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 Concrete Poetry: Place words on a grid so reading can start from any direction
- Type
- Set in Concrete Poetry's manner (One face at one size, emphasis from position and repetition only), and let Creacionismo's lettering (One plain face at several sizes, with the change of scale as the only expressive device.) appear only where you want the eye to catch.
- Material
- Ground in Concrete Poetry's material (White paper and one black ink, quality carried by register and margin); bring in exactly one thing from Creacionismo (Black on white and nothing else: no rule, no colour, no image to fall back on.).
- Colour
- Build on #f1eee5, #74716a, #151515 and admit one accent from #e9e6dd, #67635d, #171615.
Where they fight
- Both belong to Experimental Typography, so the difference is small. Push the roles further apart than feels comfortable.
Caution
- Concrete Poetry When making a shape comes first, the meaning of the words stops answering their position, and the piece is only letters poured into a picture.
- Creacionismo Scattering words for the look of it: here the position of every word is an assertion, and arbitrary placement leaves only a shape.
Image prompt
An original image that takes its structure from Concrete Poetry (Layout, 1950s–1970s) and its accent from Creacionismo (Layout, 1916–1930s). Structural cues: Repeated words; Shapes made of letters; Large blanks; Dismantled reading order. Accent cues, used sparingly: Letters arranged as shapes; Lines of verse recomposed visually; Type without ornament; The white ground used as a component. Composition: Place words on a grid so reading can start from any direction. Type and lettering: One face at one size, emphasis from position and repetition only. Let one material quality come from the second style: Black on white and nothing else: no rule, no colour, no image to fall back on.. Mood: Rebellion, Calm, Play, Futurism, Technology. Color: build on #f1eee5, #74716a, #151515 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
- Concrete Poetry 1950s–1970s / Layout / Experimental Typography
Treats the placement, repetition, blank space and sound of words as the poem itself, not only what they mean.
- Creacionismo 1916–1930s / Layout / Experimental Typography
A movement begun in Chile and carried through Paris, which declared that poetry does not copy nature but creates new facts. It produced visual poems in quantity, arranging letters as shapes and making the border between language and page a subject of experiment. With Ultraismo, one of the two pillars of the Spanish-language avant-garde.
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