IndexStyle

A dictionary of design styles, written from the works themselves.

It is plain HTML. It opens on any browser and any device, with no app and no account, and machines read the same page.

Terms598

Dictionary

Search by style name or describe what you are making. Name matches come first; purpose, desired effect and medium add relevant alternatives.

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visionOS Spatial Design — visionOS 2 home screen, 2025 — Wikimedia Commons / CC0visionOS Spatial Design — visionOS 2 with app windows over the real surroundings, 2025 — Wikimedia Commons / CC0visionOS Spatial Design — visionOS 26 Control Center, 2025 — Wikimedia Commons / CC0

visionOS Spatial Design

visionOS 空間デザイン / 2023– / Style / Apple UI

The screen language Apple set out for Vision Pro in its Human Interface Guidelines. A window is an upright plane whose background is a material Apple calls glass, so the room shows through it while specular reflections and shadows report where the plane sits and how big it is. visionOS defines a point as an angle rather than a count of pixels, which keeps a window's apparent size constant as it moves away.

An upright plane with a glass background that cannot be swapped out, carrying specular reflections and shadows / A default window of 1280x720 pt, opening about two metres away with an apparent width near three metres / A hover effect that lights only the element being looked at, with one rounded target region per control / Volumes have no visible frame, and their close button and window bar rotate to face whoever walks around them

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Windows 95 Interface — Polish edition of Windows 95, desktop and Start menu — Wikimedia Commons / CC0Windows 95 Interface — Windows 95 build 4.00.116, right-click menu, 1994 — Wikimedia Commons / Public domainWindows 95 Interface — Windows 95 build 4.00.180, "Close Program" dialog, 1994 — Wikimedia Commons / Public domain

Windows 95 Interface

Windows 95 インターフェース / 1995–2001 / Style / Microsoft UI

The screen language Microsoft set down in its 1995 handbook for software design. Gray panels are carved with a doubled outer and inner edge, so the direction of the shadow alone says what can be pressed. A bar sits permanently along the bottom, and every application is assembled from the same system parts.

Gray panels framed by a doubled edge, one light line and one dark line, outside and inside / A bar pinned to the bottom of the screen with a single square button at its left end / A flat navy title bar with three small squares grouped at its right end / Small bitmap text with no antialiasing, one letter underlined to mark the keyboard shortcut

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Holo — Android 4.0 home screen (Galaxy Nexus), 2011 — Wikimedia Commons / CC BY 2.5Holo — Android 4.1 lock screen (Galaxy Nexus), 2012 — Wikimedia Commons / CC BY 2.5Holo — Android 4.3 alert dialog and list screen, 2014 — Wikimedia Commons / Public domain

Holo

ホロ / 2011–2014 / Style / Google UI

Google's design language for Android, introduced with 3.0 and pushed so hard that carrying it unmodified became a compatibility requirement for every 4.0 device. It rules a black ground with hairlines and lets a single cyan blue carry selection, focus and progress. It arrived as a guarantee as much as a look, since an app that asked for the theme by name would be drawn the same way even on a phone wearing a manufacturer's skin.

White text on black, with sections divided by one pixel hairlines instead of filled panels / A single cyan blue at #33B5E5 lighting only selection, the underline of a text field, and progress / A full width action bar pinned to the top, and a strip of Back, Home and Recents keys at the bottom / Tab labels and list section headers set in bold, all uppercase

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Motif — Default screen of the Motif Window Manager (mwm), 2014 — Wikimedia Commons / CC0Motif — xpdf with a menu open — Wikimedia Commons / CC BY-SA 3.0Motif — CDE desktop built with Motif, 2012 — Wikimedia Commons / CC BY-SA 3.0

Motif

モチーフ / 1989– / Style / Platform Screen Languages

Motif is the interface language of UNIX workstations, maintained by The Open Group, standardized as IEEE 1295 and shipped on more than two hundred platforms. Its own data sheet calls the look a distinctive 3D beveled appearance, meaning every part sits on a gray face edged with one light line and one dark line.

A gray face lit along its top and left edges and darkened along its bottom and right, so every part appears raised / While a control is held down the two edge colors swap and the part sinks / A thin rectangular ring is drawn around whichever control currently takes keyboard input / Scroll bars are square cornered rectangles with a triangular arrow button at each end

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OPEN LOOK — OPEN LOOK style windows and window menu (olvwm), 2016 — Wikimedia Commons / CC BY-SA 4.0OPEN LOOK — Sun Microsystems, widget samples from The NeWS Toolkit — Wikimedia Commons / CC BY-SA 3.0OPEN LOOK — olvwm root menu and virtual desktop manager, 2013 — Wikimedia Commons / CC BY-SA 3.0

OPEN LOOK

オープンルック / 1988–1990s / Style / Platform Screen Languages

A screen language for Unix workstations, specified by Sun Microsystems in a functional specification published by Addison-Wesley in 1989. The book defines two parallel designs, one black and white for monochrome displays and one three dimensional for grayscale and colour, sets a single sans serif variable width face for every common element, and tells implementers that restraint is the key to colour. Each pop-up window carries a pushpin at the left of its header, and pinning it leaves the window on the workspace.

A pushpin at the left end of a pop-up window's header, which pins the window to the workspace instead of dismissing it / Three dots after a label announce a window, an outlined triangle announces a menu / Scrollbars split into an elevator, a cable and top and bottom cable anchors, with the dark part of the cable showing how much is in view / The workspace is a 50 percent dither pattern and menu drop shadows are a 75 percent pattern

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NeXTSTEP Interface — The WorldWideWeb browser on NeXTSTEP — Wikimedia Commons / Public domainNeXTSTEP Interface — Thomas Schanz, NeXTSTEP 3.3 on an HP9000 715, 2018 — Wikimedia Commons / CC BY-SA 4.0NeXTSTEP Interface — Electronic AppWrapper and 3D Reality on NeXTSTEP — Wikimedia Commons / CC BY-SA 4.0

NeXTSTEP Interface

ネクストステップ・インターフェース / 1988–1997 / Style / Platform Screen Languages

The screen language NeXT laid down in its 1993 interface guidelines. The document states the goal outright: a color scheme based on black, white, and gray, and a simple appearance that uses shading for a three dimensional effect. The main menu stands as a vertical column at the upper left, and docked application icons run down the right edge.

