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 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 Ultraísmo's lettering (Wood and metal display type mixed on one page, with lines set at competing angles.) 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 Ultraísmo (Letterpress on cheap magazine stock, with a woodcut block dropped straight into the text area.).
- Colour
- Build on #e9e6dd, #67635d, #171615 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
- Creacionismo Scattering words for the look of it: here the position of every word is an assertion, and arbitrary placement leaves only a shape.
- Ultraísmo Angling type as a flourish over a conventional column: the angle came from setting language as an image, and without that reason it is styling only.
Image prompt
An original image that takes its structure from Creacionismo (Layout, 1916–1930s) and its accent from Ultraísmo (Layout, 1918–1925). Structural cues: Letters arranged as shapes; Lines of verse recomposed visually; Type without ornament; The white ground used as a component. Accent cues, used sparingly: Diagonal type and open space; Woodcut abstractions as illustration; Short lines with the metaphor compressed; The magazine as the form of publication. 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.. Let one material quality come from the second style: Letterpress on cheap magazine stock, with a woodcut block dropped straight into the text area.. Mood: Futurism, Technology, Calm, Rebellion. 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
- 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.
- Ultraísmo 1918–1925 / Layout / Experimental Typography
A Spanish-language avant-garde that called for poetry compressed into metaphor and stripped of ornament. On the magazine page its type ran diagonally, woodcut abstractions were let in among the lines, and the poem was set as a plate in its own right. The earliest experimental typography to travel back and forth between Iberia and South America.
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