Stylogeny combining Dada × International Typographic Style

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Style combination · Contrasts

Dada × International Typographic Style

The polar opposite of grid order; let one Dada collision break into a Swiss layout to crack its composure.

From the research on Dada

Mix them and make something Dada International Typographic Style

Oversized cut-out capital letters spell “MIND SHIFT” across a cream background filled with red, blue, black and ochre geometric shapes. Tilted paper-like layers, black bars and heavy speckled distress give the composition a rough printed appearance.
AI-generated by Stylogeny from the recipe below, and checked against it: the type from Dada, the form from International Typographic Style, the composition from Dada. Not a real or historical work.

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.

Dada International Typographic Style

Type from Dada

International Typographic Style avoids eclectic mixing: this is where the two pull against each other, which is the point of the contrast.

Colour from International Typographic Style
Form from International Typographic Style
Composition from Dada
Surface from Dada

02

The type

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

Display · Dada

Form

Alfa Slab One; Dada used Found wood poster type and Mixed grotesques, Egyptians and Fraktur from the jobbing printer's case

Text · International Typographic Style

A post-war refinement of the New Typography in which the mathematical grid, objective photography and neo-grotesque sans-serifs were used to communicate with clarity and neutrality. Taught at the Basel and Zurich schools, it became the default language of international corporate and institutional communication.

Inter; International Typographic Style used Akzidenz-Grotesk and Helvetica

03

The colours

The ground and leading colours come from International Typographic Style, with a counter-accent from Dada. The ink reads on the ground at 4.5:1 or more.

Dada International Typographic Style

  • #f2f0e9 ground · 36%
  • #111111 ink · 14%
  • #e1251b accent · 18%
  • #1f4e9c accent · 14%
  • #c7a76a accent · 10%
  • #7a7a7a accent · 8%

As CSS

:root {
  --ground: #f2f0e9;
  --ink: #111111;
  --accent-1: #e1251b;
  --accent-2: #1f4e9c;
  --accent-3: #c7a76a;
  --accent-4: #7a7a7a;
  --font-display: "Alfa Slab One", serif;
  --font-text: "Inter", sans-serif;
}

04

The two styles

1916–1924 · Central Europe, Western Europe Dada Born in wartime Zurich at the Cabaret Voltaire in 1916 and spreading to Berlin, Hanover, Cologne and Paris, Dada used chance, absurdity and provocation against the culture that had produced the war. Its journals, posters and photomontages tumbled found type, ads and photographs into anarchic compositions that treated every letter as raw material and every rule of legibility as a target. The words “Urban Systems” appear in large black and red lettering at the upper left of an off-white cover. Tall blue, black and grey rectangular blocks rise from the bottom, with fine vertical dividing lines and a red circle at the upper right. 1950–1975 · Central Europe International Typographic Style A post-war refinement of the New Typography in which the mathematical grid, objective photography and neo-grotesque sans-serifs were used to communicate with clarity and neutrality. Taught at the Basel and Zurich schools, it became the default language of international corporate and institutional communication.

05

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