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 Hatsusaburō Panoramic Map: Curve the horizon strongly and stretch the featured area toward the viewer
- Type
- Set in Hatsusaburō Panoramic Map's manner (Vertical brush lettering for place names, larger for the famous ones), and let Schematic Transit Diagram's lettering (Set station names at one constant angle in a single face and size) appear only where you want the eye to catch.
- Material
- Ground in Hatsusaburō Panoramic Map's material (Pale watercolor ground with shrine vermilion and mountain green printed over); bring in exactly one thing from Schematic Transit Diagram (One color per line, white circles for interchanges, plain background behind).
- Colour
- Build on #e9e6dd, #67635d, #171615 and admit one accent from #e9e6dd, #67635d, #171615.
Where they fight
- Hatsusaburō Panoramic Map and Schematic Transit Diagram share no intent, so the contrast has to become the subject rather than something to smooth over.
Caution
- Hatsusaburō Panoramic Map Pushing curve and exaggeration until the order of the route breaks gives a map that is fun to look at and useless on the ground.
- Schematic Transit Diagram Trying to keep a little geographic accuracy breaks the angle rule, and the diagram ends up neither accurate nor easy to read.
Image prompt
An original image that takes its structure from Hatsusaburō Panoramic Map (Style, 1913–1950s) and its accent from Schematic Transit Diagram (Layout, 1933–). Structural cues: Curving horizons; Exaggerated landmarks; Extreme wide-angle views; Painterly color. Accent cues, used sparingly: Lines limited to 45 degrees; Evenly spaced stations; Color-coded lines; Independence from geography. Composition: Curve the horizon strongly and stretch the featured area toward the viewer. Type and lettering: Vertical brush lettering for place names, larger for the famous ones. Let one material quality come from the second style: One color per line, white circles for interchanges, plain background behind. Mood: Exhilaration, Nostalgia, Play, Trust, Technology, Calm. 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
- Hatsusaburō Panoramic Map 1913–1950s / Style / Diagrammatic Expression
The tourist bird's-eye map style perfected by Hatsusaburō Yoshida: extravagantly curved horizons, exaggerated landmarks and a view that pulls distant cities into one sheet, turning Taishō and Shōwa era travel into pictorial maps.
- Schematic Transit Diagram 1933– / Layout / Information Design
Discards geographic accuracy for horizontal, vertical and 45-degree lines with evenly spaced stations. Beck's 1933 London Underground diagram established it as the common language of transit maps worldwide.
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