Stylogeny combining Di Tella Graphic Design × Lucerne Poster Scene

Try

Style combination · Pairs well

Di Tella Graphic Design × Lucerne Poster Scene

Both make the event title an optical picture for a small cultural institution under tight means; add the Di Tella's one or two flat inks and blunt grotesque to a Lucerne letter construction for a sterner, more 1960s sheet.

From the research on Lucerne Poster Scene (Neubad & Südpol Posters)

Mix them and make something Di Tella Graphic Design Lucerne Poster Scene

WowDi Tella × Lucerne Poster Scene1960 · 2007
A sample layout drawn from the recipe: shapes from Di Tella Graphic Design, their arrangement from Lucerne Poster Scene, the finish from Di Tella Graphic Design. Not a real work, and not an image of either style.

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.

Di Tella Graphic Design (Instituto Torcuato Di Tella) Lucerne Poster Scene (Neubad & Südpol Posters)

Type from Lucerne Poster Scene
Colour from Di Tella Graphic Design
Form from Di Tella Graphic Design
Composition from Lucerne Poster Scene
Surface from Di Tella Graphic Design

02

The type

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

Display · Lucerne Poster Scene

Wow

Anton, standing in for Letters constructed or distorted for each poster: Brechbühl's handwritten blend-tool letters for The Notwist (2019), the square-tiled cube letters of Neubad Start (2013), Pfäffli's bent, sliced and paper-folded titles for Südpol; elsewhere set type is warped rather than drawn, as in the condensed sans bent round a disc for Future Islands (2014) or the serif of When Saints Go Machine

Text · Di Tella Graphic Design

The in-house graphics of Buenos Aires' Instituto Torcuato Di Tella, 1960–1970, led by Juan Carlos Distéfano with Juan Andralis, Rubén Fontana, Norberto Coppola and Carlos Soler. Swiss order is turned on the avant-garde art it announced: title words blown up into the picture, optical stripes, one or two flat inks (letterpress programmes, offset street posters), square catalogues and double-square programmes. Its rule was that limited means make the style. Fontana later carried its typography into the University of Buenos Aires design course and the magazine tipoGráfica.

Inter; Di Tella Graphic Design used Helvetica and Hand-drawn condensed grotesque capitals

03

The colours

The ground and leading colours come from Di Tella Graphic Design, with a counter-accent from Lucerne Poster Scene. The ink reads on the ground at 4.5:1 or more.

Di Tella Graphic Design (Instituto Torcuato Di Tella) Lucerne Poster Scene (Neubad & Südpol Posters)

  • #f3f0e8 ground · 36%
  • #111111 ink · 14%
  • #f5c400 accent · 18%
  • #ff415b accent · 14%
  • #b89668 accent · 10%
  • #744dc9 accent · 8%

As CSS

:root {
  --ground: #f3f0e8;
  --ink: #111111;
  --accent-1: #f5c400;
  --accent-2: #ff415b;
  --accent-3: #b89668;
  --accent-4: #744dc9;
  --font-display: "Anton", sans-serif;
  --font-text: "Inter", sans-serif;
}

04

The two styles

Huge, narrow black letters spelling “RITMO” fill a cream poster. Their lower portions extend into repeated curved bands and horizontal stripes, interspersed with bright yellow vertical blocks. 1960–1970 · Latin America & Caribbean Di Tella Graphic Design (Instituto Torcuato Di Tella) The in-house graphics of Buenos Aires' Instituto Torcuato Di Tella, 1960–1970, led by Juan Carlos Distéfano with Juan Andralis, Rubén Fontana, Norberto Coppola and Carlos Soler. Swiss order is turned on the avant-garde art it announced: title words blown up into the picture, optical stripes, one or two flat inks (letterpress programmes, offset street posters), square catalogues and double-square programmes. Its rule was that limited means make the style. Fontana later carried its typography into the University of Buenos Aires design course and the magazine tipoGráfica. Huge black letters spell “RUND” above “GANG” on a white background. The letters bend inward into nested black-and-white curves around a small green semicircle near the centre. 2007–present · Central Europe Lucerne Poster Scene (Neubad & Südpol Posters) Lucerne's poster culture for small non-commercial venues (Südpol, Neubad, Treibhaus) and the Weltformat festival. Each event gets a one-off poster, most often with the title as the picture: letters built, twisted or warped into one optical motif. Neubad's posters are black and white only; Felix Pfäffli's Südpol series (2010–2015) added Risograph colour. The scene rests on local designers' exchange, fostered by Brechbühl through Weltformat (co-founded 2009) and the Show & Tell meetings (2012); in 2015, 26 of the 100 best posters from Germany, Austria and Switzerland came from the Lucerne area.

05

More combinations

With Di Tella Graphic Design

With Lucerne Poster Scene

Every style combination