Młodożeniec was extremely hard working – he would often end up creating numerous variations of the same composition. His style could be immediately recognized by the thick, seemingly uncoordinated, but nevertheless strong lines, a slightly childlike form, vivid range of colours, and a comforting sense of humour. His posters had a characteristically smooth and balanced composition, based on clearly separated patches of colour, and intrinsically monumental graphic forms. The artist paid close attention to the legibility of the signs he used – his attempts to broaden the meaning carried by a poster resulted in deeply synthetic graphic effects. His works emanated with lyrical expression, tinged with vernacular simplicity and naïveté. Młodożeniec's output was profoundly rooted in the national folk culture, and yet his expressive language was thoroughly modern and inspired by various contemporary art trends (represented by the likes of Léger, Picasso, Braque, Matisse, or Klee).
Młodożeniec's means of expression were straightforward – he paid a lot attention to the transparency of his works. He was the master of a synthetic, condensed style. His visual jargon went beyond being purely informative – it had predominantly poetic values, in a way that inspired the imagination. His posters for such films as The Serpent's Egg, Klute, and The Conformist entered the history of cinema, just like his visual film commentaries, or, more precisely, mini-reviews published in Film and Miesięcznik Literacki.
Yet another part of Młodożeniec's oeuvre were his illustrations and book covers, such as to Marek Hłasko's A First Step in the Clouds (1956), The Pearl by Steinbeck (published in 1956), The Taming of the Shrew by Sheakespeare (published in 1972), and Cronopios and Famas by Julio Cortázar (published in 1974). His book covers always bore a poster-like look. He often used text as one of the materials, a graphic symbol. His designs were striking thanks to the cutting edge drawing style, lyrical air, and narrative boldness.