A menu standing as a vertical column at the upper left, submenus attaching to its right / Square application icons docked in a vertical strip along the right edge of the screen / Thick bevels carved entirely from gray values, with no hue anywhere in them / A black title bar on the window taking keystrokes, dark gray on a window that is merely frontmost

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Amiga Workbench — Amiga Workbench 1.x screen, 1985 — Wikimedia Commons / CC BY-SA 4.0Amiga Workbench — The Maddestman, Workbench 1.2 drawer window, 2017 — Wikimedia Commons / CC BY-SA 4.0Amiga Workbench — Chiffre01, Amiga Workbench 3.1 screen, 2018 — Wikimedia Commons / CC BY-SA 4.0

Amiga Workbench

アミガ・ワークベンチ / 1985–1996 / Style / Platform Screen Languages

The screen language Commodore set down for the Amiga in its own style guide. Early Workbench works in four colors, blue with white and orange, and packs Topaz, a blocky bitmap face, into a 640 by 200 grid. Its signature move is that the screen itself is a layer, so grabbing the bar at the top and dragging it down reveals another screen running behind it with its own palette and resolution.

A screen that uses four colors and no more, which are blue, white, orange and black / A blocky bitmap face packed into a coarse 640 by 200 grid / A full width title bar running across the top of the screen, with depth gadgets at its right end / Live controls raised by a light line at the top left and a dark line at the bottom right, inverting to a sunken state when pressed

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BeOS Interface — Tullius, BeOS screen, 2005 — Wikimedia Commons / CC BY-SA 3.0BeOS Interface — Deavmi, Haiku Terminal settings window, 2017 — Wikimedia Commons / CC BY-SA 4.0BeOS Interface — Avodjag, Haiku Deskbar menu, 2013 — Wikimedia Commons / CC BY-SA 3.0

BeOS Interface

BeOS インターフェース / 1995–2001 / Style / Platform Screen Languages

Be's interface language threw away the full width title bar and put a short yellow tab on the top edge of each window instead. The user's guide calls sliding that tab a unique feature of Be windows: hold Shift and the tab travels sideways, so stacked windows leave a row of visible tabs rather than burying one another.

Only the front window's tab is yellow; every other window keeps a gray tab / The tab is as wide as the window's name, not as wide as the window / Holding Shift and dragging the tab slides it along the top edge of the window / The Deskbar stands in the upper right corner with running applications stacked below it

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Adwaita — Nathan Hadley, GNOME Settings 48, 2025 — Wikimedia Commons / CC BY-SA 4.0Adwaita — Nathan Hadley, GNOME Text Editor 47, 2025 — Wikimedia Commons / CC BY-SA 4.0Adwaita — Frap, GNOME Files screen, 2025 — Wikimedia Commons / CC0

Adwaita

アドワイタ / 2011– / Style / Platform Screen Languages

Adwaita is the name GNOME gives its default visual style, defined in the project's Human Interface Guidelines. One set of components has to carry a light style, a dark style and a high contrast style, so colour arrives as named variables that switch rather than as fixed values. A header bar crosses the top of every window holding buttons drawn with no background and no border, and interface icons are monochrome symbolics built on a 16 by 16 pixel grid.

A single header bar across the top of the window, laid out on three alignment points with the window heading in the centre / Header bar buttons carry no background and no border, leaving only the symbol and the label on the surface / Monochrome symbolic icons drawn at 16 by 16 pixels with 2 pixel strokes and no perspective / A published palette of five steps per hue, including Blue 3 at #3584e4

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Metal (Java Look and Feel) — DavidL, Metal look and feel in Swing, 2020 — Wikimedia Commons / CC BY-SA 4.0Metal (Java Look and Feel) — Apache Software Foundation, Apache JMeter 2.3.3 screen, 2009 — Wikimedia Commons / CC BY-SA 3.0Metal (Java Look and Feel) — Kateregga1, JOSM preferences screen, 2018 — Wikimedia Commons / CC BY-SA 4.0

Metal (Java Look and Feel)

メタル（Java ルック＆フィール） / 1998– / Style / Platform Screen Languages

Sun's default look and feel for Swing, built so that a program looks the same on every operating system. Metal was Sun's internal project name for it and stuck as the public one. Blue violet fills, thin straight borders, and a flat refusal to imitate the host platform are its signature.

Internal window title bars laid as a deep blue violet band over a pale blue violet field / A fine texture of dots and diagonal ticks stamped into title bars and dividers / Rectangular buttons with no corner radius, ringed by a one pixel deep blue violet line / The host system draws the outer window frame while everything inside it follows a different visual language

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One UI — Armen777444, One UI 7 Device care screen, 2025 — Wikimedia Commons / CC BY 4.0One UI — One UI 5 home screen, 2023 — Wikimedia Commons / Public domainOne UI — Paowee, Samsung Internet 27 screen, 2024 — Wikimedia Commons / CC BY-SA 4.0

One UI

ワンUI / 2018– / Style / Platform Screen Languages

Samsung's design language for Galaxy devices. It cuts the screen at the height a thumb reaches most easily and calls the part above that the viewing area and the part below the interaction area, so titles sit high while buttons, tabs and dialogs are gathered low. Content is collected into containers with heavily rounded corners, the ground is either white or true black, and a single blue carries every accent.

The upper part of the screen holds nothing but a title and open space, with no touchable control in it / Text and images are collected into card shaped containers with strongly rounded corners / The title bar has only two states, expanded and collapsed, and never rests anywhere in between / In the dark theme the ground goes to true black and only the blue accent sits on top of it

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XrossMediaBar (XMB) — Tatcher, XMB on a Sony BRAVIA, 2010 — Wikimedia Commons / CC BY-SA 3.0XrossMediaBar (XMB) — CommandProMC, XMB on a Sony BRAVIA KDL, 2022 — Wikimedia Commons / CC0

XrossMediaBar (XMB)

クロスメディアバー / 2003–2013 / Layout / Platform Screen Languages

Sony's trademarked interface language for its consoles and televisions. As the official manual puts it, the horizontal row shows system features in categories and the vertical column shows the items available under each category, and the single point where the two cross lights up gold to say where you are. Everything else stays pale blue on a dark field.

