A dictionary of design styles, written from the works themselves.
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241
ライト・アンド・スペース / 1960s– / Style / Geometric Abstraction
The Southern California movement that takes light itself, spatial perception and the limits of vision as material. Turrell's openings to the sky and Irwin's scrims make the act of seeing the artwork.
Objects erased / Rooms filled with light / Thresholds of perception / Apertures to the sky
242
モダニズム展示デザイン / 1920s–1940s / Style / Exhibition Design
The modernist movement that designed the exhibition as printed matter you walk through. Lissitzky's dynamic installations and Bayer's extended field of vision invented display as an information space that edits the visitor's path and gaze.
Choreographed circulation / Tilted panels / Photography at giant scale / Compositions wrapping the field of view
243
バクストの舞台美術 / 1909-1914 / Style / Stage Design
Sets and costumes rebuilt as a painter's single picture. Jewel-deep colors laid over one another, with swirling curves and orientalist pattern drawing the dancing body itself into the design.
Combinations of jewel deep color / Pattern laid over pattern in the costumes / Swirling Art Nouveau curves / Orientalist headdresses and loose trousers
244
バウハウスの舞台 / 1921–1929 / Style / Stage Design
Schlemmer's stage workshop turned the body into geometry. Spheres and cones in the Triadic Ballet costumes set the human figure dancing as a form in space, and performance art traces its origin to them.
Geometrized bodies / Costumes of spheres and cones / Three acts by color / Choreography as spatial figure
245
構成主義舞台美術 / 1922–1930s / Style / Stage Design
Revolutionary Russia's style that discarded painted backdrops for a bare working machine on stage. The turning structure Popova built for The Magnanimous Cuckold remade stage design as working construction.
Bare structures / Turning wheels and ramps / No backdrop / Biomechanics of the actor's body
246
新舞台芸術 / 1890s–1930s / Style / Stage Design
The stage reform that dropped painted realism for light, levels and simple volumes shaping space for music and the body. Appia's living light and Craig's moving screens created the very profession of lighting design.
Form made by light / Abstract space of steps and ramps / Painted flats banished / Compositions of simple volumes
247
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コンメディア・デッラルテ / 16th–18th century / Style / Stage Design
Masks and fixed costumes let Italy's improvised comedy name each character at a glance. Harlequin's lozenges and Pulcinella's white belong to a system of visual signs that art, fashion and graphics have never stopped quoting.
Leather half-masks / Harlequin's lozenge pattern / Type-defining costume / Exaggerated gesture
248
隈取 / 1673– / Style / Stage Design
Kabuki makeup that exaggerates muscle and vein in red and indigo lines, diagramming a role's character on the face. With Sharaku's actor prints, the origin of the strong graphic face in Japanese design.
Red and indigo kuma lines / Musculature drawn as pattern / White ground / A color code of character
249
ベガースタッフ・スタイル / 1894–1899 / Style / Advertising Posters
Nicholson and Pryde's cut-paper poster style: contours dropped, subjects summarized in flat shapes of few colors. Commercially unsuccessful in its day, its radical economy anticipated the 20th-century poster.
Flat cut-paper shapes / Omitted contours / Large fields of few colors / Boldness that looked unfinished
250
ロスタの窓 / 1919–1921 / Style / Printmaking and Social Movements
During the civil war the ROSTA news agency pasted stencil-replicated poster serials in the windows of empty shops. Mayakovsky and others turned the news into comic-strip panels of simple shapes and rhymed verse, inventing the prototype of rapid-response graphics.
Simple stencil shapes / Storytelling in panels / Red and black as signal colors / Rhymed captions
251
ルボーク / 17th–19th century / Style / Popular Prints
Russia's popular print: thick outlines, flat hand-coloring, image and text sharing the sheet, circulating sacred stories and satire cheaply. The avant-garde rediscovered it in the 20th century as Russia's native form.
Thick outlines / Flat hand-coloring / Image and text together / Satire and story
252
エピナル版画 / 1796– / Style / Popular Prints
Pellerin of Épinal mass-produced popular prints whose clear outlines and stencil color told stories, armies and morals. They shaped popular vision so completely that 'image d'Épinal' came to mean a rosy cliché.
Clear outlines / Bright stencil coloring / Stories in panels / Morals and hero tales
253
ポサダのカラベラ / 1880s–1913 / Style / Popular Prints
The skeleton satires Posada engraved for Mexican broadsides: dressed-up calaveras laughing at class and death alike. La Catrina became a national icon of the Day of the Dead and Mexican graphics.
