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 Supergraphics: Wrap shapes from wall onto floor and ceiling, continuing through corners
- Type
- Set in Supergraphics's manner (Size letters from the architecture and let them fill the floor height), and let Swiss's lettering (Neutral sans-serif; be bold with size contrast) appear only where you want the eye to catch.
- Material
- Ground in Supergraphics's material (Large fields of primary paint that override differences in substrate); bring in exactly one thing from Swiss (White space and objective photographs; almost no ornament).
- Colour
- Build on #e9e6dd, #67635d, #171615 and admit one accent from #f1efe8, #ed3b22, #121210.
Where they fight
- Supergraphics and Swiss share no intent, so the contrast has to become the subject rather than something to smooth over.
Caution
- Supergraphics When the shapes fail to reckon with doors and services, the continuity of the surface breaks and the work drops to paint applied at scale.
- Swiss Too much tidiness turns anonymous. Keep one strong jump in scale.
Image prompt
An original image that takes its structure from Supergraphics (Style, 1966–1970s) and its accent from Swiss (Style, 1950s–). Structural cues: Shapes crossing the architecture; Letters turning corners; Large fields of primary color; Perception manipulated. Accent cues, used sparingly: Strict grid; Sans-serif type; Asymmetry; Objective photography. Composition: Wrap shapes from wall onto floor and ceiling, continuing through corners. Type and lettering: Size letters from the architecture and let them fill the floor height. Let one material quality come from the second style: White space and objective photographs; almost no ornament. Mood: Exhilaration, Play, Technology, Trust, Calm. Color: build on #e9e6dd, #67635d, #171615 with a single accent drawn from #f1efe8, #ed3b22, #121210. 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
- Supergraphics 1966–1970s / Style / Signage and Display
Environmental graphics at a scale that overruns the wall, bending geometry and letters around architecture to alter spatial perception itself. Solomon fused Swiss typography with Californian boldness at Sea Ranch.
- Swiss 1950s– / Style / Functionalism
Puts order front and center and makes the information itself the protagonist.
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