A horizontal row and a vertical column cross slightly left of center, and only the item at that crossing glows gold / Text labels appear for the selected item alone; the rest of the rows are icons only / The ground is one near black navy and the icons are thin pale blue outlines rather than filled shapes / Left and right move through categories, up and down through items, but it is the rows that slide while the crossing stays put

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Magic Cap — Josh Carter, Sony Magic Link, 2010 — Wikimedia Commons / CC BY-SA 3.0Magic Cap — Blake Patterson, Sony Magic Link in use, 2010 — Wikimedia Commons / CC BY 2.0Magic Cap — Blake Patterson, Motorola Envoy, 2010 — Wikimedia Commons / CC BY 2.0

Magic Cap

マジックキャップ / 1994–1998 / Aesthetic / Platform Screen Languages

The interface General Magic put on its communicating handhelds, running on the Motorola Envoy and the Sony Magic Link. Instead of imitating single objects it imitates a place, opening on an Office where a telephone, a Rolodex, a notepad and a calendar sit on a desk, with a wall clock, in and out boxes and a filing cabinet behind it. From there a Hallway, furnished and hung with pictures, leads to the Game Room, the Living Room, the Storeroom and the Control Room.

An opening screen where a telephone, a Rolodex, a notepad and a calendar sit on a desk / A wall clock, in and out boxes and a filing cabinet drawn on the wall behind that desk / Movement between rooms goes through a hallway that is itself furnished and hung with pictures / Line drawings on a coarse grayscale display, touched directly with a stylus rather than a finger

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GOV.UK Design System — GDS Transport set on the GOV.UK homepage, 2025 — Wikimedia Commons / Public domain

GOV.UK Design System

GOV.UK デザインシステム / 2012– / Style / Platform Screen Languages

The design language the UK government's Government Digital Service publishes and maintains for public services. Everything runs in one undecorated left aligned column set in GDS Transport, and the green button keeps square corners while carrying a darker green band along its bottom edge, dropping by exactly that depth when pressed. Whatever holds keyboard focus turns yellow with a black rule under it.

One undecorated left aligned column, with almost no boxes and no shadows / A green button with square corners and a darker green band along its bottom edge, which drops by that exact depth when pressed / Whatever holds keyboard focus turns yellow with a black rule drawn beneath it / Type sizes step coarsely through 48, 36, 24, 19 and 16px with nothing in between

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Scrollytelling — AI-generated interpretation
AI interpretation, not a reference

Scrollytelling

スクロールテリング / 2012– / Layout / Reading on the Web

A web page form in which the reader's scroll position is the clock of the story, with graphics, maps and video changing as the page moves and reversing when the reader scrolls back. Visualization researchers treat it as the web equivalent of long form journalism and describe its structure as either linear or elastic, the elastic kind letting a reader dive deeper on demand. News outlets including the New York Times, the BBC and The Economist built the form out.

A graphic that holds still on screen while a single narrow column of text passes over it / Changes made by opacity and by moving a map, so that scrolling back undoes them in the same order / Photography, video and data visualization sharing one article / A path that is either straight through or branches into an optional deeper detour and returns

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Infinite Canvas — Scott McCloud, The Right Number, 2003 — Wikimedia Commons / Public domain

Infinite Canvas

インフィニット・キャンバス / 2000– / Layout / Reading on the Web

Scott McCloud's name, given in Reinventing Comics in 2000, for a way of laying out webcomics. The screen is treated as a window onto one unbroken surface rather than as a page, so panels can run in any direction for any distance. Because the medium measures time with space, the gap between panels becomes the pace of the story.

A surface far taller or wider than any paper format, with no page break anywhere in it / The story slowing where panels drift apart and quickening where they crowd together / Panel runs that step down like a staircase or wind into a spiral, arrangements a page could not hold / One panel dwarfing its neighbour many times over, a range no fixed format would allow

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Webtoon (Vertical-Scroll Comics) — Second generation webtoon in a single vertical column, 2014 — Wikimedia Commons / CC BY-SA 4.0

Webtoon (Vertical-Scroll Comics)

ウェブトゥーン（縦スクロール漫画） / 2003– / Layout / Reading on the Web

A comics layout that grew on Korean portals and runs down a single column. The blank space between panels stops being a mere break and becomes the material, because its length carries elapsed time or a change of scene while it also takes on background colour, falling rain, and even the dialogue lifted out of the frames. Since the reader cannot glance ahead, the act of scrolling becomes the passage of story time.

Panels line up in a single vertical column, with nowhere for the eye to move sideways / The blank between panels runs longer than the panels themselves and holds background colour, falling rain, or dialogue / A single panel roughly eight times taller than it is wide, needing several scrolls before it can be seen whole / Full colour from the outset, drawn to one fixed width matched to the screen

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Explorable Explanations — Vi Hart and Nicky Case, Parable of the Polygons, 2014 — Wikimedia Commons / CC0Explorable Explanations — Nicky Case, To Build a Better Ballot, 2016 — Wikimedia Commons / CC0Explorable Explanations — Piotr Migdał, Virtual Lab by Quantum Flytrap, 2024 — Wikimedia Commons / CC BY-SA 4.0

Explorable Explanations

エクスプローラブル・エクスプラネーション / 2011– / Technique / Reading on the Web

The name Bret Victor gave, in a March 2011 essay of the same title, to writing that embeds a running model inside the prose. Numbers in the body text carry a dotted underline and can be dragged, and pulling one rewrites the rest of the sentence and the figure beside it at the same time. He described the result as a written argument whose assertions are backed by explorable computational models.

