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 Pochoir: Center the figure or product; keep plane and margin contours clean
- Type
- Set in Pochoir's manner (Fine serifs and restrained captions), 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 Pochoir's material (Opaque spot colors layered per stencil; keep the small density shifts); 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 #eadcc5, #d16458, #527f83 and admit one accent from #f2eee5, #b9a58f, #161513.
Where they fight
- Pochoir and The Face stand roughly 90 years apart. Keep one of them recognisably period rather than letting both drift into the middle.
Caution
- Pochoir Not the same as flat vector fills. Design the stencil separations, printing order and hand variance.
- 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 Pochoir (technique, 1890s–1930s) and their accent from The Face (style, 1980s). ## What to make Make the kind of thing Pochoir exists for: flat, luxurious plates of fashion and ornament, or handworked color for limited editions. Choose one subject and hold it across all four. ## Structure comes from Pochoir - Sharp color planes - Stencil edges - Hand-color variance - Fashion plates Composition: Center the figure or product; keep plane and margin contours clean. Type and lettering: Fine serifs and restrained captions. ## 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 #eadcc5, carry the structure in #d16458 and #527f83, 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: luxury, intimacy, nostalgia, calm. ## Where they fight - Pochoir and The Face stand roughly 90 years apart. Keep one of them recognisably period rather than letting both drift into the middle. ## What goes wrong - Pochoir: Not the same as flat vector fills. Design the stencil separations, printing order and hand variance. - 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
- Pochoir 1890s–1930s / Technique / Stencil Printing
Builds print color stencil by stencil, giving publications the crisp planes and fine variance of hand coloring.
- 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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