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 Blackletter: Two narrow columns, close leading, thin margins, the page woven solid with text
- Type
- Set in Blackletter's manner (Reserve it for a few display words, tightly spaced to even out the black), and let Letterpress's lettering (One type family in limited sizes for the hierarchy) appear only where you want the eye to catch.
- Material
- Ground in Blackletter's material (Black ink on heavy paper with one accent of red rubric or gold initial); bring in exactly one thing from Letterpress (One or two colors, thick paper, a slight bite and ink variance).
- Colour
- Build on #e5ded0, #8a2f26, #191512 and admit one accent from #eee4cf, #27231d, #8f2e2a.
Where they fight
- Blackletter and Letterpress stand roughly 300 years apart. Keep one of them recognisably period rather than letting both drift into the middle.
Caution
- Blackletter In long text the letters stop being distinguishable. It is not just an old and tough looking sign, so pick the branch deliberately and know the religious, national and political history it carries.
- Letterpress Don't over-perform deep impression and dry ink. Let type, paper, pressure and ink set the form.
Image prompt
Produce four original images that take their structure from Blackletter (style, 12th century–) and their accent from Letterpress (technique, 15th century–). ## What to make Make the kind of thing Blackletter exists for: short strings that signal tradition, such as diplomas, deeds and newspaper mastheads, or labels for breweries or leather goods that must read as an old workshop. Choose one subject and hold it across all four. ## Structure comes from Blackletter - Dense vertical strokes - Curves replaced by breaks - Heavy blackness - Ornamental capitals Composition: Two narrow columns, close leading, thin margins, the page woven solid with text. Type and lettering: Reserve it for a few display words, tightly spaced to even out the black. ## Accent comes from Letterpress, used sparingly - The regularity of type - Impression into paper - Limited widths - Ink variation Let one material quality come from it: One or two colors, thick paper, a slight bite and ink variance. ## Colour and feeling Build the ground on #e5ded0, carry the structure in #8a2f26 and #191512, and let a single accent come from #8f2e2a. These are read off real works, so a direction rather than a fixed palette. Feeling to carry: luxury, rebellion, nostalgia, trust. ## Where they fight - Blackletter and Letterpress stand roughly 300 years apart. Keep one of them recognisably period rather than letting both drift into the middle. ## What goes wrong - Blackletter: In long text the letters stop being distinguishable. It is not just an old and tough looking sign, so pick the branch deliberately and know the religious, national and political history it carries. - Letterpress: Don't over-perform deep impression and dry ink. Let type, paper, pressure and ink set the form. ## 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
- Blackletter 12th century– / Style / Type Classification
The manuscript hand compressed into dense black verticals, filling the page with an even darkness like woven cloth. It was also the first typeface of printing.
- Letterpress 15th century– / Technique / Relief Printing
Sets physical type, joining the repeatable order of text with the touch of impression on paper.
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