Style combination · Pairs well

Early Turkish Republican Graphic Design × Yeşilçam Film Poster

Both use hand-drawn Latin Turkish lettering; Republican graphics are calm and official, the film poster is crowded and emotional.

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

Mix them and make something Early Turkish Republican Graphic Design Yeşilçam Film Poster

A sample layout drawn from the recipe: shapes from Early Turkish Republican Graphic Design, their arrangement from Early Turkish Republican Graphic Design, 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.

Early Turkish Republican Graphic Design Yeşilçam Film Poster (Turkish Hand-Painted Afiş)

Type from Early Turkish Republican Graphic Design: Hand-lettering
All caps
Colour from Yeşilçam Film Poster: Full polychrome
Form from Early Turkish Republican Graphic Design: Stylised figuration
Naturalistic depiction
Composition from Early Turkish Republican Graphic Design: Single focal point
Isolated object
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 · Early Turkish Republican Graphic Design

Public

Bungee Shade, standing in for Shaded and extruded display letters and giant numerals (Milli Piyango '7', İş Bankası '12', Köy Halk Kıraatı)

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 Yeşilçam Film Poster, with a counter-accent from Early Turkish Republican Graphic Design. The ink reads on the ground at 4.5:1 or more.

Early Turkish Republican Graphic Design Yeşilçam Film Poster (Turkish Hand-Painted Afiş)

#f2e6c9 ground · 36%
#1a1a1a ink · 14%
#f5c518 accent · 18%
#cf1f2e accent · 14%
#c89b3c accent · 10%
#1e63b5 accent · 8%

As CSS

:root {
  --ground: #f2e6c9;
  --ink: #1a1a1a;
  --accent-1: #f5c518;
  --accent-2: #cf1f2e;
  --accent-3: #c89b3c;
  --accent-4: #1e63b5;
  --font-display: "Bungee Shade", sans-serif;
  --font-text: "Archivo", sans-serif;
}

Use it with care

Early Turkish Republican Graphic Design: Atatürk's likeness, the Turkish flag and the star and crescent are living national symbols, and Turkey's Law No. 5816 (1951) criminalises insulting Atatürk's memory, so do not caricature, distort or trivialise them when borrowing this style. Much of this imagery was produced for a one-party state and its campaigns, and Kemalist iconography (the unveiled "modern" woman, the six arrows, Atatürk portraits) is still politically charged in Turkey, read differently by secularists, religious conservatives and minorities whom the nation-building imagery left out. Do not present the regime's modernising narrative as neutral, and do not reuse party emblems as decoration.