Stylogeny combining Il Male Newspaper-Forgery Satire × Situationist Détournement Graphics

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Style combination · Pairs well

Il Male Newspaper-Forgery Satire × Situationist Détournement Graphics

Take the cut-up method and add the dense tabloid page to turn theory into a prank.

From the research on Il Male Newspaper-Forgery Satire

Mix them and make something Il Male Newspaper-Forgery Satire Situationist Détournement Graphics

RiotIl Male × Situationist Détournement
A sample layout drawn from the recipe: shapes from Situationist Détournement Graphics, their arrangement from Il Male Newspaper-Forgery Satire, the finish from Il Male Newspaper-Forgery Satire. Not a real work, and not an image of either style.

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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.

Il Male Newspaper-Forgery Satire Situationist Détournement Graphics

Type from Situationist Détournement Graphics
Colour from Il Male Newspaper-Forgery Satire
Form from Situationist Détournement Graphics
Composition from Il Male Newspaper-Forgery Satire
Surface from Il Male Newspaper-Forgery Satire

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The type

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

Display · Situationist Détournement Graphics

Riot

Archivo Black; Situationist Détournement Graphics used Caractères Simples, a nineteenth-century French sans serif shown by Deberny, set in lowercase for the title on every issue of Internationale situationniste and Found press type

Text · Il Male Newspaper-Forgery Satire

The graphic voice of Il Male, the Roman satirical magazine of 1978-1982: forged front pages of real newspapers, photomontage and cartoons in a dense tabloid layout. It grew out of the left-wing milieu around the Movement of 1977, in the political tension of the late 1970s, and its fakes were sensational media pranks that could pass for the real paper. Unlike an original satirical tabloid such as O Pasquim, its signature is the counterfeit of an existing newspaper.

Newsreader; Il Male Newspaper-Forgery Satire used Newspaper mastheads imitated in the forgeries and Newspaper headline lettering imitated in the forgeries

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The colours

The ground and leading colours come from Il Male Newspaper-Forgery Satire, with a counter-accent from Situationist Détournement Graphics. The ink reads on the ground at 4.5:1 or more.

Il Male Newspaper-Forgery Satire Situationist Détournement Graphics

  • #e8e0cc ground · 36%
  • #161616 ink · 14%
  • #c8231e accent · 18%
  • #e08a2c accent · 14%
  • #e2b93b accent · 10%
  • #7d7a70 accent · 8%

As CSS

:root {
  --ground: #e8e0cc;
  --ink: #161616;
  --accent-1: #c8231e;
  --accent-2: #e08a2c;
  --accent-3: #e2b93b;
  --accent-4: #7d7a70;
  --font-display: "Archivo Black", sans-serif;
  --font-text: "Newsreader", serif;
}

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The two styles

A distressed black, cream, red and yellow collage shows a huge laughing businessman holding red puppet strings above a globe and dangling people. Surrounding fragments depict smoking factories, police, soldiers, traffic, money, shoppers, office workers, a mushroom cloud on television, beachgoers and ruined buildings. 1978–1982 · Southern Europe Il Male Newspaper-Forgery Satire The graphic voice of Il Male, the Roman satirical magazine of 1978-1982: forged front pages of real newspapers, photomontage and cartoons in a dense tabloid layout. It grew out of the left-wing milieu around the Movement of 1977, in the political tension of the late 1970s, and its fakes were sensational media pranks that could pass for the real paper. Unlike an original satirical tabloid such as O Pasquim, its signature is the counterfeit of an existing newspaper. A distressed, torn-paper collage combines a woman holding a teacup, city highways, crowds of suited men, a shopping cart containing a house, marching soldiers, ruined buildings, a beach scene with a jet overhead, and a reclining man's face. Black-and-white photographic fragments overlap red, ochre, and blue shapes on cream paper. 1956–1972 · Western Europe, Northern Europe Situationist Détournement Graphics Graphics of the Letterist and Situationist Internationals (1956–1972), built on détournement: taking existing words and pictures (comic strips, advertisements, news photographs, city maps, classic texts) and turning them against their source. Debord and Jorn scattered cut press fragments among splashes of coloured ink in the artist's books Fin de Copenhague and Mémoires, and cut the map of Paris into islands linked by red arrows. Strasbourg students and the CMDO refilled comic-strip balloons with theory and pasted the strips up.

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