Numbers inside the running text sit on a dotted underline and turn blue when touched / Dragging one of those numbers rewrites the following sentence and the neighboring figure at once / Figures are not quarantined in a separate sandbox but sit continuous with the paragraphs around them / Untouched, the piece still reads, because the default values already make the figures meaningful

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FUI (Fantasy User Interface) — LCARS panel from Star Trek: Voyager, photographed 2016 — Wikimedia Commons / CC BY-SA 4.0FUI (Fantasy User Interface) — Enterprise-D bridge console from Star Trek: The Next Generation, photographed 2008 — Wikimedia Commons / CC BY-SA 2.0

FUI (Fantasy User Interface)

架空ユーザーインターフェース / 1997– / Style / UI Expression

The name that stuck to the craft of making the screens that appear inside films. It spread around the work of Mark Coleran, who says he is given credit for the term without being sure he can take it, and who describes these screens as illustration and a storytelling device that was never designed to be used. He works with light, shape, form, movement and sound so that each film screen has one thing the audience is meant to read.

One thing per screen that the audience is meant to read, with everything else present as density / Columns of monospaced figures updating continuously while computing nothing / Thin luminous lines on black, with shapes drawn as outlines and almost no fill / Frames and controls that look like plausible equipment rather than pure abstraction

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Diegetic UI — Three One Zero, ADR1FT, 2014 — Wikimedia Commons / CC BY-SA 3.0

Diegetic UI

ダイエジェティックUI / 2009– / Technique / UI Expression

A name for the corner of game interface design where an element belongs both to the fiction and to the three dimensional world. A 2009 master's thesis at Chalmers University of Technology, written with EA DICE, mapped game UI on those two axes and reserved the word for that corner. Health glowing on the hero's own suit is the type case.

Health or ammunition shown on the protagonist's own equipment instead of in a corner of the screen / A map the character holds up and reads while still walking, rather than a paused overlay / Panels of information projected into the air that tilt with the camera because they occupy the space / Directions given by the color of a signpost standing in the world itself

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1-Bit Icon Design — Macintosh System 2 desktop — Wikimedia Commons / CC01-Bit Icon Design — Susan Kare, Sad Mac — Wikimedia Commons / Public domain

1-Bit Icon Design

1ビットアイコン / 1982–1990s / Technique / UI Expression

The way of drawing icons in nothing but black and white that Susan Kare established for the Macintosh. She worked each design out on graph paper with one square standing for one pixel, and restated commands as ordinary objects, a pair of scissors for cutting and a bin for deleting, so the set could be read without a caption in any country. Her sketchbook now sits in a museum collection.

Two values only, black and white, with gray standing in as a checkerboard of alternating dots / A one pixel outline closing each shape, and an interior that is either solid or dotted, never shaded / Ordinary objects, scissors, a bin, a sheet of paper, standing in as the names of commands / Visible traces of one dot placed per grid square, so diagonals break into steps

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HyperCard Stack — Karl Baron, HyperTalk script editor on a Macintosh Plus, 2008 — Wikimedia Commons / CC BY 2.0

HyperCard Stack

ハイパーカードのスタック / 1987–2004 / Layout / Digital Retro

Stacks of screens made and passed around by amateurs, drawn one bit black on white. A single card fills the screen instead of a page, picture and text are pasted onto the same surface, and a row of small icon buttons along the bottom jumps to another card or another stack.

One card filling the screen, with no motion of turning a page / One bit black on white drawing, where greys and photographs both arrive as dither patterns / A row of small square icon buttons packed along the bottom edge of the card / Picture and text sharing one surface, with an input field marked by a single rule

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Winamp Skin — AI-generated interpretation
AI interpretation, not a reference

Winamp Skin

Winampスキン / 1997–2005 / Style / Digital Retro

Player faces drawn and passed around by amateurs. The rectangular window frame is thrown away for the front panel of a piece of stereo equipment, and even the digits and letters are drawn as bitmap pictures laid side by side on a single sheet.

A non rectangular outline that imitates the front panel of a piece of stereo equipment / Digits and letters drawn as tiny monospaced bitmaps laid out on one sheet / Metal reflections and glowing displays built by placing dots rather than by tonal gradation / Three windows, player, equalizer and playlist, snapping together into one upright device

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Minitel Service Screen — Bernard Marti, Thomson videotex terminal used in the Vélizy Télétel trial, 1980 — Wikimedia Commons / CC BY 3.0Minitel Service Screen — Bernard Marti, Minitel displaying a photovideotex page, 1984 — Wikimedia Commons / CC BY-SA 2.0 FRMinitel Service Screen — Bernard Marti, Minitel terminal displaying Japanese, 1986 — Wikimedia Commons / CC BY-SA 2.0 FR

Minitel Service Screen

ミニテルのサービス画面 / 1980–2012 / Layout / Digital Retro

A service page built to finish inside one screen of a grid terminal. The name of the service sits along the top, the choices run down the screen as a numbered list, and headings and pictures are assembled from coarse blocks that divide the character cell.

A band carrying the name of the service along the top, with numbered choices running down the screen in one column / Headings and pictures assembled from blocks that split a single character cell three down and two across / Only eight saturated colours in play, with no intermediate hues and no gradation / The place to type marked by a band of reversed video, with emphasis limited to reversal and an underline

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Cyberfeminism — Old Boys Network, 100 Anti-Theses of Cyberfeminism, 1997 — Wikimedia Commons / CC BY 4.0

Cyberfeminism

サイバーフェミニズム / 1991–2000s / Aesthetic / Digital Art

A movement the Australian collective VNS Matrix claimed for itself in 1991, and which the theorist Sadie Plant named independently in Britain at the same moment. Its manifesto travelled by fax, by mail, as a wheatpaste poster, as a billboard, and as an online post. Against a computer culture that wanted to leave the body behind, it put slime and sex back at the centre.

Heavy sans lines warped over a spherical bulge, each line set at a different size / A two color sheet, black on pale pink, with a white circle punched through the middle / A tiled border of eye like organic forms fringed with radiating hairs / The group's name embedded as one line of the text rather than signed at the bottom

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Chinese Blue-and-White Porcelain — Blue-and-white foliate-rim dish with rocks, flowering plants and melons, Yuan dynasty, 14th century — Wikimedia Commons / CC0Chinese Blue-and-White Porcelain — Blue-and-white jar with floral design, Yuan dynasty, 14th century — Wikimedia Commons / CC0Chinese Blue-and-White Porcelain — Blue-and-white vase with scrolling foliage, Jingdezhen kilns, Ming dynasty, Yongle era, 1403-1424 — Wikimedia Commons / CC BY-SA 3.0

Chinese Blue-and-White Porcelain

青花（中国の染付） / 14th century– / Style / Ceramic Styles

Cobalt blue brushed onto a white porcelain body, sealed under a clear glaze and fired once. Potters at Jingdezhen in Jiangxi established it during the Yuan dynasty by adding kaolin to the clay and improving their firing technology. Because the palette is held to a single colour, every gradation has to come from thin and thick washes and from shapes reserved in white.

