Two tones and linear designs.
The colour discipline of mid-century Swiss poster printing. Every subject is rebuilt from a few flat, hard-edged geometric planes, rectangles, parallelograms, circles and wedges, in exactly two or three offset spot inks chosen from black, cadmium red, amber yellow, cobalt blue and vermilion orange, on warm cream, bright white or a full flood of one ink. Posters set a bold neo-grotesque headline flush-left with sentence-case sub-lines at a fifth of the size, strictly horizontal. Ask for a poster, cover, flyer or wordmark and it sets your exact words in the style's own type system.
One visual language across portrait, fashion, interior, architecture, process, object, botany, and landscape.
Faces and full silhouettes reveal how the style handles identity, proportion, and clothing. No outlines; subjects are constructed from a few flat planes, rectangles, parallelograms, circles, diamonds and angular wedges that keep the subject recognisable, with faces defined by the negative space between planes.
An interior and an architectural threshold test depth, light, and spatial rhythm at two different scales. Asymmetric mathematical grid with flush-left gravity, generous negative space and one or two bars or diamonds tilted ten to forty-five degrees as framing devices. Posters keep all type strictly horizontal: bold title-case headline, sentence-case sub-lines at a fifth of the size, one ink colour, never outlined.
A process image and a still life show whether the treatment stays tactile both in motion and at rest. Flat lithographic ink sitting on uncoated paper with slight absorption at the edges, faint warm paper tooth in the ground and razor-sharp plate edges; no noise, brush, bevel or glow.
Organic forms and a shared food ritual put color, softness, and visual appetite under pressure. Exactly two or three flat offset inks from carbon black, cadmium red, amber yellow, cobalt blue and vermilion orange on cream, white or an ink flood; each shape one solid ink, no tone, no shadow, no gradient.
A close material study and an open landscape show how the same sensibility travels from detail to horizon. Flat offset spot-ink poster graphics on uncoated paper with neo-grotesque type
A poster and a lettering study show how the style sets words: headline, small text, and the space around them. Ask for a poster, cover, or wordmark and the type comes with it; ask for a plain image and it stays out. Asymmetric mathematical grid with flush-left gravity, generous negative space and one or two bars or diamonds tilted ten to forty-five degrees as framing devices. Posters keep all type strictly horizontal: bold title-case headline, sentence-case sub-lines at a fifth of the size, one ink colour, never outlined.
Warm Cream
#f3e3c0
Amber Yellow
#f7cb51
Carbon Black
#1b1a15
Cadmium Red
#f53308
Cobalt
#054fba
Paper White
#f7f6f1
Vermilion Orange
#f5430e
Six flat colours with zero shading.
Cut paper. Five inks. No wasted shape.
A permanent summer, printed in five colors.
Two inks and one halftone
Sun-warmed and quaint screenprinted sketches.
Sketchy, charcoal effects in stark compositions
Monochrome Dithered Printing
Brush ink builds a sketchy ink drawn style.
Carry the same visual language across the image models you already use. Switch the engine without starting your art direction over.
Bring swiss international poster into your next brief, then combine it with your own character, product, or layout.