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 Rayonism: Assume a light source outside the frame, cross sharp shafts, planes only where they meet
- Type
- Set in Rayonism's manner (Sharp, angular display type set on the diagonal, almost absorbed into the ray structure), 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 Rayonism's material (A few translucent colors layered over a dark or neutral ground, densest where they cross); bring in exactly one thing from Suprematism (White, black and red at the core; restrict the palette).
- Colour
- Build on #adaabe, #df9d09, #21201f and admit one accent from #f1eee4, #cd2d24, #22211d.
Where they fight
These are already listed as related entries, so the join should come easily.
Caution
- Rayonism Drawing the object and adding rays on top leaves contours beneath the lines and the dissolution into light fails, and rays that never build planes at their crossings stay mere diagonal decoration.
- 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 Rayonism (style, 1912–1914) and their accent from Suprematism (style, 1915–1920s). ## What to make Make the kind of thing Rayonism exists for: drawing invisible phenomena such as speed or radio waves as bundles of crossing lines, or covers and backgrounds that leave only a trace of the subject without ever depicting it. Choose one subject and hold it across all four. ## Structure comes from Rayonism - Sharp bundles of diagonal lines - Planes formed where lines intersect - Disappearance of the object's contour - Layering of a restricted palette Composition: Assume a light source outside the frame, cross sharp shafts, planes only where they meet. Type and lettering: Sharp, angular display type set on the diagonal, almost absorbed into the ray structure. ## 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 #adaabe, carry the structure in #df9d09 and #21201f, 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: technique, exhilaration, calm, futurity. ## What goes wrong - Rayonism: Drawing the object and adding rays on top leaves contours beneath the lines and the dissolution into light fails, and rays that never build planes at their crossings stay mere diagonal decoration. - 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
- Rayonism 1912–1914 / Style / Avant-garde
A Russian abstraction that declared its subject to be not objects themselves but the crossing of light rays reflected from them. Sharp diagonal bundles of lines intersect, dissolving the object into an interference pattern of light. It marked the point where Russian abstraction broke away from Cubism.
- Suprematism 1915–1920s / Style / Geometric Abstraction
Leaves depiction behind, raising felt tension from a few geometric forms and empty space.
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