International Typographic Style × Yeşilçam Film Poster

A grid, white space and neutral sans-serif are the opposite of the crowded, hand-lettered, many-coloured afiş.

From the research on Yeşilçam Film Poster (Turkish Hand-Painted Afiş)

Mix them and make something International Typographic Style Yeşilçam Film Poster

A sample layout drawn from the recipe: shapes from Yeşilçam Film Poster, their arrangement from International Typographic Style, the finish from Yeşilçam Film Poster. 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.

International Typographic Style Yeşilçam Film Poster (Turkish Hand-Painted Afiş)

Type from International Typographic Style: Grotesque & neo-grotesque
Type as image

Yeşilçam Film Poster avoids grotesque & neo-grotesque: this is where the two pull against each other, which is the point of the contrast.
Colour from International Typographic Style: Limited spot colours
Flat fields
Form from Yeşilçam Film Poster: Naturalistic depiction
Composition from International Typographic Style: Modular grid
Dynamic asymmetry

Yeşilçam Film Poster avoids modular grid: this is where the two pull against each other, which is the point of the contrast.
Surface from Yeşilçam Film Poster: Painterly brushwork
Hard offset shadow

The type

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

Display · International Typographic Style

Grid

Inter Tight, standing in for Akzidenz-Grotesk

Text · Yeşilçam Film Poster

Painted publicity of Turkish popular cinema by workshop artists such as Mehmet Bal, Kemal Borteçin and İbrahim Enez. Working from set photographs and plot briefings, painters sketched for approval, then painted gouache on paper for posters; facade lanterns used earth pigment and glue. Latin-script titles are hand-lettered in saturated colour. Painters were mostly anonymous, posters unsigned, originals often lost; the industry declined after the 1980 coup, ending 1988.

Archivo; Yeşilçam Film Poster used Hand-painted Latin display capitals for Turkish film titles, with diacritics and Outlined and shadowed cast and credit lettering painted by the poster artist

The colours

The ground and leading colours come from International Typographic Style, with a counter-accent from Yeşilçam Film Poster. The ink reads on the ground at 4.5:1 or more.

International Typographic Style Yeşilçam Film Poster (Turkish Hand-Painted Afiş)

#f2f0e9 ground · 36%
#111111 ink · 14%
#e1251b accent · 18%
#f5c518 accent · 14%
#1f4e9c accent · 10%
#7a7a7a accent · 8%

As CSS

:root {
  --ground: #f2f0e9;
  --ink: #111111;
  --accent-1: #e1251b;
  --accent-2: #f5c518;
  --accent-3: #1f4e9c;
  --accent-4: #7a7a7a;
  --font-display: "Inter Tight", sans-serif;
  --font-text: "Archivo", sans-serif;
}

The two styles

The words “Urban Systems” appear in large black and red lettering at the upper left of an off-white cover. Tall blue, black and grey rectangular blocks rise from the bottom, with fine vertical dividing lines and a red circle at the upper right.

1950–1975 · Central Europe International Typographic Style A post-war refinement of the New Typography in which the mathematical grid, objective photography and neo-grotesque sans-serifs were used to communicate with clarity and neutrality. Taught at the Basel and Zurich schools, it became the default language of international corporate and institutional communication.

A painted vintage-style film poster features large portraits of a dark-haired woman in a red headscarf and a mustached man above smaller figures of an armed running man and a woman in green. A waterfront mosque skyline, ferry, burning ship, and red car on a coastal road surround oversized yellow and red lettering reading “SON RÜZGAR.”

1950–1988 · Middle East & North Africa Yeşilçam Film Poster (Turkish Hand-Painted Afiş) Painted publicity of Turkish popular cinema by workshop artists such as Mehmet Bal, Kemal Borteçin and İbrahim Enez. Working from set photographs and plot briefings, painters sketched for approval, then painted gouache on paper for posters; facade lanterns used earth pigment and glue. Latin-script titles are hand-lettered in saturated colour. Painters were mostly anonymous, posters unsigned, originals often lost; the industry declined after the 1980 coup, ending 1988.

International Typographic Style × Yeşilçam Film Poster

What each style brings

The type

The colours

As CSS

The two styles

More combinations

With International Typographic Style

With Yeşilçam Film Poster