Stylogeny combining Expressionist Woodcut Graphics × Plakatstil

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Style combination · Contrasts

Expressionist Woodcut Graphics × Plakatstil

Same country and years: Bernhard's calm flat object poster against an anguished Brücke woodcut shows commercial clarity versus inner expression.

From the research on Expressionist Woodcut Graphics

Mix them and make something Expressionist Woodcut Graphics Plakatstil

NO!Expressionist Woodcut × Plakatstil1905 · 1905
A sample layout drawn from the recipe: shapes from Expressionist Woodcut Graphics, their arrangement from Plakatstil, 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 Plakatstil / Sachplakat

Type from Expressionist Woodcut Graphics
Colour from Plakatstil
Form from Expressionist Woodcut Graphics
Composition from Plakatstil
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 · Expressionist Woodcut Graphics

No!

Archivo Black, standing in for Heavy grotesque and Fraktur journal mastheads

Text · Plakatstil

The German 'object poster' launched by Lucian Bernhard's Priester match poster and printed by Berlin's Hollerbaum & Schmidt. It strips the advertisement to a single product rendered in flat, saturated colour and the brand name in bold hand-drawn letters on a plain ground, so the message registers instantly from a passing tram or across the street.

Oswald; Plakatstil used Lucian Bernhard's hand-drawn block lettering and Block

03

The colours

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

Expressionist Woodcut Graphics Plakatstil / Sachplakat

  • #151515 ground · 36%
  • #efe5cf ink · 14%
  • #d2382b accent · 18%
  • #d9932f accent · 14%
  • #24418f accent · 10%
  • #2f5d3a accent · 8%

As CSS

:root {
  --ground: #151515;
  --ink: #efe5cf;
  --accent-1: #d2382b;
  --accent-2: #d9932f;
  --accent-3: #24418f;
  --accent-4: #2f5d3a;
  --font-display: "Archivo Black", sans-serif;
  --font-text: "Oswald", sans-serif;
}

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 tall, slender red-orange dog stands facing right against a black background, with angular black cutouts defining its features and limbs. Large cream capital letters spell “VELOX” beneath its paws. 1905–1920 · Central Europe Plakatstil / Sachplakat The German 'object poster' launched by Lucian Bernhard's Priester match poster and printed by Berlin's Hollerbaum & Schmidt. It strips the advertisement to a single product rendered in flat, saturated colour and the brand name in bold hand-drawn letters on a plain ground, so the message registers instantly from a passing tram or across the street.

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More combinations

With Expressionist Woodcut Graphics

All 11 combinations with Expressionist Woodcut Graphics

With Plakatstil

All 12 combinations with Plakatstil

Every style combination