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 Orphism: Concentric and interlocking discs sliced by arcs radiating from off centre pivots
- Type
- Set in Orphism's manner (A rounded geometric sans used sparingly, letters following the arcs with shifting density), and let Suprematism's lettering (Keep type small and neutral, apart from the forms' motion) appear only where you want the eye to catch.
- Material
- Ground in Orphism's material (Spectrum ordered hues in flat even segments, with little lightness difference between neighbours); bring in exactly one thing from Suprematism (White, black and red at the core; restrict the palette).
- Colour
- Build on #f1f2f1, #aa3423, #404663 and admit one accent from #f1eee4, #cd2d24, #22211d.
Where they fight
- Orphism and Suprematism both belong to Geometric Abstraction, so the difference is small. Push the roles further apart than feels comfortable.
Caution
- Orphism Avoid letting the discs decay into generic rainbow ornament; the arcs must follow simultaneous-contrast logic, each hue chosen against its neighbour.
- Suprematism Don't stop at scattering shapes. Feel the gravity and spacing continuing beyond the frame.
Image prompt
Produce four original images that take their structure from Orphism (style, 1912–1914) and their accent from Suprematism (style, 1915–1920s). ## What to make Make the kind of thing Orphism exists for: turning the spread of sound or light into a figure that stays on a still surface, or decorative panels and drapes on rotation and cycle, set moving by colour alone. Choose one subject and hold it across all four. ## Structure comes from Orphism - Concentric circles and rotating discs - Hues arranged in spectral order - Divisions made by intersecting arcs - Simultaneous contrast of colour Composition: Concentric and interlocking discs sliced by arcs radiating from off centre pivots. Type and lettering: A rounded geometric sans used sparingly, letters following the arcs with shifting density. ## Accent comes from Suprematism, used sparingly - Floating rectangles - White space - Diagonal gravity - Restricted color Let one material quality come from it: White, black and red at the core; restrict the palette. ## Colour and feeling Build the ground on #f1f2f1, carry the structure in #aa3423 and #404663, and let a single accent come from #cd2d24. These are read off real works, so a direction rather than a fixed palette. Feeling to carry: exhilaration, technique, calm, futurity. ## Where they fight - Orphism and Suprematism both belong to Geometric Abstraction, so the difference is small. Push the roles further apart than feels comfortable. ## What goes wrong - Orphism: Avoid letting the discs decay into generic rainbow ornament; the arcs must follow simultaneous-contrast logic, each hue chosen against its neighbour. - Suprematism: Don't stop at scattering shapes. Feel the gravity and spacing continuing beyond the frame. ## 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
- Orphism 1912–1914 / Style / Geometric Abstraction
An abstraction that returned colour and movement to Cubist fragmentation, painting light itself through rings of simultaneous contrast. Rotating discs and a refracted spectrum generate time and vibration within a static surface. One of the first practices to translate the theory of simultaneous colour contrast into form.
- Suprematism 1915–1920s / Style / Geometric Abstraction
Leaves depiction behind, raising felt tension from a few geometric forms and empty space.
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