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 Expressionism: Drop perspective, press figures against the edge, leave unstable gaps
- Type
- Set in Expressionism's manner (Cut the letters by hand and keep the tremor and unevenness), and let Fauvism's lettering (Brush lettered forms, nothing geometric, read by complementary against the ground) appear only where you want the eye to catch.
- Material
- Ground in Expressionism's material (Set complements side by side, keep the cut marks and paint body); bring in exactly one thing from Fauvism (Unmixed saturated pigment, vermilion, viridian and cobalt, laid thick on untouched white).
- Colour
- Build on #e9e6dd, #67635d, #171615 and admit one accent from #e9e6dd, #67635d, #171615.
Where they fight
- Both belong to Avant-garde, so the difference is small. Push the roles further apart than feels comfortable.
Caution
- Expressionism Distortion applied evenly as an effect erases what the feeling is about, and the picture looks like realism with a filter over it.
- Fauvism Covering the whole surface with strong colour stops the vibration between neighbours and leaves noise. Always keep the bare white ground that lets the clash register.
Image prompt
An original image that takes its structure from Expressionism (Style, 1905–1930s) and its accent from Fauvism (Style, 1904–1908). Structural cues: Distorted form; Unnatural color; Rough brush and cut; Urban anxiety. Accent cues, used sparingly: Pure colour straight from the tube; Complementaries set directly side by side; Bare white ground left unpainted; Rough brushstrokes doubling as contours. Composition: Drop perspective, press figures against the edge, leave unstable gaps. Type and lettering: Cut the letters by hand and keep the tremor and unevenness. Let one material quality come from the second style: Unmixed saturated pigment, vermilion, viridian and cobalt, laid thick on untouched white. Mood: Rebellion, Exhilaration, Intimacy. 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
- Expressionism 1905–1930s / Style / Avant-garde
Painting what was felt rather than what was seen. Warped forms, violent brushwork and unnatural color moved the anxiety of the city and the age straight onto the surface.
- Fauvism 1904–1908 / Style / Avant-garde
A short-lived movement that severed colour from the depiction of its subject, slamming pure hues onto the canvas as flat planes. The brushstroke itself carries the contour, and adjacent complementaries make the surface vibrate. It became the starting point for every later design that uses colour as a device of emotion.
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