One blue on a white porcelain ground, with no second colour anywhere / A dark outline drawn first, then filled with paler washes that grade like ink painting / Motifs reserved in white against a densely painted blue ground / The painting sits under the glaze, so the surface stays smooth and no brushstroke stands proud

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Famille Rose — Famille rose bowl with lotus scroll, Qing dynasty, Qianlong era, 1736-1795 — Wikimedia Commons / CC BY 4.0Famille Rose — Famille rose covered jar, Qing dynasty, Qianlong era, 1736-1795 — Wikimedia Commons / CC0Famille Rose — Export plate depicting William V, Prince of Orange, and his wife, c. 1770 — Wikimedia Commons / CC0

Famille Rose

粉彩（ファミーユ・ローズ） / 1720s– / Style / Ceramic Styles

An overglaze enamelled porcelain style that began in China and is built on an opaque enamel running from pink to purplish rose. The pigment is Purple of Cassius, made from colloidal gold, and it reached China with Jesuit missionaries around 1685. The style peaked under the Yongzheng reign of 1723 to 1735 and afterwards was produced largely for export to Europe.

An opaque enamel from pink to purplish rose carries the strongest colour on the piece / The enamel is opaque, so the white porcelain body does not show through the painted areas / Painted over the glaze, so decorated areas and the plain white reserve catch light differently / The same style turns up on French, German and English wares, where only the brushwork gives the origin away

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Blanc de Chine — Dehua ware white porcelain standing Guanyin, second half of the 17th century — Wikimedia Commons / CC0Blanc de Chine — Dehua ware white porcelain brush pot with cranes and lotus, 17-18th century — Wikimedia Commons / Public domainBlanc de Chine — Dehua ware white porcelain teapot, c. 1690-1720 — Wikimedia Commons / CC BY-SA 2.0 UK

Blanc de Chine

ブラン・ド・シーヌ（徳化白磁） / Ming dynasty– / Style / Ceramic Styles

Blanc de Chine is the European name for the white porcelain fired at the Dehua kilns in Fujian. Nothing is painted on it, so the whole effect rests on a milky, faintly bluish glaze and on bodies pressed in piece moulds with details modelled separately and applied by hand. Guanyin figures and libation cups copied from carved rhinoceros horn became its signature pieces.

No painted decoration anywhere, so the surface stays a single white / A thick glaze that shifts from milky to faintly blue, translucent where it thins / Seams where separately modelled hands, fingers or drapery were pressed onto a moulded body / Libation cups with a wide mouth and narrow base, copying a section of carved horn

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Goryeo Celadon — Celadon maebyeong with inlaid cloud and crane design, Goryeo dynasty, 13th century — Wikimedia Commons / CC BY-SA 3.0Goryeo Celadon — Celadon melon-shaped ewer with inlaid chrysanthemum design, Goryeo dynasty, 12th century — Wikimedia Commons / CC0Goryeo Celadon — Celadon bowl with stamped and inlaid decoration, Goryeo dynasty, 1150-1200 — Wikimedia Commons / CC BY-SA 2.0 UK

Goryeo Celadon

高麗青磁 / 918–1392 / Style / Ceramic Styles

The main ceramic style of Korea's Goryeo dynasty, built around glazes that range from green to bluish, the finest of which was called bisaek, or jade colour. The clay body carries traces of iron and fires a grayish white, which sets it apart from the pure white porcelain of the same centuries. Because the glaze stays translucent, inlaid decoration cut into the body and filled with white and red slip reads as if held under water.

A translucent glaze running from green to bluish over a grayish white body / Inlaid lines of white and red slip sitting visibly below the glaze surface / Incising, relief carving and openwork used together on one vessel / Small passages of iron or copper pigment painting, dark brown or red, on the green ground

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Buncheong — Buncheong jar with sgraffito peony design, Joseon dynasty, second half of the 15th century — Wikimedia Commons / CC0Buncheong — Buncheong bale-shaped bottle with iron-painted scrolling foliage, Joseon dynasty — Wikimedia Commons / Public domainBuncheong — Buncheong large dish with stamped chrysanthemum and tortoiseshell design and "Naeseom" inscription, Joseon dynasty, mid-15th century — Wikimedia Commons / CC0

Buncheong

粉青沙器 / 14th–16th century / Style / Ceramic Styles

Buncheong is Korean stoneware whose bluish grey body is covered with white slip, and its name shortens a phrase used by the art historian Go Yuseop. The group is sorted by how the slip is applied, through inlay, stamping, sgraffito, incising, iron painting, brushed slip and dipped slip. Because the coating is never even, the marks of the hand stay on the finished pot.

White slip lies over a bluish grey body, and the unevenness of the coating is the pattern / On brushed pieces the bristle tracks run in one direction as a white band / On stamped pieces small chrysanthemums are pressed edge to edge and filled with white slip, leaving rows of white dots / On dipped pieces one hard line marks how deep the pot went into the slip, with grey body showing below it

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Kakiemon — Kakiemon-style enamelled dish, Arita, c. 1675-1725 — Wikimedia Commons / Public domainKakiemon — Hexagonal jar with enamelled birds and flowers, Imari ware, Kakiemon style, Edo period, 17th century — Wikimedia Commons / Public domainKakiemon — Boy seated on a go board, Kakiemon style, c. 1680 — Wikimedia Commons / CC0

Kakiemon

柿右衛門様式 / 17th century– / Style / Ceramic Styles

Porcelain from the Arita district of Hizen, painted with bright enamels laid over the glaze on a fine white body. The name comes from a family of decorators said to have brought overglaze enamelling to Arita in the 1640s. Wide areas of the white body are left bare and the painting is pushed to one side of them.

