone campesino for a coalition poster about land and work.

From the research on Pop Achorado (Peruvian Agrarian Reform Posters)

Mix them and make something Chilean Unidad Popular Pop Achorado

A sample layout drawn from the recipe: shapes from Chilean Unidad Popular, their arrangement from Pop Achorado, the finish from Pop Achorado. Not a real work, and not an image of either style.

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.

Chilean Unidad Popular & Nueva Canción Graphics Pop Achorado (Peruvian Agrarian Reform Posters)

Type from Chilean Unidad Popular: Hand-lettering
All caps
Colour from Pop Achorado: Flat fields
Full polychrome
Form from Chilean Unidad Popular: Stylised figuration
Biomorphic curves
Composition from Pop Achorado: Single focal point
Framed panels
Surface from Pop Achorado: Halftone & Ben-Day dots
Hard offset shadow

The type

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

Display · Chilean Unidad Popular

Wake

Londrina Solid; Chilean Unidad Popular used Hand-drawn closed-form lettering of the Larrea office and Brigada Ramona Parra painted slogan letters

Text · Pop Achorado

Posters for the Peruvian military government's agrarian reform, made in Lima from 1969 by Jesús Ruiz Durand and colleagues at the state's reform publicity office. Ruiz Durand redrew his own photographs of peasants as comic-strip figures in flat, glowing colour over enlarged halftone dots, solarised photographs and op-art line fields, under slab-serif slogans and the Túpac Amaru seal he drew. He later named it 'pop achorado': American pop given the campesino's defiance, offset in runs of 50,000 or more, mostly on newsprint.

Jost; Pop Achorado used Heavy slab and Clarendon-style display capitals, often outlined in black with a drop shadow and Flared-serif display capitals over a geometric-sans text paragraph

The colours

The ground and leading colours come from Pop Achorado, with a counter-accent from Chilean Unidad Popular. The ink reads on the ground at 4.5:1 or more.

Chilean Unidad Popular & Nueva Canción Graphics Pop Achorado (Peruvian Agrarian Reform Posters)

#f4f1e8 ground · 36%
#141414 ink · 14%
#f6c21c accent · 18%
#ef7d2d accent · 14%
#d52b1e accent · 10%
#2f8fd6 accent · 8%

As CSS

:root {
  --ground: #f4f1e8;
  --ink: #141414;
  --accent-1: #f6c21c;
  --accent-2: #ef7d2d;
  --accent-3: #d52b1e;
  --accent-4: #2f8fd6;
  --font-display: "Londrina Solid", cursive;
  --font-text: "Jost", sans-serif;
}

Use it with care

Chilean Unidad Popular & Nueva Canción Graphics: The Brigada Ramona Parra still paints and remains closely tied to Chile's Communist Youth and Communist Party, and the Larrea office's posters and sleeves are living designers' work: Vicente Larrea publicly called the 2022 Rechazo campaign's reuse of 'La felicidad de Chile comienza por los niños' a plagiarism. Víctor Jara was killed after the 1973 coup and brigade members were persecuted. Credit the makers and ask the brigade or the office before quoting their work, rather than stripping it into generic retro-revolutionary styling.

Pop Achorado (Peruvian Agrarian Reform Posters): These are a military government's propaganda, built on Ruiz Durand's photographs of real Andean and northern-coast peasants at the moment they were receiving expropriated land; the reform's outcome is still contested in Peru and the Túpac Amaru II emblem remains a live political symbol. Ruiz Durand is a living artist: credit him and the DPDRA team, and do not reduce the defiant campesino to generic 'Andean' retro decoration or attach it to a cause that drops the land question.

The two styles

Three stylised agricultural workers look upward, with the central figure raising a hoe against a large yellow sun. Yellow wheat fills the foreground, and large red lettering reads “TIERRA VIVA” at the upper right.

1967–1973 · Latin America & Caribbean Chilean Unidad Popular & Nueva Canción Graphics The graphics of the Nueva Canción Chilena and Allende's Unidad Popular, 1967–1973. In the Larrea brothers' office, DICAP record sleeves and posters joined high-contrast photographs, flat inks, closed forms with irregular contours and hand-drawn lettering. On the street, the Brigada Ramona Parra painted slogans, then long murals of fists, stars, birds, workers and faces in basic flat colours bounded by thick black strokes. The 1973 coup closed DICAP and erased the murals. The brigades returned to the streets before the 1988 plebiscite and still paint; the Larrea office worked into the 2020s.

A bold illustrated poster reads “LA TIERRA ES NUESTRA” above a group of farmworkers wearing straw hats. A central worker grips a hoe against a rising sun, with cultivated green fields, a red tractor, and blue mountains behind the group.

1969–1975 · Latin America & Caribbean Pop Achorado (Peruvian Agrarian Reform Posters) Posters for the Peruvian military government's agrarian reform, made in Lima from 1969 by Jesús Ruiz Durand and colleagues at the state's reform publicity office. Ruiz Durand redrew his own photographs of peasants as comic-strip figures in flat, glowing colour over enlarged halftone dots, solarised photographs and op-art line fields, under slab-serif slogans and the Túpac Amaru seal he drew. He later named it 'pop achorado': American pop given the campesino's defiance, offset in runs of 50,000 or more, mostly on newsprint.

More combinations

With Chilean Unidad Popular

With Pop Achorado

Every style combination