Style combination · Pairs well

Op Art Graphics × Zagreb Modernist Graphics

The New Tendencies shows in Zagreb were one of op art's sources; take op's vibrating line fields and hold them inside Picelj's square module and small lowercase credit line for a gallery poster that stays systematic.

From the research on Zagreb Modernist Graphics (EXAT 51 to Teatar &TD)

Mix them and make something Op Art Graphics Zagreb Modernist Graphics

A sample layout drawn from the recipe: shapes from Zagreb Modernist Graphics, their arrangement from Op Art Graphics, the finish from Op Art Graphics. 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.

Op Art Graphics Zagreb Modernist Graphics (EXAT 51 to Teatar &TD)

Type from Zagreb Modernist Graphics: Grotesque & neo-grotesque
Type as image
Colour from Zagreb Modernist Graphics: Limited spot colours
Flat fields
Form from Zagreb Modernist Graphics: Geometric primitives
Non-representational
Composition from Op Art Graphics: All-over field
Repetition & rhythm
Surface from Op Art Graphics: Flat

The type

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

Display · Zagreb Modernist Graphics

Hello

Inter Tight, standing in for Lowercase neo-grotesque sans for titles and credits on Picelj's New Tendencies posters ('nove tendencije 2', 1963; 'nova tendencija 3', 1965; the five-language programme of 'tendencije 4', 1969)

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 Zagreb Modernist Graphics, with a counter-accent from Op Art Graphics. The ink reads on the ground at 4.5:1 or more.

Op Art Graphics Zagreb Modernist Graphics (EXAT 51 to Teatar &TD)

#f1ede4 ground · 36%
#131313 ink · 14%
#f0c419 accent · 18%
#e3001b accent · 14%
#e2402a accent · 10%
#0050b5 accent · 8%

As CSS

:root {
  --ground: #f1ede4;
  --ink: #131313;
  --accent-1: #f0c419;
  --accent-2: #e3001b;
  --accent-3: #e2402a;
  --accent-4: #0050b5;
  --font-display: "Inter Tight", sans-serif;
  --font-text: "Jost", sans-serif;
}

Use it with care

Zagreb Modernist Graphics (EXAT 51 to Teatar &TD): Picelj (died 2011), Arsovski (died 2020) and Bućan (died 2023) are recent and their posters remain in copyright, Arsovski's Teatar &TD logo is still in use, and Boris Ljubičić's 1979 circle symbol is the permanent emblem of the International Committee of the Mediterranean Games, so borrow the method (a multiplied unit, a lowercase credit line, a rebus title) rather than reproducing a particular poster or mark. Do not dress the style in red stars or party slogans as period decor: these designers worked for galleries and theatres in socialist Yugoslavia and deliberately avoided propaganda imagery.