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 Cloisonné: Divide the entire field into closed cells, leaving no area outside a cell. The smallest cell is set by the width the line can hold
- Type
- Set in Cloisonné's manner (Enclose letters the way the design encloses colour. Avoid typefaces too fine to survive the width of the wire), and let Stained Glass's lettering (Concise letters that hold against the contours) appear only where you want the eye to catch.
- Material
- Ground in Cloisonné's material (Fence with metal lines and fill each cell with a glassy colour. Keep the lines the colour of metal and never let one area of colour cross a line); bring in exactly one thing from Stained Glass (Deep red, blue, gold, transmitted light, black joints).
- Colour
- Build on #1F5FA0, #C9A227, #B03A2E and admit one accent from #173d74, #a32e35, #d0a744.
Where they fight
- Cloisonné and Stained Glass are techniques rather than looks. Decide which one runs last in the process, because that is the one that will show.
Caution
- Cloisonné Drawing the lines as decoration without actually closing the cells lets colour escape and reduces the technique to a mere outline.
- Stained Glass Not just translucent gradients. Design the structural lines that carry the color fields.
Image prompt
Produce four original images that take their structure from Cloisonné (technique, ancient–) and their accent from Stained Glass (technique, medieval–present). ## What to make Make the kind of thing Cloisonné exists for: designing a multicolour version of a crest or a logo where colours are separated rather than blended, or building a diagram or a map in which the outline itself carries the ornament. Choose one subject and hold it across all four. ## Structure comes from Cloisonné - Every area of colour is fenced by a thin metal line, and the lines divide the whole design without a break - No two colours bleed into each other - Only the lines give back the light of metal rather than of glass - The ground is metal or porcelain, so the design wraps a curved vessel instead of sitting on a flat panel Composition: Divide the entire field into closed cells, leaving no area outside a cell. The smallest cell is set by the width the line can hold. Type and lettering: Enclose letters the way the design encloses colour. Avoid typefaces too fine to survive the width of the wire. ## Accent comes from Stained Glass, used sparingly - Lead contours - Transmitted color - Geometric division - Jewel tones Let one material quality come from it: Deep red, blue, gold, transmitted light, black joints. ## Colour and feeling Build the ground on #C9A227, carry the structure in #B03A2E and #1F5FA0, and let a single accent come from #a32e35. These are read off real works, so a direction rather than a fixed palette. Feeling to carry: technique, luxury, exhilaration, calm. ## Where they fight - Cloisonné and Stained Glass are techniques rather than looks. Decide which one runs last in the process, because that is the one that will show. ## What goes wrong - Cloisonné: Drawing the lines as decoration without actually closing the cells lets colour escape and reduces the technique to a mere outline. - Stained Glass: Not just translucent gradients. Design the structural lines that carry the color fields. ## 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
- Cloisonné ancient– / Technique / Vessel and Craft Techniques
A technique of enamelling in which thin metal strips are laid on a metal or porcelain ground to form chambers, and vitreous enamel paste is packed into each chamber. The strips survive the firing as visible metal lines, so every area of colour stays closed inside a line. Getty files it under processes rather than styles.
- Stained Glass medieval–present / Technique / Ornament
Divides light with colored glass and lead lines, making contour itself structure and story.
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