Stylogeny combining Lucerne Poster Scene × Polish Poster School

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Style combination · Contrasts

Lucerne Poster Scene × Polish Poster School

Another cultural-venue poster culture of one idea per sheet, but painted and hand-lettered as a metaphor; Lucerne builds the idea from the letters and optical effects on the computer. Borrow the Polish wit, not the brush.

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

Mix them and make something Lucerne Poster Scene Polish Poster School

PopLucerne Poster Scene × Polish Poster School
A sample layout drawn from the recipe: shapes from Polish Poster School, their arrangement from Lucerne Poster Scene, the finish from Polish Poster School. 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.

Lucerne Poster Scene (Neubad & Südpol Posters) Polish Poster School

Type from Lucerne Poster Scene
Colour from Lucerne Poster Scene
Form from Polish Poster School
Composition from Lucerne Poster Scene
Surface from Polish Poster School

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The type

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

Display · Lucerne Poster Scene

Pop

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 · Polish Poster School

A painterly, metaphorical poster culture that flourished in communist Poland, chiefly for film, theatre, opera and circus. Working for state publishers, free of commercial pressure but under censorship, designers such as Henryk Tomaszewski, Jan Lenica and Roman Cieślewicz replaced star photographs with a single witty or unsettling visual idea, painted or collaged by hand and lettered in the artist's own handwriting.

Archivo; Polish Poster School used Henryk Tomaszewski's casual handwritten capitals and Brush- and crayon-drawn title lettering

03

The colours

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

Lucerne Poster Scene (Neubad & Südpol Posters) Polish Poster School

  • #ffffff ground · 36%
  • #0a0a0a ink · 14%
  • #f0e111 accent · 18%
  • #d4352b accent · 14%
  • #ff415b accent · 10%
  • #d6a23a accent · 8%

As CSS

:root {
  --ground: #ffffff;
  --ink: #0a0a0a;
  --accent-1: #f0e111;
  --accent-2: #d4352b;
  --accent-3: #ff415b;
  --accent-4: #d6a23a;
  --font-display: "Anton", sans-serif;
  --font-text: "Archivo", sans-serif;
}

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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. A large, elongated dark face has an open-topped head containing a hilltop town with blue, cream and ochre buildings, slender trees and a pale sun against a red sky. Rough brush lettering reading “Inner City” fills the cream space at the lower left. 1950–1990 · Eastern Europe Polish Poster School A painterly, metaphorical poster culture that flourished in communist Poland, chiefly for film, theatre, opera and circus. Working for state publishers, free of commercial pressure but under censorship, designers such as Henryk Tomaszewski, Jan Lenica and Roman Cieślewicz replaced star photographs with a single witty or unsettling visual idea, painted or collaged by hand and lettered in the artist's own handwriting.

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