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 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 Synchromism's lettering (A geometric sans in one weight, set small; the title names the piece and the colour does the speaking.) 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 Synchromism (Saturated unmixed pigment at even opacity, so no plane comes forward merely because it is denser than its neighbour.).
- Colour
- Build on #e9e6dd, #67635d, #171615 and admit one accent from #e9e6dd, #67635d, #171615.
Where they fight
- 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.
- Synchromism Borrowing only the musical metaphor for the palette produces no depth, and once a keyline holds the shapes together the colour stops doing the structural work.
Image prompt
An original image that takes its structure from Orphism (Style, 1912–1914) and its accent from Synchromism (Style, 1912–1918). Structural cues: Concentric circles and rotating discs; Hues arranged in spectral order; Divisions made by intersecting arcs; Simultaneous contrast of colour. Accent cues, used sparingly: Planes ordered along the spectrum; A composition that turns in a vortex; Depth generated by colour alone; Titles borrowed from music. 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. Let one material quality come from the second style: Saturated unmixed pigment at even opacity, so no plane comes forward merely because it is denser than its neighbour.. Mood: Exhilaration, Technology, Futurism. 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
- 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.
- Synchromism 1912–1918 / Style / Geometric Abstraction
The first abstract movement to originate in America, holding that colour itself could be structure on the analogy of musical harmony. Planes laid out in spectral order rotate and generate depth, and form follows colour rather than preceding it. The work titles, Synchromies or chords of colour, were the programme itself.
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