Style combination · Pairs well

Egyptian Painted Film Poster × Early Turkish Republican Graphic Design

Görey was born in Cairo and worked for Egyptian clients; Cairo's painted lithographic posters share his modelled faces and hand-lettered titles, in Arabic rather than Latin script.

From the research on Early Turkish Republican Graphic Design

Mix them and make something Egyptian Painted Film Poster Early Turkish Republican Graphic Design

A sample layout drawn from the recipe: shapes from Early Turkish Republican Graphic Design, their arrangement from Egyptian Painted Film Poster, the finish from Early Turkish Republican Graphic Design. Not a real work, and not an image of either style.

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.

Egyptian Painted Film Poster Early Turkish Republican Graphic Design

Type from Egyptian Painted Film Poster: Brush & pen calligraphy
Hand-lettering
Colour from Egyptian Painted Film Poster: Full polychrome
Flat fields
Form from Early Turkish Republican Graphic Design: Stylised figuration
Naturalistic depiction
Composition from Egyptian Painted Film Poster: Collage & layering
Extreme scale contrast

Early Turkish Republican Graphic Design avoids collage & layering: this is where the two pull against each other.
Surface from Early Turkish Republican Graphic Design: Painterly brushwork

The type

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

Display · Egyptian Painted Film Poster

Notice

Rakkas, standing in for Hand-painted Arabic calligraphic title logotypes

Text · Early Turkish Republican Graphic Design

The pictorial poster, label and ticket art of the young Turkish Republic, led by İhap Hulusi Görey after his Munich training in Ludwig Hohlwein's orbit, with Münif Fehim Özarman and, after 1943, Kenan Temizan. Lithographed figures modelled in crisp patches of light and shadow, sometimes in only one or two inks, giant numerals and letters, framed emblems and bold hand-drawn lettering in the Latin script adopted in 1928 advertised banks, the State Lottery, the state monopolies and tourism, and promoted the state's new alphabet.

Oswald; Early Turkish Republican Graphic Design used Hand-drawn Latin display capitals with Turkish diacritics (Ç, Ğ, İ, Ö, Ş, Ü) for brand and institution names and Shaded and extruded display letters and giant numerals

The colours

The ground and leading colours come from Egyptian Painted Film Poster, with a counter-accent from Early Turkish Republican Graphic Design. The ink reads on the ground at 4.5:1 or more.

Egyptian Painted Film Poster Early Turkish Republican Graphic Design

#f3ead5 ground · 36%
#161616 ink · 14%
#f2c230 accent · 18%
#cf1f2e accent · 14%
#c89b3c accent · 10%
#1f5fa8 accent · 8%

As CSS

:root {
  --ground: #f3ead5;
  --ink: #161616;
  --accent-1: #f2c230;
  --accent-2: #cf1f2e;
  --accent-3: #c89b3c;
  --accent-4: #1f5fa8;
  --font-display: "Rakkas", cursive;
  --font-text: "Oswald", sans-serif;
}

Use it with care

Early Turkish Republican Graphic Design: Atatürk's likeness, the Turkish flag and the star and crescent are living national symbols, and Turkey's Law No. 5816 (1951) criminalises insulting Atatürk's memory, so do not caricature, distort or trivialise them when borrowing this style. Much of this imagery was produced for a one-party state and its campaigns, and Kemalist iconography (the unveiled "modern" woman, the six arrows, Atatürk portraits) is still politically charged in Turkey, read differently by secularists, religious conservatives and minorities whom the nation-building imagery left out. Do not present the regime's modernising narrative as neutral, and do not reuse party emblems as decoration.

The two styles

A vintage-style painted poster combines large portraits of a dark-haired woman and a mustached man in a white turban with Egyptian ruins, torch-bearing men, and sailboats on a river at sunset. Red Arabic lettering spans the top, while a woman in a flowing red dress crouches beside a carved stone wall below.

1932–1996 · Middle East & North Africa Egyptian Painted Film Poster The painted publicity of Egyptian cinema from the early talkies to the 1990s, designed outside the studios by artist-printers such as Hassan Mazhar Gassour and printed as colour lithographs in Cairo. Star portraits copied from stills float as cut-out heads above a melodramatic scene. The Arabic title is painted as a one-off calligraphic logotype whose swelling, interlocked strokes can act out the film's theme.

A vintage-style illustrated Türkiye travel poster shows a woman in a red dress and white headscarf looking to the right above a blue coastal bay. A sailboat, hillside town with stone fortifications, distant mountains, and foreground trees fill the landscape beneath large red lettering.

1925–1960 · Middle East & North Africa Early Turkish Republican Graphic Design The pictorial poster, label and ticket art of the young Turkish Republic, led by İhap Hulusi Görey after his Munich training in Ludwig Hohlwein's orbit, with Münif Fehim Özarman and, after 1943, Kenan Temizan. Lithographed figures modelled in crisp patches of light and shadow, sometimes in only one or two inks, giant numerals and letters, framed emblems and bold hand-drawn lettering in the Latin script adopted in 1928 advertised banks, the State Lottery, the state monopolies and tourism, and promoted the state's new alphabet.

More combinations

With Egyptian Painted Film Poster

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With Early Turkish Republican Graphic Design

All 12 combinations with Early Turkish Republican Graphic Design

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