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 Cracktro: Hold the oversized group name at the centre and keep the effect moving around it
- Type
- Set in Cracktro's manner (Monospaced bitmap letters running the greetings along the bottom without a break), and let Generative Art's lettering (Letters handled as coordinates and repetitions with the face itself fixed) appear only where you want the eye to catch.
- Material
- Ground in Cracktro's material (Patterns generated from formulas and a short looping tune, built with no asset files); bring in exactly one thing from Generative Art (Lines assumed at a plotter's constant weight, tone made by overlap density).
- Colour
- Build on #e6fbfd, #3a80c5, #0a0f13 and admit one accent from #fbfaea, #7a4ab8, #2c2e18.
Where they fight
- Cracktro and Generative Art both belong to Digital Art, so the difference is small. Push the roles further apart than feels comfortable.
Caution
- Cracktro Line up the effects but drop the name and the run of greetings, and the calling card is gone, leaving only a short piece of animation.
- Generative Art A random range set too wide widens the gap between good and bad results and leaves a pile of output instead of a work.
Image prompt
Produce four original images that take their structure from Cracktro (style, 1980s-1990s) and their accent from Generative Art (technique, 1965-). ## What to make Make the kind of thing Cracktro exists for: bolting a short screen to the front of something being passed around, to give the group's name, or packing a burst of sound and image into an executable with a small size budget. Choose one subject and hold it across all four. ## Structure comes from Cracktro - Text scrolling endlessly across the screen - Bands of color running behind it - An oversized group name held at the center - A run of greetings naming other groups Composition: Hold the oversized group name at the centre and keep the effect moving around it. Type and lettering: Monospaced bitmap letters running the greetings along the bottom without a break. ## Accent comes from Generative Art, used sparingly - One simple element repeated to fill the field - Variants of a single rule shown side by side - Repetition drifting in angle and position - A density and precision no hand could reach Let one material quality come from it: Lines assumed at a plotter's constant weight, tone made by overlap density. ## Colour and feeling Build the ground on #e6fbfd, carry the structure in #3a80c5 and #0a0f13, and let a single accent come from #7a4ab8. These are read off real works, so a direction rather than a fixed palette. Feeling to carry: technique, rebellion, exhilaration, calm, play. ## Where they fight - Cracktro and Generative Art both belong to Digital Art, so the difference is small. Push the roles further apart than feels comfortable. ## What goes wrong - Cracktro: Line up the effects but drop the name and the run of greetings, and the calling card is gone, leaving only a short piece of animation. - Generative Art: A random range set too wide widens the gap between good and bad results and leaves a pile of output instead of a work. ## 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
- Cracktro 1980s-1990s / Style / Digital Art
A short screen bolted to the front of cracked software as a group's calling card. An oversized group name, text scrolling without end and a run of greetings turned the home computer display into a stage.
- Generative Art 1965- / Technique / Digital Art
A way of working in which the maker writes only the rule and the randomness, leaving the drawing to the machine. As in Nees's plotter work, the result is shown as several variants born of one rule.
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