The enamel sits on top of the glaze, so only the painted areas stand slightly proud and catch the light / Thin red, green and blue lines with gilding, drawing prunus, bamboo, birds and figures / More bare white body than painting, with the centre left open and the motif pushed to an edge / Figures of people and animals as well as vessels, painted in the same enamels and gilding

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Oribe Ware — Oribe square bowl, Mino ware, Edo period, 17th century — Wikimedia Commons / Public domainOribe Ware — Oribe dish with foliate rim, Mino kilns, Momoyama to early Edo period, 17th century — Wikimedia Commons / CC0Oribe Ware — Oribe tea bowl, Japan, 17th century — Wikimedia Commons / CC0

Oribe Ware

織部 / Momoyama period– / Style / Ceramic Styles

A stoneware style fired in the Seto and Mino kilns from the Momoyama period into the early Tokugawa years, centred on utensils for the tea gathering. Surfaces stay rough and the glazes are few, simple and warm in colour. Copper green covers only part of the pot, and the reserved body carries iron brushwork.

Copper green covers only one side of the pot and stops at a visible line / The unglazed reserve carries brushed iron lines and geometric motifs / The surface stays rough and never reaches the smoothness of porcelain / Few colours are in play: the green glaze, the warm grey white body and the brown black of iron

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Raku Ware — Hon'ami Kōetsu, white Raku tea bowl named Fujisan, 17th century — Wikimedia Commons / Public domainRaku Ware — Black Raku tea bowl, 17th century — Wikimedia Commons / CC0Raku Ware — Red Raku tea bowl, 17th century — Wikimedia Commons / CC0

Raku Ware

楽焼 / 16th century– / Style / Ceramic Styles

Raku is pottery covered with a lead glaze and fired at a very low temperature, with the piece pulled from the kiln while still hot and left to cool in open air. The glaze never fully levels and the body stays soft and porous, so no two pieces from one firing carry the same surface. The Getty vocabulary lists the Japanese process and the wider technique as two separate entries.

Glaze that pools thickly and crawls to a stop short of the rim / A fine crackle across the whole glazed surface, left by the sudden cooling / Bare foot rings and bases where the soft porous body shows through unglazed / Colour variation that lands in a different place and amount on every piece from one firing

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Istoriato — Urbino workshop, footed dish with Abraham and Isaac, 16th century — Wikimedia Commons / CC0Istoriato — Dish with Echo, Amor and Narcissus, 1535 — Wikimedia Commons / CC BY-SA 2.0Istoriato — Leonardo Bettisi, two-handled vase, 16th century, Faenza — Wikimedia Commons / CC BY-SA 3.0

Istoriato

イストリアート / c. 1500– / Style / Ceramic Styles

A way of painting maiolica in which the whole face of a dish becomes one picture, carrying a historical, mythological, Biblical or allegorical scene in colour all the way to the rim. It first appears around 1500 and is associated with Urbino. The vessel stops being a decorated object and turns into a support for painting.

One continuous scene from well to rim, with no decorative band cutting it off / Polychrome painting in yellow, blue, green and brown over a white tin glaze / Figures set inside a receding landscape or architecture, the composition borrowed straight from painting / The scene carrying on across the curved rim, so the image distorts with the vessel's form

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Talavera Poblana — Talavera jar, 18th century, Museo Franz Mayer — Wikimedia Commons / CC BY-SA 3.0Talavera Poblana — Colonial-era Talavera basin, Museo Franz Mayer — Wikimedia Commons / CC BY-SA 3.0Talavera Poblana — Talavera tile plaque on the Casa de la China Poblana, Puebla — Wikimedia Commons / CC BY-SA 4.0

Talavera Poblana

タラベラ・ポブラーナ / 16th century– / Style / Ceramic Styles

Talavera is the tin-glazed earthenware that Spanish potters' technique became in and around Puebla, painted over a thick milky white glaze. Local potters borrowed the blue-and-white schemes of Chinese porcelain that crossed the Pacific and passed through the city, then mixed in local figures such as the quetzal and the double-headed eagle. That crossing is what separates it from the Spanish maiolica it started from.

A thick milky white glaze covers the whole piece and pools into a visible step at rim and foot / Compartmented borders painted in a single blue run all the way around the rim / Among Chinese style flowers and rocks sits one local figure, such as a quetzal or a crowned double-headed eagle / Tiles repeat one design across a whole wall, and no two carry the same brush pressure

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Studio Pottery — Hans Coper, spade form vase, 1968 — Wikimedia Commons / CC0Studio Pottery — Hamada Shōji, tea bowl with amber glaze and combed design — Wikimedia Commons / CC BY-SA 3.0Studio Pottery — Lucie Rie, vase, 1971 — Wikimedia Commons / CC BY-SA 3.0

Studio Pottery

スタジオ・ポタリー / 1920s– / Style / Ceramic Styles

Ceramics made by individual artist potters in their own workshops, where one person carries a pot from forming through glazing to firing. It emerged in the early twentieth century as part of a wider revival of crafts and is deliberately non industrial. The Leach Pottery, opened at St Ives in Cornwall in 1920, became its best known centre.

Throwing rings, or the seams of coils and slabs, left visible instead of smoothed away / High temperature glazes: ash, celadon and tenmoku, returning again and again to brown black and grey green / Streaked copper red and purple glazes that ran in the kiln and stayed as unplanned marks on the wall / Incised lines inlaid with coloured slip under a white glaze, with a different glaze at rim and foot alone

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Cloisonné — Cloisonné panel with dragons, Ming dynasty, late 16th–early 17th century, The Metropolitan Museum of Art — Wikimedia Commons / CC0Cloisonné — Namikawa Yasuyuki, cloisonné vase with butterflies and chrysanthemums, c. 1900–1910 — Wikimedia Commons / CC0Cloisonné — Process samples of the cloisonné technique, 19th century, Japan, Los Angeles County Museum of Art — Wikimedia Commons / Public domain

Cloisonné

七宝（クロワゾネ） / ancient– / Technique / Vessel and Craft Techniques

A technique of enamelling in which thin metal strips are laid on a metal or porcelain ground to form chambers, and vitreous enamel paste is packed into each chamber. The strips survive the firing as visible metal lines, so every area of colour stays closed inside a line. Getty files it under processes rather than styles.

