De Stijl vs Suprematism
デ・ステイル / シュプレマティスム
Both put nothing but colored rectangles on a white ground, so they file together as geometric abstraction that has given up depiction.
How to tell them apart. Every rectangle in De Stijl locks to vertical and horizontal, while the rectangles of Suprematism tilt and float free of any frame.
De Stijl
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Restricts the vocabulary to vertical, horizontal and primary color, building universal order from balance.
Suprematism
Leaves depiction behind, raising felt tension from a few geometric forms and empty space.
| De Stijl | Suprematism | |
|---|---|---|
| Era | 1917–1931 | 1915–1920s |
| Family | Geometric Abstraction | Geometric Abstraction |
| Kind | Style | Style |
| Cues | Vertical and horizontal / Red, blue, yellow / White planes / Asymmetric equilibrium | Floating rectangles / White space / Diagonal gravity / Restricted color |
| Best used for | Brand systems that grow from few rules · Uniting abstraction with lucid order | Presenting a concept as sensation, not explanation · Unstable motion inside emptiness |
| Type | A rectilinear sans; treat letters as rectangles too | Keep type small and neutral, apart from the forms' motion |
| Composition | Divide the plane with orthogonals; shift the weight off center | Three to seven forms on a diagonal axis, never touching |
| Material | White, black, primaries; ration the colored planes | White, black and red at the core; restrict the palette |
| Caution | Not just red-blue-yellow squares. Design the ratios and the asymmetric balance. | Don't stop at scattering shapes. Feel the gravity and spacing continuing beyond the frame. |