Style combination · Contrasts
Corporate Memphis × Polish Information Picture Book
Both draw flat, simplified figures on light grounds, but Corporate Memphis uses them for mood around a single message, while here every small figure is labelled and stands for a fact; give each figure a job.
Mix them and make something Corporate Memphis Polish Information Picture Book
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.
Corporate Memphis Polish Information Picture Book (Dwie Siostry)
- Type from Polish Information Picture Book
- Colour from Corporate Memphis
- Form from Corporate Memphis
- Composition from Polish Information Picture Book
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Corporate Memphis avoids horror vacui: this is where the two pull against each other, which is the point of the contrast.
- Surface from Corporate Memphis
02
The type
Open fonts standing in for each style’s own type, which is often hand-drawn or commercial.
Display · Polish Information Picture Book
Yay!
Londrina Solid; Polish Information Picture Book used Mrs White and Cartographer
Text · Corporate Memphis
The flat vector illustration style that became the default visual voice of big tech in the late 2010s: faceless, ethnically non-specific figures with elongated limbs and tiny heads, drawn in bright flat colour among blobs, leaves and confetti. Codified in Buck's Alegria system for Facebook (2017) and spread by open libraries such as unDraw and Humaaans, it was later named, half-mockingly, after the Memphis Group.
Hanken Grotesk; Corporate Memphis used Circular and Airbnb Cereal
03
The colours
The ground and leading colours come from Corporate Memphis, with a counter-accent from Polish Information Picture Book. The ink reads on the ground at 4.5:1 or more.
Corporate Memphis Polish Information Picture Book (Dwie Siostry)
-
#ffffffground · 36% -
#2f2e41ink · 14% -
#ffc857accent · 18% -
#6c63ffaccent · 14% -
#e0876aaccent · 10% -
#3ec7b0accent · 8%
As CSS
:root {
--ground: #ffffff;
--ink: #2f2e41;
--accent-1: #ffc857;
--accent-2: #6c63ff;
--accent-3: #e0876a;
--accent-4: #3ec7b0;
--font-display: "Londrina Solid", cursive;
--font-text: "Hanken Grotesk", sans-serif;
}
Use it with care
Polish Information Picture Book (Dwie Siostry): The leading authors are living, named illustrators whose books are in copyright, so draw your own figures, maps and lettering instead of asking an image model for the Mizielińskis', Bajtlik's or Karski's hand, and never present a generated spread as a page from Mapy, Mamoko or another Dwie Siostry book. Picture atlases sum up whole countries in a few small figures: show people through what they do, make and celebrate, ask people from a country to check its spread, and avoid reducing a culture to costume, cliché or skin colour.
04
The two styles
05
More combinations
With Corporate Memphis
- Polish Poster School Contrasts · Polish poster metaphor and painterly ambiguity show how much illustration can say once it stops being generic.
- Risograph & Indie Print Culture Pairs well · Add riso grain and two spot inks to the figures to escape the over-familiar SaaS sheen and give them printed warmth.
- DTC 'Blanding' / Millennial Minimalism Pairs well · Its photo-led start-up sibling: pair Corporate Memphis figures with blanding's pastel ground and geometric sans when a brand needs both people and product.
- Brutalist Web Design Contrasts · Brutalism's raw honesty is the opposite of this friendly gloss; reach for it when a brand needs credibility over cheer.
- Memphis Design Contrasts · The original's real colour clash, irony and Sottsass or Du Pasquier patterns are the foil to generic confetti blobs; borrow one genuine Memphis pattern to give the illustration an edge.
- Rubber-Hose Revival (Cartoon Mascot Graphics) Contrasts · Both draw stretched figures in flat colour, but the revival gives each brand its own outlined, nostalgic mascot where Corporate Memphis uses interchangeable faceless people.
- CalArts Style (Rounded Cartoon Character Design) Pairs well · Both use flat fills and simplified figures; borrow its pastel UI-illustration palette, but keep faces and expressions, which Corporate Memphis drops.
- Data Humanism Contrasts · Both aim to feel warm and human, but Corporate Memphis draws generic faceless figures for mood, while data humanism draws the specific data of specific people. Replace stock warmth with a drawing of real data when a brand needs sincerity.
With Polish Information Picture Book
- Leningrad Avant-Garde Picture Book Contrasts · Both explain the world to children in flat colour, but Lebedev's production books float a few large planes on bare paper while a Mizieliński atlas crowds the page with small figures and labels; decide between one clear object per page and a field to explore.
- Polish Poster School Contrasts · The poster designer and teacher Henryk Tomaszewski is credited with a role in the revival, but the poster school puts one painted, metaphorical image on a poster, while the picture books refuse paint and fill a spread with a hundred small labelled facts. Choose between a single idea that provokes and a dense page that informs.
- Ligne Claire (Franco-Belgian Clear Line) Pairs well · The same even, unmodulated outline and flat colour on a light ground; borrow Ligne Claire's clean contour and legible caption lettering, but scatter hundreds of small labelled figures across one spread instead of telling a story panel by panel.
- Isotype Pictorial Statistics Pairs well · Isotype's rule of one sign, one meaning keeps a crowded atlas spread legible; use a consistent pictogram for each kind of thing (animal, food, building, custom) and let the hand-drawn wit live in the details.
- Risograph & Indie Print Culture Pairs well · The activity-book strand of the idiom, black line and one or two flat colours on white, prints well in two or three riso inks for a small-run children's workbook or museum trail.
- Thaw Modernism (Soviet and Czechoslovak) Pairs well · Borrow the airy pages and laconic pastel figures of 1960s Eastern European illustration, which the Mistrzowie Ilustracji reissues keep in view, to open up a spread that has grown too crowded.
- Victorian Colour Toy Books (Evans, Crane, Caldecott and Greenaway) Pairs well · Both put flat printed colour and picture-led narrative first; carry the toy-book key-block approach into a modern picture book.
- Kanoon Children's Book Illustration (Iran, 1965 to 1979) Contrasts · Dense, diagrammatic and all-over (and dated 2008 onward) where Kanoon is lyrical and narrative.