Every area of colour is fenced by a thin metal line, and the lines divide the whole design without a break / No two colours bleed into each other / Only the lines give back the light of metal rather than of glass / The ground is metal or porcelain, so the design wraps a curved vessel instead of sitting on a flat panel

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Kintsugi — Ko-Karatsu tea bowl repaired with kintsugi — Wikimedia Commons / CC BY 2.0Kintsugi — Goryeo celadon ewer repaired with kintsugi, c. 1100–1150 — Wikimedia Commons / CC BY-SA 2.0 UKKintsugi — Teapot lid repaired with kintsugi — Wikimedia Commons / CC BY-SA 4.0

Kintsugi

金継ぎ / 15th century– / Technique / Vessel and Craft Techniques

Kintsugi is the Japanese craft of repairing broken ceramics with urushi lacquer and gold or silver, so the mend is shown rather than hidden. The Getty vocabulary files it under repairing, as a restorative process rather than a style. The break decides where the metal lines run, so one vessel can never produce the same drawing twice.

Thin gold or silver lines that follow the break exactly / Line width that varies, widening into filled areas where a chip was lost / A trace of dark lacquer showing at the edge of the metal / Metal lines crossing the vessel's original painted decoration without regard for it

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Maki-e — Nakayama Komin, sweetmeat container with insect-cage maki-e decoration, 19th century, Tokyo National Museum — Wikimedia Commons / Public domainMaki-e — Footed stand with phoenix and paulownia maki-e decoration, Edo period, 18th century, Tokyo National Museum — Wikimedia Commons / CC0Maki-e — Gourd-shaped sake bottle with hollyhock-crest maki-e decoration, Edo period, 18th century — Wikimedia Commons / CC0

Maki-e

蒔絵 / Heian period– / Technique / Vessel and Craft Techniques

A family of Japanese decorating techniques in which powdered gold, silver or coloured pigment is sprinkled onto lacquer while it is still damp. The name means sprinkled picture, and by the Heian period these techniques had become the dominant way of decorating Japanese lacquerware. Tone is built from how coarse the powder is and how densely it falls, not from mixing colour.

Gold imagery that appears to sit below the surface of a black lacquer ground / The same gold reading as visible grain where the powder is coarse and as a smooth sheet where it is fine / Motif edges formed by a change in powder density rather than by a drawn outline / Flat passages of gold from applied kirikane foil set among the sprinkled areas

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Mokume-gane — Hamano Masanobu, sword guard (tsuba) with hawk and sparrows, 1836, Walters Art Museum — Wikimedia Commons / Public domainMokume-gane — Mauro Cateb, mokume-gane billet (silver, copper, brass) — Wikimedia Commons / CC BY-SA 3.0Mokume-gane — Mauro Cateb, two mokume-gane rings — Wikimedia Commons / CC BY-SA 3.0

Mokume-gane

木目金 / 17th century– / Technique / Vessel and Craft Techniques

Mokume-gane is a Japanese metalworking process that bonds layers of different metals into one billet, then cuts and rolls it so the surface takes on a pattern like wood grain. The figure is a cross section of the stack rather than a decoration laid on top, so filing or polishing cannot remove it. It began as a way of decorating sword fittings.

The stripes close into rings and whorls that read like the end grain of a log / Reddish copper, white silver and darkened layers sit directly against one another / No two pieces from the same workshop carry the same figure, even at the same shape / The stripes do not stop at the edge; they continue through the thickness of the sheet

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Cameo Glass — Cup with Bacchus and Ariadne, Rome, c. 25 BC–AD 25, Getty Villa — Wikimedia Commons / CC BY-SA 3.0Cameo Glass — Thomas Webb & Sons, cameo glass vase — Wikimedia Commons / CC BY-SA 4.0Cameo Glass — D'Argental, cameo glass vase — Wikimedia Commons / CC BY-SA 4.0

Cameo Glass

カメオ・グラス / Roman era– / Technique / Vessel and Craft Techniques

Cased glass built from two or more layers in contrasting colours, where the outer layer is carved, cut or engraved away so the design stands out from the ground. Getty classifies it as a material rather than a period style. The image is not painted but left behind, and the thickness left standing is what decides how opaque it reads.

A pale image standing up in relief over a darker ground / Where the cut runs deep the ground colour shows through and the image sinks; only the thickest passages go fully opaque / The ground is one even colour and all the tonal range sits in the image / Edges are steps rather than drawn lines, so raking light throws a shadow off the image itself

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Venetian Glass — Betrothal cup with enamel and gilding, Venice, 1475–1500 — Wikimedia Commons / CC BY-SA 2.0 UKVenetian Glass — Pilgrim flask in lattimo (opaque white glass), Venice, c. 1525, Walters Art Museum — Wikimedia Commons / Public domainVenetian Glass — Millefiori glass sphere, Venice, c. 1500–1600, Rijksmuseum — Wikimedia Commons / CC BY-SA 4.0

Venetian Glass

ヴェネツィアン・グラス / 13th century– / Style / Vessel and Craft Techniques

The glass made on Murano in Venice, and the forms that its material dictates. Soda glass is light and highly malleable, so shapes are drawn, twisted and applied while hot rather than cut away when cold. Opaque white lattimo and threaded filigrana run inside the body, while gilding and enamel painting sit on the surface.

Walls stay thin, and stems and handles arrive as drawn out lines / Threads of opaque white glass run through the clear body as nets and stripes / Cut engraving is rare, and the ornament instead sits on the surface as gilding and enamel / Small discs sliced from patterned canes are scattered across the wall

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Biedermeier — Biedermeier sofa, Austria, c. 1815–1825, Montreal Museum of Fine Arts — Wikimedia Commons / Public domainBiedermeier — Spherical work table, Vienna, c. 1815–1820, Montreal Museum of Fine Arts — Wikimedia Commons / Public domainBiedermeier — Biedermeier interior, Landesmuseum für Kunst und Kulturgeschichte Oldenburg — Wikimedia Commons / CC BY-SA 4.0

Biedermeier

ビーダーマイヤー / 1820s–1850s / Style / Furniture and Interiors

Biedermeier is a satirical label pinned on Central European art and interiors of the 1820s to the 1850s, which then stuck as the name of the style. The Getty vocabulary ties it to middle class taste, to uncomplicated and modest forms, and to emotional depictions of people and nature. The name came from those mocking the taste rather than from anyone who made the work.

