Style combination · Contrasts
Cuban Revolutionary Poster × Spanish Civil War Poster
Cuba kept the raised fist but traded urgent painted bodies for one witty silhouette; use the pair to choose between urgency and wit.
Mix them and make something Cuban Revolutionary Poster Spanish Civil War Poster
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.
Cuban Revolutionary Poster (OSPAAAL & ICAIC) Spanish Civil War Poster
- Type from Spanish Civil War Poster
- Colour from Cuban Revolutionary Poster
- Form from Spanish Civil War Poster
- Composition from Spanish Civil War Poster
- Surface from Cuban Revolutionary Poster
02
The type
Open fonts standing in for each style’s own type, which is often hand-drawn or commercial.
Display · Spanish Civil War Poster
Now!
Anton, standing in for Hand-drawn condensed grotesque capitals (cartelista lettering)
Text · Cuban Revolutionary Poster
The poster culture of revolutionary Cuba, produced for the film institute ICAIC and the solidarity organisation OSPAAAL. With no commercial advertising and scarce materials, designers made bold silkscreen and offset posters that combined Pop and psychedelic colour, op-art pattern, flat silhouettes and single conceptual images, for cinema and for internationalist causes from Vietnam to Africa.
Archivo; Cuban Revolutionary Poster used Hand-cut silkscreen display lettering and Neo-grotesque sans captions repeated in Spanish, English, French and Arabic
03
The colours
The ground and leading colours come from Cuban Revolutionary Poster, with a counter-accent from Spanish Civil War Poster. The ink reads on the ground at 4.5:1 or more.
Cuban Revolutionary Poster (OSPAAAL & ICAIC) Spanish Civil War Poster
-
#f2ede0ground · 36% -
#1c1c1cink · 14% -
#f5b81caccent · 18% -
#e3342baccent · 14% -
#d6337aaccent · 10% -
#2d8a57accent · 8%
As CSS
:root {
--ground: #f2ede0;
--ink: #1c1c1c;
--accent-1: #f5b81c;
--accent-2: #e3342b;
--accent-3: #d6337a;
--accent-4: #2d8a57;
--font-display: "Anton", sans-serif;
--font-text: "Archivo", sans-serif;
}04
The two styles
05
More combinations
With Cuban Revolutionary Poster
- Socialist Realist Propaganda Poster Contrasts · Cuba largely avoided Soviet painted realism; set a flat silhouette against a heroic painting to show abstraction carrying politics.
- Corporate Identity Modernism Contrasts · Militant, colourful single-image posters versus neutral corporate systems; use the Cuban mode where a cause needs urgency.
- Pop Art Graphics Pairs well · Pair Pop's flat, brand-like imagery with Cuban single-idea silhouettes for bold campaign posters.
- Gráfica del 68 (Mexican Student Movement Graphics) Contrasts · OSPAAAL and ICAIC posters were planned, many-coloured and made to last, while the 68 brigades printed one ink for the next march; choose Cuba for a solidarity campaign, 68 for an emergency.
- Saul and Elaine Bass Conceptual Film Graphics Contrasts · ICAIC's film posters also read a film through one silhouette or pun, but in saturated, clashing screenprint colour for a revolutionary public; Bass keeps to one or two flat colours and black, and the symbol's real home is the moving title.
- Pop Achorado (Peruvian Agrarian Reform Posters) Pairs well · Both are state poster programmes that took up pop and op colour; give an OSPAAAL-style single emblem Ruiz Durand's comic contour and enlarged dot ground for a campaign that must read from across a village square.
- Puerto Rican Silkscreen Poster (DIVEDCO & ICP) Pairs well · Both are state-backed Caribbean silkscreen cultures for cinema and the arts, and Puerto Rico's began more than a decade before ICAIC's workshop; combine ICAIC's single conceptual image with Homar's hand-drawn Spanish lettering built into it.
- Atelier Populaire (May '68 Screenprint Poster) Contrasts · Same decade, opposite means: ICAIC's silkscreened film posters and OSPAAAL's mostly offset solidarity posters were polished, many-coloured and made to last, while the Atelier's one anonymous ink was pulled overnight for the next morning's wall; decide which of the two the brief needs.
With Spanish Civil War Poster
- Art Deco Pairs well · The Deco commercial training behind these posters shows in their airbrushed gradients and geometric lettering; push that polish for a cleaner heroic image.
- Socialist Realist Propaganda Poster Contrasts · Keep figures stylised, foreshortened and flat-coloured rather than academically modelled; that is what separates street mobilisation from official doctrine.
- Russian Constructivism Pairs well · Borrow Soviet photomontage and heavy bars, as Renau did, when a painted figure needs documentary force.
- Spanish Bullfight Poster (Cartel Taurino) Contrasts · Josep Renau learned lithography at Ortega's Valencia works while a student; his generation traded the cartel's naturalistic brushwork and long programme for flat, foreshortened figures, diagonal slogans and photomontage.
- Escuela Bruguera (Spanish Humour Comics) Contrasts · Barcelona's wartime posters agitated openly in large single images; a decade later in the same city, Bruguera's cartoonists put postwar hunger and petty tyranny into children's gags under Franco's censors, who made them soften after the 1955 decree. Choose the poster for an open call, the gag strip for satire kept under the fun.
- Estado Novo Folk Modernism (SPN) Contrasts · Its Iberian contemporary: Republican posters are diagonal, urgent and red-and-black, while the Estado Novo's are static, pale and 'pseudo-tranquil'; set them side by side to stage revolt against order.
- Lebanese Civil War Party Poster Contrasts · Another civil war fought on the walls by rival factions, but with painted allegorical heroes; set them side by side to see what the straight photograph of a named dead partisan does that a drawn fighter cannot.
- Hungarian Revolutionary Poster Pairs well · Both throw one bursting figure across a red-and-black lithograph; borrow Spain's acronym signatures and stacked slogans to give a Budapest-style hero an organisation behind it.