Style combination · Pairs well

Lucerne Poster Scene × Op Art Graphics

The Neubad's black-and-white rule led Brechbühl straight to Op Art for The Notwist; take Op's vibrating line fields and checks, but bend them into the letters of the title instead of filling the sheet with pattern alone.

From the research on Lucerne Poster Scene (Neubad & Südpol Posters)

Mix them and make something Lucerne Poster Scene Op Art Graphics

A sample layout drawn from the recipe: shapes from Op Art Graphics, their arrangement from Lucerne Poster Scene, the finish from Lucerne Poster Scene. 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.

Lucerne Poster Scene (Neubad & Südpol Posters) Op Art Graphics

Type from Lucerne Poster Scene: Experimental & distorted
Type as image
Colour from Op Art Graphics: Monochrome
Complementary clash
Form from Op Art Graphics: Optical pattern
Non-representational
Composition from Lucerne Poster Scene: Single focal point
Illusion of depth
Surface from Lucerne Poster Scene: Flat

The type

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

Display · Lucerne Poster Scene

Hello

Anton, standing in for Letters constructed or distorted for each poster: Brechbühl's handwritten blend-tool letters for The Notwist (2019), the square-tiled cube letters of Neubad Start (2013), Pfäffli's bent, sliced and paper-folded titles for Südpol; elsewhere set type is warped rather than drawn, as in the condensed sans bent round a disc for Future Islands (2014) or the serif of When Saints Go Machine

Text · Op Art Graphics

A 1960s style that turned perceptual research into graphic effect: precisely drawn lines, checks, concentric rings and modular grids, usually black and white or complementaries of equal value, that seem to vibrate, swell or move. Rooted in Bauhaus form teaching through Vasarely and Albers and popularised by MoMA's 1965 'The Responsive Eye', it spread quickly into posters, record sleeves, fashion textiles and identities such as Mexico 68.

Jost; Op Art Graphics used Mexico 68 multiline lettering and Futura

The colours

The ground and leading colours come from Op Art Graphics, with a counter-accent from Lucerne Poster Scene. The ink reads on the ground at 4.5:1 or more.

Lucerne Poster Scene (Neubad & Südpol Posters) Op Art Graphics

#ffffff ground · 36%
#0a0a0a ink · 14%
#e3001b accent · 18%
#f0e111 accent · 14%
#0050b5 accent · 10%
#ff415b accent · 8%

As CSS

:root {
  --ground: #ffffff;
  --ink: #0a0a0a;
  --accent-1: #e3001b;
  --accent-2: #f0e111;
  --accent-3: #0050b5;
  --accent-4: #ff415b;
  --font-display: "Anton", sans-serif;
  --font-text: "Jost", sans-serif;
}

The two styles

Huge black letters spell “RUND” above “GANG” on a white background. The letters bend inward into nested black-and-white curves around a small green semicircle near the centre.

2007–present · Central Europe Lucerne Poster Scene (Neubad & Südpol Posters) Lucerne's poster culture for small non-commercial venues (Südpol, Neubad, Treibhaus) and the Weltformat festival. Each event gets a one-off poster, most often with the title as the picture: letters built, twisted or warped into one optical motif. Neubad's posters are black and white only; Felix Pfäffli's Südpol series (2010–2015) added Risograph colour. The scene rests on local designers' exchange, fostered by Brechbühl through Weltformat (co-founded 2009) and the Show & Tell meetings (2012); in 2015, 26 of the 100 best posters from Germany, Austria and Switzerland came from the Lucerne area.

Alternating red and white curved stripes fill the poster, swelling and pinching into a repeating optical illusion of bulges and tunnels. The word “PULSE” appears in tall, multiline red lettering near the center.

1960–1975 · Global / networked Op Art Graphics A 1960s style that turned perceptual research into graphic effect: precisely drawn lines, checks, concentric rings and modular grids, usually black and white or complementaries of equal value, that seem to vibrate, swell or move. Rooted in Bauhaus form teaching through Vasarely and Albers and popularised by MoMA's 1965 'The Responsive Eye', it spread quickly into posters, record sleeves, fashion textiles and identities such as Mexico 68.

Lucerne Poster Scene × Op Art Graphics

What each style brings

The type

The colours

As CSS

The two styles

More combinations

With Lucerne Poster Scene

With Op Art Graphics