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 Creacionismo: Words positioned as objects in a field, the white ground measured as carefully as the type, alignment abandoned wherever the sense requires it
- Type
- Set in Creacionismo's manner (One plain face at several sizes, with the change of scale as the only expressive device), and let Estridentismo's lettering (Heavy grotesque mixed with woodletter, the angle changing line by line) appear only where you want the eye to catch.
- Material
- Ground in Creacionismo's material (Black on white and nothing else: no rule, no colour, no image to fall back on); bring in exactly one thing from Estridentismo (Two inks, black and red, on coarse paper, the woodcut's white bite left in the line).
- Colour
- Build on #efe0ba, #97886c, #271d0d and admit one accent from #f1c917, #2766b4, #29231a.
Where they fight
These are already listed as related entries, so the join should come easily.
Caution
- Creacionismo Scattering words for the look of it: here the position of every word is an assertion, and arbitrary placement leaves only a shape.
- Estridentismo Tilting a modern layout slightly is not it, and without the post revolutionary city as subject it copies Futurism. The angle works only when the letters are cut and the register is rough.
Image prompt
Produce four original images that take their structure from Creacionismo (layout, 1916–1930s) and their accent from Estridentismo (style, 1921–1927). ## What to make Make the kind of thing Creacionismo exists for: posters and titles where the words physically form the image, with no illustration and no photograph, or book and exhibition typography for texts that must be read as constructed objects rather than transcribed speech. Choose one subject and hold it across all four. ## Structure comes from Creacionismo - Letters arranged as shapes - Lines of verse recomposed visually - Type without ornament - The white ground used as a component Composition: Words positioned as objects in a field, the white ground measured as carefully as the type, alignment abandoned wherever the sense requires it. Type and lettering: One plain face at several sizes, with the change of scale as the only expressive device. ## Accent comes from Estridentismo, used sparingly - Sharp woodcut lines - Type set on the diagonal - Imagery of cables, aerials and machinery - The hard contrast of two-colour printing Let one material quality come from it: Two inks, black and red, on coarse paper, the woodcut's white bite left in the line. ## Colour and feeling Build the ground on #efe0ba, carry the structure in #97886c and #271d0d, and let a single accent come from #2766b4. These are read off real works, so a direction rather than a fixed palette. Feeling to carry: futurity, technique, calm, exhilaration, rebellion. ## What goes wrong - Creacionismo: Scattering words for the look of it: here the position of every word is an assertion, and arbitrary placement leaves only a shape. - Estridentismo: Tilting a modern layout slightly is not it, and without the post revolutionary city as subject it copies Futurism. The angle works only when the letters are cut and the register is rough. ## 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
- 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.
- Estridentismo 1921–1927 / Style / Avant-garde
A Mexican avant-garde that shouted its praise of the post-revolutionary city, of radio waves and machines. Sharp woodcut lines, type running on the diagonal and imagery of cables and aerials erupted over a few years through magazines and handbills. The moment Latin American vanguardism found a speed of its own.
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