Stylogeny combining Egyptian Painted Film Poster × Yeşilçam Film Poster

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Style combination · Pairs well

Egyptian Painted Film Poster × Yeşilçam Film Poster

Both put painted star heads above a melodramatic scene. Pair them to compare Latin-script Istanbul lettering with Arabic calligraphic titles.

From the research on Yeşilçam Film Poster (Turkish Hand-Painted Afiş)

Mix them and make something Egyptian Painted Film Poster Yeşilçam Film Poster

ReverieReverieEgyptian Painted × Yeşilçam Film Poster
A sample layout drawn from the recipe: shapes from Yeşilçam Film Poster, their arrangement from Egyptian Painted Film Poster, the finish from Yeşilçam Film Poster. 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.

Egyptian Painted Film Poster Yeşilçam Film Poster (Turkish Hand-Painted Afiş)

Type from Egyptian Painted Film Poster

Yeşilçam Film Poster avoids brush & pen calligraphy: this is where the two pull against each other.

Colour from Egyptian Painted Film Poster
Form from Yeşilçam Film Poster
Composition from Egyptian Painted Film Poster
Surface from Yeşilçam Film Poster

02

The type

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

Display · Egyptian Painted Film Poster

Reverie

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

Text · Yeşilçam Film Poster

Painted publicity of Turkish popular cinema by workshop artists such as Mehmet Bal, Kemal Borteçin and İbrahim Enez. Working from set photographs and plot briefings, painters sketched for approval, then painted gouache on paper for posters; facade lanterns used earth pigment and glue. Latin-script titles are hand-lettered in saturated colour. Painters were mostly anonymous, posters unsigned, originals often lost; the industry declined after the 1980 coup, ending 1988.

Archivo; Yeşilçam Film Poster used Hand-painted Latin display capitals for Turkish film titles, with diacritics and Outlined and shadowed cast and credit lettering painted by the poster artist

03

The colours

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

Egyptian Painted Film Poster Yeşilçam Film Poster (Turkish Hand-Painted Afiş)

  • #f3ead5 ground · 36%
  • #161616 ink · 14%
  • #f2c230 accent · 18%
  • #d1262f accent · 14%
  • #1f5fa8 accent · 10%
  • #2f8f4e accent · 8%

As CSS

:root {
  --ground: #f3ead5;
  --ink: #161616;
  --accent-1: #f2c230;
  --accent-2: #d1262f;
  --accent-3: #1f5fa8;
  --accent-4: #2f8f4e;
  --font-display: "Rakkas", cursive;
  --font-text: "Archivo", sans-serif;
}

04

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 painted vintage-style film poster features large portraits of a dark-haired woman in a red headscarf and a mustached man above smaller figures of an armed running man and a woman in green. A waterfront mosque skyline, ferry, burning ship, and red car on a coastal road surround oversized yellow and red lettering reading “SON RÜZGAR.” 1950–1988 · Middle East & North Africa Yeşilçam Film Poster (Turkish Hand-Painted Afiş) Painted publicity of Turkish popular cinema by workshop artists such as Mehmet Bal, Kemal Borteçin and İbrahim Enez. Working from set photographs and plot briefings, painters sketched for approval, then painted gouache on paper for posters; facade lanterns used earth pigment and glue. Latin-script titles are hand-lettered in saturated colour. Painters were mostly anonymous, posters unsigned, originals often lost; the industry declined after the 1980 coup, ending 1988.

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More combinations

With Egyptian Painted Film Poster

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With Yeşilçam Film Poster

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