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 Angura Poster: One image at the center, the surround packed with detail and no white left
- Type
- Set in Angura Poster's manner (Mincho, sign lettering and Latin colliding on one surface, alignment broken on purpose), and let Provoke's lettering (Type struck over the image and cropped, explanatory captions removed) appear only where you want the eye to catch.
- Material
- Ground in Angura Poster's material (Silkscreen including fluorescents, with metallics and spot colors overlaid); bring in exactly one thing from Provoke (Pushed grain and crushed black, tone thrown away in exposure and development).
- Colour
- Build on #efe0a8, #ec2145, #14100f and admit one accent from #fbfaf8, #3a3a3a, #000000.
Where they fight
These are already listed as related entries, so the join should come easily.
Caution
- Angura Poster Merely piling quotations turns excess into clutter and buries the title and dates the bill exists to announce.
- Provoke Adding blur and grain afterward as an effect leaves pictures that are merely rough, because nothing changed in how they were taken.
Image prompt
Produce four original images that take their structure from Angura Poster (style, 1965–1975) and their accent from Provoke (style, 1968–1970). ## What to make Make the kind of thing Angura Poster exists for: small-theatre and experimental performance bills that must defy respectable style, or work quoting Showa-era imagery and stopping a passerby through sheer excess. Choose one subject and hold it across all four. ## Structure comes from Angura Poster - Ukiyo-e colliding with kitsch - Fluorescent silkscreen - Rising suns and Shōwa imagery détourned - The aesthetics of excess Composition: One image at the center, the surround packed with detail and no white left. Type and lettering: Mincho, sign lettering and Latin colliding on one surface, alignment broken on purpose. ## Accent comes from Provoke, used sparingly - Rough grain (are) - Blur and defocus affirmed - High-contrast black - Fragmentary framing Let one material quality come from it: Pushed grain and crushed black, tone thrown away in exposure and development. ## Colour and feeling Build the ground on #efe0a8, carry the structure in #ec2145 and #14100f, and let a single accent come from #3a3a3a. These are read off real works, so a direction rather than a fixed palette. Feeling to carry: rebellion, exhilaration, nostalgia, calm. ## What goes wrong - Angura Poster: Merely piling quotations turns excess into clutter and buries the title and dates the bill exists to announce. - Provoke: Adding blur and grain afterward as an effect leaves pictures that are merely rough, because nothing changed in how they were taken. ## 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
- Angura Poster 1965–1975 / Style / Regional Graphics
Yokoo Tadanori and his peers printed the posters for Situation Theatre and Tenjō Sajiki. Ukiyo-e, kitsch and psychedelia collide there in an excess that the world discovered as a revolt against modernism.
- Provoke 1968–1970 / Style / Photography Movements
The magazine Provoke called itself provocative materials for thought. Working through are-bure-boke, coarse grain and blur and lost focus, it stripped photography of tidy meaning and gave seeing back its rawness.
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