Style combination · Pairs well

Corporate Identity Modernism × Plakatstil

Its brand-name-plus-object formula prefigures logo-led identity; pair it with a modernist grid for confident product campaigns.

From the research on Plakatstil / Sachplakat

Mix them and make something Corporate Identity Modernism Plakatstil

A tall black triangle points upward into a large red circle with a wedge-shaped opening, on a cream background. Bold black lettering beneath reads “HIGHER.” — AI-generated by Stylogeny from the recipe below, and checked against it: the type from Corporate Identity Modernism, the form from Corporate Identity Modernism, the composition from Corporate Identity Modernism. Not a real or historical work.

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 Identity Modernism Plakatstil / Sachplakat

Type from Corporate Identity Modernism: Grotesque & neo-grotesque
Geometric sans
Colour from Plakatstil: Flat fields
Limited spot colours
Form from Corporate Identity Modernism: Geometric primitives
Non-representational
Composition from Corporate Identity Modernism: Isolated object
Single focal point
Surface from Plakatstil: Flat

The type

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

Display · Corporate Identity Modernism

Atlas

Inter Tight, standing in for Helvetica

Text · Plakatstil

The German 'object poster' launched by Lucian Bernhard's Priester match poster and printed by Berlin's Hollerbaum & Schmidt. It strips the advertisement to a single product rendered in flat, saturated colour and the brand name in bold hand-drawn letters on a plain ground, so the message registers instantly from a passing tram or across the street.

Oswald; Plakatstil used Lucian Bernhard's hand-drawn block lettering and Block

The colours

The ground and leading colours come from Plakatstil, with a counter-accent from Corporate Identity Modernism. The ink reads on the ground at 4.5:1 or more.

Corporate Identity Modernism Plakatstil / Sachplakat

#151515 ground · 36%
#efe5cf ink · 14%
#d2382b accent · 18%
#e3b23c accent · 14%
#0a4fa0 accent · 10%
#2f5d3a accent · 8%

As CSS

:root {
  --ground: #151515;
  --ink: #efe5cf;
  --accent-1: #d2382b;
  --accent-2: #e3b23c;
  --accent-3: #0a4fa0;
  --accent-4: #2f5d3a;
  --font-display: "Inter Tight", sans-serif;
  --font-text: "Oswald", sans-serif;
}

The two styles

A blue circle sits above two mirrored red tapered shapes separated by a widening white gap. Large, bold black lettering reading “Apex” appears underneath on a white background.

1955–1990 · North America, Western Europe, Global / networked Corporate Identity Modernism Modernist reduction applied to corporate communication. A company's whole public face (trademark, logotype, stationery, packaging, vehicles and signage) was unified by an abstract symbol, a single typeface and one colour, all policed by a graphic standards manual. Pioneered by Paul Rand, Chermayeff & Geismar, Unimark and Lippincott & Margulies, it made the reductive mark and the grid the visual language of multinational business and government.

A tall, slender red-orange dog stands facing right against a black background, with angular black cutouts defining its features and limbs. Large cream capital letters spell “VELOX” beneath its paws.

1905–1920 · Central Europe Plakatstil / Sachplakat The German 'object poster' launched by Lucian Bernhard's Priester match poster and printed by Berlin's Hollerbaum & Schmidt. It strips the advertisement to a single product rendered in flat, saturated colour and the brand name in bold hand-drawn letters on a plain ground, so the message registers instantly from a passing tram or across the street.

More combinations

With Corporate Identity Modernism

All 28 combinations with Corporate Identity Modernism

With Plakatstil

All 12 combinations with Plakatstil

Every style combination