Compose two styles
Rather than blending two styles into a middle, this assigns them roles: one carries the structure, the other appears as an accent. Where the two fight, it says so before you start.
How to divide the work
- Composition
- Follow Cloisonnism: Divide the picture into a few large cells, edge to edge, partitioned by heavy lines
- Type
- Set in Cloisonnism's manner (Set lettering outside the cells in black at the keyline weight, hand drawn or slab), and let Post-Impressionism's lettering (Change the typeface with each manner and do not aim for uniformity.) appear only where you want the eye to catch.
- Material
- Ground in Cloisonnism's material (Flat unmodulated colour from memory inside dark contours, with no shadow or gradient); bring in exactly one thing from Post-Impressionism (Thick paint, with the borders between fields of color left visible.).
- Colour
- Build on #e9e6dd, #67635d, #171615 and admit one accent from #e9e6dd, #67635d, #171615.
Where they fight
These two are already listed as related, so the join should come easily.
Caution
- Cloisonnism Adding heavy outlines afterwards produces no division of colour, only an ordinary picture inside lines. Letting shading or depth back into the cells breaks the enamel like flatness.
- Post-Impressionism Do not treat it as a single style. Name each time whose solution you mean.
Image prompt
An original image that takes its structure from Cloisonnism (Style, 1888–1895) and its accent from Post-Impressionism (Style, 1880s–1900s). Structural cues: Thick, dark contour lines; Flat colour fields without shading; Decoratively simplified shapes; Colouring drawn from memory. Accent cues, used sparingly: A constructed order of brushstrokes; Flat, forceful fields of color; Undulating line that carries emotion; Inquiry into form ahead of subject. Composition: Divide the picture into a few large cells, edge to edge, partitioned by heavy lines. Type and lettering: Set lettering outside the cells in black at the keyline weight, hand drawn or slab. Let one material quality come from the second style: Thick paint, with the borders between fields of color left visible.. Mood: Luxury, Intimacy, Calm, Exhilaration, Technology. Color: build on #e9e6dd, #67635d, #171615 with a single accent drawn from #e9e6dd, #67635d, #171615. Constraints: do not imitate, reference or name any specific artist, studio, brand, character or copyrighted work. Produce an original composition in the general period languages described above.
Related entries
- Cloisonnism 1888–1895 / Style / Fin de Siècle Art
A manner of painting named after the partitions of cloisonné enamel: flat fields of colour enclosed by heavy contour lines. It brought the way of seeing of ukiyo-e prints and stained glass into oil painting, abandoning shaded volume in favour of colour laid down from memory. The technique that prepared the flatness of the poster.
- Post-Impressionism 1880s–1900s / Style / Painting Techniques
A collective name for painters who found the improvisation of Impressionism insufficient and recovered structure, symbol and emotion, each in their own way. It is not one style but several answers standing side by side, among them pointillism, flat fields of color and surging brushwork. Twentieth century abstraction branched off from here.
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