Furniture whose outline stays simple, with no carving or inlay laid over it / Plain figured wood facing forward, standing in for ornament / Subjects drawn from people close at hand and from nature, treated with feeling / Modest sizes made for a citizen's room rather than a court hall

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Chippendale — Side chair (one of a pair), Britain, c. 1755, Metropolitan Museum of Art — Wikimedia Commons / CC0Chippendale — Mirror, Britain, 1750–1770, Chazen Museum of Art — Wikimedia Commons / CC0Chippendale — Chippendale-style dressing table, c. 1770, Honolulu Museum of Art — Wikimedia Commons / CC0

Chippendale

チッペンデール / 1750s–1760s / Style / Furniture and Interiors

English furniture of the 1750s and 1760s, made to the designs of the cabinetmaker Thomas Chippendale, whose name then became the name of the style. Getty also records it as the Director Style. The framework stays largely Rococo, and what identifies a piece is openwork and ornamental carving gathered into the chair back and the legs.

Chair backs pierced with openwork rather than left as solid splats, so the wall shows through / Carved ornament gathered along edges and legs, leaving few flat surfaces / Rococo curves carried through the legs and top rail instead of square corners / Ornament cut out of the thickness of the wood, not applied to its face

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Empire Style — Jacob workshop, Joséphine's chair with swan-shaped arms, c. 1804, Château de Malmaison — Wikimedia Commons / CC0Empire Style — Ceremonial bed made for Talleyrand, c. 1805 — Wikimedia Commons / CC BY-SA 4.0Empire Style — Jacob-Desmalter, jewel cabinet of Empress Joséphine, 1809, Musée du Louvre — Wikimedia Commons / CC BY-SA 4.0

Empire Style

アンピール様式 / 1804–1814 / Style / Furniture and Interiors

Empire is the style of interiors, furniture and dress that spread out of France during and after Napoleon's empire of 1804 to 1814. Large plain veneered surfaces carry gilt metal mounts placed as isolated points rather than as continuous carving. Lions' paws, winged sphinx heads, lotus and round rosettes arrive in symmetrical pairs, which is what makes it read heavier than the neoclassicism before it.

Gilt mounts sit as evenly spaced points on plain mahogany surfaces / Front legs end in a lion's paw below and a winged sphinx head above, which carries the arm / A row of round rosette mounts runs along the lower rail of the back at equal spacing / Chairs come in matched pairs, with seat and wall covered in the same dark silk

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Aesthetic Movement — James McNeill Whistler, The Peacock Room (Harmony in Blue and Gold), 1876–77, Freer Gallery of Art — Wikimedia Commons / CC BY-SA 4.0Aesthetic Movement — Herter Brothers, cabinet, c. 1872, Brooklyn Museum — Wikimedia Commons / CC0Aesthetic Movement — Designed by Bruce James Talbert, made by Gillow & Co., drawing-room cabinet, 1871–1872, Art Institute of Chicago — Wikimedia Commons / CC0

Aesthetic Movement

唯美主義運動 / 1870s–1880s / Style / Furniture and Interiors

A British and American movement of the 1870s and 1880s that ran through painting, furniture, textiles and architecture alike. Following art for art's sake, it put beauty and the independent value of art above didactic purpose, narrative content or weighty subject matter. Ornament therefore says nothing, and every decision is settled on the harmony of the surface.

Sunflowers and lilies recurring in the same form on ceramics, on textiles and in the room itself / A palette pulled toward olive green and yellow, with dark red and cream set against black grounds / Japanese motifs flattened into repeats: circular bamboo, stylised rosettes and trailing leaves over a lozenge patterned ground / Blue and white Chinese porcelain arranged in the room, the vessels themselves treated as part of the decoration

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Craftsman Style — Gustav Stickley (United Crafts), armchair, 1901, Art Institute of Chicago — Wikimedia Commons / CC BY 3.0Craftsman Style — Greene and Greene, dining room furniture suite, 1908, Indianapolis Museum of Art — Wikimedia Commons / Public domainCraftsman Style — Craftsman-style bungalow, 1915, Marshfield, Wisconsin — Wikimedia Commons / CC0

Craftsman Style

クラフツマン様式 / 1870s–1920s / Style / Furniture and Interiors

A style of architecture, interior design and decorative arts that prevailed in the United States from about 1870 to about 1925. It follows the English Arts and Crafts movement in rejecting historical styles for plain simplicity, but its carriers included social reformers, educators and women's organisations as well as architects. It appears most often in modest houses such as bungalows, where materials are treated simply and left visible.

Beams and brackets stay exposed rather than being boxed in / No capitals, scrolls or other parts borrowed from historical styles / It works at the scale of a modest house such as a bungalow, not a mansion / Wood and stone are left unpainted, so surfaces are made of grain and natural colour

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Eastlake — Eastlake-style armchair, Missouri History Museum — Wikimedia Commons / Public domainEastlake — Porch woodwork of the Jane Heath House, Buffalo — Wikimedia Commons / CC BY-SA 4.0Eastlake — Bradford House, San Rafael, California — Wikimedia Commons / CC BY-SA 3.0

Eastlake

イーストレイク様式 / 19th century– / Style / Furniture and Interiors

Eastlake is the name given to a decorative and architectural style in nineteenth century America, tied to the furniture designs of Charles Locke Eastlake. Its architecture borrows the vocabulary of furniture directly, with columns that resemble table legs, curved brackets, spindles, and knobs of various shapes made of circular perforations.

Columns shaped like thickened table legs / Curved brackets repeating at even intervals under eaves and porch roofs / Lathe-turned spindles filling railings and the head of a porch / Knobs pierced with circular perforations set where members meet

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Editorial policy

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

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