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 De Stijl: Divide the plane with orthogonals; shift the weight off center
- Type
- Set in De Stijl's manner (A rectilinear sans; treat letters as rectangles too), and let Swiss's lettering (Neutral sans-serif; be bold with size contrast) appear only where you want the eye to catch.
- Material
- Ground in De Stijl's material (White, black, primaries; ration the colored planes); bring in exactly one thing from Swiss (White space and objective photographs; almost no ornament).
- Colour
- Build on #f2efe2, #d53225, #1f4b93 and admit one accent from #f1efe8, #ed3b22, #121210.
Where they fight
These two are already listed as related, so the join should come easily.
Caution
- De Stijl Not just red-blue-yellow squares. Design the ratios and the asymmetric balance.
- Swiss Too much tidiness turns anonymous. Keep one strong jump in scale.
Image prompt
An original image that takes its structure from De Stijl (Style, 1917–1931) and its accent from Swiss (Style, 1950s–). Structural cues: Vertical and horizontal; Red, blue, yellow; White planes; Asymmetric equilibrium. Accent cues, used sparingly: Strict grid; Sans-serif type; Asymmetry; Objective photography. Composition: Divide the plane with orthogonals; shift the weight off center. Type and lettering: A rectilinear sans; treat letters as rectangles too. Let one material quality come from the second style: White space and objective photographs; almost no ornament. Mood: Trust, Calm, Technology. Color: build on #f2efe2, #d53225, #1f4b93 with a single accent drawn from #f1efe8, #ed3b22, #121210. 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
- De Stijl 1917–1931 / Style / Geometric Abstraction
Restricts the vocabulary to vertical, horizontal and primary color, building universal order from balance.
- Swiss 1950s– / Style / Functionalism
Puts order front and center and makes the information itself the protagonist.
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