Personified skeletons / Rough zinc-etched lines / Sharing the sheet with broadside type / Satire that laughs at death
254
プッシュピン・スタイル / 1954–1980s / Style / Illustration Styles
Glaser and Chwast's studio worked as the counterpoint to Swiss rationalism, building an illustration-led eclecticism out of historical styles, comics and popular prints. Fat contours and ornamental planes of color repainted the magazines and records of the 1960s and 70s.
Eclectic historical revival / Fat contours, ornamental color / Illustration-led composition / Wit and quotation
255
グラピュス / 1970–1991 / Style / Regional Graphics
The French collective was born out of May '68. Hand-scrawled letters, splatters and graffiti over photographs brought a festive roughness to posters for politics, theater and city halls, and made resistance to polish into a style.
Rough hand-drawn lettering / Splatter and graffiti / Interventions on photographs / Anonymous collective authorship
256
スイス・パンク・タイポグラフィ / 1970s–1980s / Style / Experimental Typography
In Basel, the home of Swiss style, Weingart took the grid apart from the inside. Exploded letterspacing, stepped settings and layered film exposures turned rebellion within discipline into New Wave typography.
The grid dismantled / Exploding letterspacing / Stepped compositions / Layered-film textures
257
中国プロパガンダ・ポスター / 1949–1980s / Style / Regional Graphics
The mass-distributed persuasion pictures of the PRC from founding through the Cultural Revolution: the nianhua folk tradition fused with Soviet socialist realism into red suns, flushed cheeks and arms pointing to the future.
Dominance of red / Idealized workers / Compositions pointing upward / Flat color from the nianhua tradition
258
ボリウッド手描きポスター / 1930s–1990s / Style / Regional Graphics
Mumbai's poster workshops painted film advertising in oil on giant canvases. Saturated color, montages of several scenes and exaggerated star faces ruled the Indian street for half a century, until digital printing arrived.
Oil-paint brushwork / Saturated color / Exaggerated faces, multiple scenes / Hand-painted Devanagari lettering
259
ガーナ手描き映画ポスター / 1980s–2000s / Style / Regional Graphics
Ghana's hand-painted movie posters on flour-sack canvas, made for mobile cinema: unconstrained imagination reinterpreting Hollywood with exaggeration and local horror into a painting style like no other.
Flour-sack canvas / Exaggerated violence and muscle / Free departure from the actual film / Hand-painted title lettering
260
チチャ・ポスター / 1980s– / Style / Regional Graphics
Lima's cumbia shows produced a fluorescent poster style. Hand-drawn letters in day-glo pink and green on black shout loudly enough to be read from a passing night bus, and the look is now reclaimed as the aesthetic of Andean migrants to the city.
Fluorescent color on black / Heavy hand-drawn letters / Layered silkscreen / Maximum night visibility
261
南アジアのトラックアート / 1940s– / Style / Signage and Display
Painted decoration covers every surface of the trucks of Pakistan and India. Floral phool patti, portraits of heroes and saints, and relief work in mirrors and chains turn a working vehicle into a rolling palace of pride.
All-over floral patterning / Panels of portraits and landscapes / Relief of mirrors, metal and chains / Calligraphy and slogans
262
フィレテアード・ポルテーニョ / 1900s– / Technique / Signage and Display
Buenos Aires's decorative linework grew out of cart painting and shop signs. Swirling acanthus, ribbons, flowers and heavily shaded letters work as a single system in this urban brush craft, now inscribed by UNESCO.
Swirling acanthus and ribbons / Heavily shaded ornamental letters / Symmetrical framing / Traditional blue, gold and red
263
ティンガティンガ / 1968– / Style / Popular Painting
Edward Saidi Tingatinga began painting in Dar es Salaam with bicycle enamel. Glossy flat color, animals in bold outline and a surface with no empty ground were carried on as a cooperative's house style, and the school became East Africa's defining popular painting.
Enamel gloss / Bold-outlined animals / Flat color fields / Pattern filling the ground
264
パプニャ・トゥラ / 1971– / Style / Regional Graphics
Elders of the Western Desert moved ceremonial sand designs onto acrylic and canvas. Fields of dots with concentric circles and journey lines paint Country as map-like knowledge, and the movement opened a place for Indigenous art within contemporary art.
Fields of dots / Concentric circles and journey lines / Map-like aerial composition / The color range of the land
IndexStyle is not a list of every term used around design. An independent entry must describe a visual language that can be recognised, reproduced and distinguished from its neighbours. Editorial standard