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 Minimalism: One message, one focal point, wide margins
- Type
- Set in Minimalism's manner (A light sans-serif or a well-cut serif), and let The Face's lettering (Draw the headline weight from geometry as extra bold, and hold the text in a small sans) appear only where you want the eye to catch.
- Material
- Ground in Minimalism's material (Nearly achromatic; texture in exactly one place); bring in exactly one thing from The Face (Keep a set of section marks that change shape each issue, working in black areas and reversed white).
- Colour
- Build on #efede5, #b7b0a2, #20201d and admit one accent from #f2eee5, #b9a58f, #161513.
Where they fight
These are already listed as related entries, so the join should come easily.
Caution
- Minimalism Missing information is not minimal. Decide priorities before you cut.
- The Face When redrawing the letterforms every issue becomes the aim in itself, the marks stop working as signposts for the reader and every issue looks equally loud.
Image prompt
Produce four original images that take their structure from Minimalism (style, 1960s–) and their accent from The Face (style, 1980s). ## What to make Make the kind of thing Minimalism exists for: focusing attention on a single value, or letting quality speak quietly. Choose one subject and hold it across all four. ## Structure comes from Minimalism - Vast white space - Few elements - Quiet color - Precise spacing Composition: One message, one focal point, wide margins. Type and lettering: A light sans-serif or a well-cut serif. ## Accent comes from The Face, used sparingly - Extra bold headline letters drawn on geometry - Heavy rules and black bars dividing the page - Section marks that change shape issue by issue - Large type laid over the photograph Let one material quality come from it: Keep a set of section marks that change shape each issue, working in black areas and reversed white. ## Colour and feeling Build the ground on #efede5, carry the structure in #b7b0a2 and #20201d, and let a single accent come from #b9a58f. These are read off real works, so a direction rather than a fixed palette. Feeling to carry: calm, trust, luxury. ## What goes wrong - Minimalism: Missing information is not minimal. Decide priorities before you cut. - The Face: When redrawing the letterforms every issue becomes the aim in itself, the marks stop working as signposts for the reader and every issue looks equally loud. ## 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
- Minimalism 1960s– / Style / Functionalism
Removes elements to maximize the meaning and tension of what remains.
- The Face 1980s / Style / Publishing and Editing
Redraws its headline letters and section marks issue by issue, then sets them into a page of heavy rules and black bars with the same weight as the photographs.
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