Stylogeny combining Expressionist Woodcut Graphics × Hungarian Revolutionary Poster

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Style combination · Pairs well

Expressionist Woodcut Graphics × Hungarian Revolutionary Poster

Kinchin sees 'a burgeoning taste for Futurist and Expressionist design' in the MA circle's exhibition poster (Bortnyik); add a gouged, splintered edge to the red body when the hero should look anguished rather than triumphant.

From the research on Hungarian Revolutionary Poster

Mix them and make something Expressionist Woodcut Graphics Hungarian Revolutionary Poster

LOUDExpressionist Woodcut × Hungarian Revolutionary
A sample layout drawn from the recipe: shapes from Expressionist Woodcut Graphics, their arrangement from Hungarian Revolutionary Poster, the finish from Expressionist Woodcut Graphics. 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.

Expressionist Woodcut Graphics Hungarian Revolutionary Poster

Type from Hungarian Revolutionary Poster
Colour from Expressionist Woodcut Graphics
Form from Expressionist Woodcut Graphics
Composition from Hungarian Revolutionary Poster
Surface from Expressionist Woodcut Graphics

02

The type

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

Display · Hungarian Revolutionary Poster

Loud

Big Shoulders, standing in for Heavy hand-drawn poster capitals for short Hungarian slogans and dates, lettered on the stone with the figure

Text · Expressionist Woodcut Graphics

The graphic arm of German Expressionism, from Die Brücke in Dresden (1905) to the Berlin journals Der Sturm and Die Aktion and Frans Masereel's woodcut novels. Artists revived the woodcut as a raw, subjective medium: they gouged distorted figures and jagged lettering into the same block and printed them in harsh black or a single flat ink, often on coloured paper, for exhibition posters, portfolios, manifestos and magazine covers.

Special Elite; Expressionist Woodcut Graphics used Hand-cut woodcut capitals and Rudolf Koch's Neuland (Klingspor, 1923), a display face in the same hand-cut spirit

03

The colours

The ground and leading colours come from Expressionist Woodcut Graphics, with a counter-accent from Hungarian Revolutionary Poster. The ink reads on the ground at 4.5:1 or more.

Expressionist Woodcut Graphics Hungarian Revolutionary Poster

  • #ede4cf ground · 36%
  • #151311 ink · 14%
  • #d9932f accent · 18%
  • #c62a1f accent · 14%
  • #2c4a8c accent · 10%
  • #6e8b57 accent · 8%

As CSS

:root {
  --ground: #ede4cf;
  --ink: #151311;
  --accent-1: #d9932f;
  --accent-2: #c62a1f;
  --accent-3: #2c4a8c;
  --accent-4: #6e8b57;
  --font-display: "Big Shoulders", sans-serif;
  --font-text: "Special Elite", monospace;
}

Use it with care

Hungarian Revolutionary Poster: Biró's red hammer man 'has been much repeated in Central European political iconography up to the present day' (MoMA), so it is still a live political sign. These are propaganda posters of a regime whose 133 days included the Red Terror, in which up to 590 people were killed; do not present them as neutral folk heroics. In Hungary the hammer and sickle and the five-pointed red star are restricted symbols under Btk. § 335 when distributed, used in public or displayed in a way that can disturb public peace, especially by offending the dignity of the victims of totalitarian regimes; keep them out of work aimed there. Never borrow the antisemitic 'Jewish Bolshevik' caricature that anti-communist posters of 1919 turned against the Republic, as in Manno Miltiades's poster in the USHMM's Katz Ehrenthal Collection.

04

The two styles

A black-and-cream woodcut-style image shows an elongated figure striding upward through sharply tilted city buildings toward a radiant sun, with smaller people reaching upward from the lower left. Jagged lettering across the top reads “FURTHER.” 1905–1925 · Central Europe, Western Europe Expressionist Woodcut Graphics The graphic arm of German Expressionism, from Die Brücke in Dresden (1905) to the Berlin journals Der Sturm and Die Aktion and Frans Masereel's woodcut novels. Artists revived the woodcut as a raw, subjective medium: they gouged distorted figures and jagged lettering into the same block and printed them in harsh black or a single flat ink, often on coloured paper, for exhibition posters, portfolios, manifestos and magazine covers. A monumental red-and-black worker, viewed from below, grips a long diagonal beam above a procession of smaller workers. Factory chimneys, a bridge and a golden rising sun fill the background, with large red lettering reading “ELŐRE” across the bottom. 1912–1919 · Central Europe Hungarian Revolutionary Poster The political posters of Hungary's revolutions. Mihály Biró drew his red hammer man for the newspaper Népszava in 1912; it returned after the Aster Revolution of October 1918 and in huge numbers during the 133-day Republic of Councils of 1919, when Biró, Pór, Berény, Bortnyik and others covered Budapest in large stone lithographs. One monumental worker, soldier or nude, often red, swings, leaps or whirls across the sheet above a short hand-lettered slogan. With no official style decreed, Biró's Secession-tinged realism hung beside Pór's classicised nudes and the Activists' cubo-expressionism.

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