Compose styles
Rather than blending styles toward a middle, this gives them roles. The first one carries the structure, the next comes in as the accent, and anything after that shows up in a single detail. Where they fight each other, it says so before you start.
How to divide the work
- Composition
- Follow Iranian Poster: A single image at the center with generous emptiness around it
- Type
- Set in Iranian Poster's manner (Turn one calligraphic stroke into the image and keep text small at the edge), and let Turkish Republican Poster's lettering (Latin letters drawn large and regular, shaped like a copybook) appear only where you want the eye to catch.
- Material
- Ground in Iranian Poster's material (Two or three flat colors, counting the paper white as one); bring in exactly one thing from Turkish Republican Poster (Around three flat lithographic colors with shading kept minimal).
- Colour
- Build on #ece6d1, #ac2c3d, #162638 and admit one accent from #ebb982, #c75a2d, #452415.
Where they fight
- Iranian Poster and Turkish Republican Poster share no intent, so the contrast has to become the subject rather than something to smooth over.
- Iranian Poster and Turkish Republican Poster both belong to Regional Graphics, so the difference is small. Push the roles further apart than feels comfortable.
Caution
- Iranian Poster Piling metaphor on until every clue to the subject is gone leaves a sheet that never tells anyone what the event is.
- Turkish Republican Poster Taking the motifs while dropping the modernizing subject removes the instructing role they carried, so the result looks like a pastiche of old commercial art.
Image prompt
Produce four original images that take their structure from Iranian Poster (style, 1960s–) and their accent from Turkish Republican Poster (style, 1920s–1950s). ## What to make Make the kind of thing Iranian Poster exists for: cultural event announcements that speak in metaphor rather than explanation, or setting Persian and Latin script as equals on one sheet. Choose one subject and hold it across all four. ## Structure comes from Iranian Poster - Calligraphic line as form - Poetic metaphor - The compositional force of Persian script - A restrained palette Composition: A single image at the center with generous emptiness around it. Type and lettering: Turn one calligraphic stroke into the image and keep text small at the edge. ## Accent comes from Turkish Republican Poster, used sparingly - Flat figure drawing - Clean color fields - The new Latin script promoted - Modernization as subject Let one material quality come from it: Around three flat lithographic colors with shading kept minimal. ## Colour and feeling Build the ground on #ece6d1, carry the structure in #ac2c3d and #162638, and let a single accent come from #c75a2d. These are read off real works, so a direction rather than a fixed palette. Feeling to carry: calm, rebellion, luxury, trust, exhilaration, nostalgia. ## Where they fight - Iranian Poster and Turkish Republican Poster share no intent, so the contrast has to become the subject rather than something to smooth over. - Iranian Poster and Turkish Republican Poster both belong to Regional Graphics, so the difference is small. Push the roles further apart than feels comfortable. ## What goes wrong - Iranian Poster: Piling metaphor on until every clue to the subject is gone leaves a sheet that never tells anyone what the event is. - Turkish Republican Poster: Taking the motifs while dropping the modernizing subject removes the instructing role they carried, so the result looks like a pastiche of old commercial art. ## Across the four Keep the roles fixed in all four. Vary the framing, the scale and the arrangement so the set shows what this pairing can do rather than four versions of one picture. ## Constraints - Do not imitate, reference or name any specific artist, studio, brand, character or copyrighted work. - Do not reproduce the composition of an existing work. - Produce original compositions in the general period languages described above.
Related entries
- Iranian Poster 1960s– / Style / Regional Graphics
The Iranian graphic culture Morteza Momayez opened: the line of Persian calligraphy fused with modernist composition, growing a poster tradition that speaks in poetic metaphor across revolution and war.
- Turkish Republican Poster 1920s–1950s / Style / Regional Graphics
The early republic's advertising style built almost single-handedly by İhap Hulusi: flat figures, clean color fields and Latin-script lettering fusing graphics with the state's modernization.
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