A dictionary of design styles, written from the works themselves.
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49
アーツ・アンド・クラフツ / 1860s–1910s / Style / Craft Movements
Returns material and handwork to the center of design, joining every detail of daily life under one conviction.
Repeating plants / Flat contours / Density of handwork / Colors from nature
50
ヴィクトリアン装飾 / 1837–1901 / Style / Ornament
Builds a thickly layered system of ornament from many revival styles and the riches of industrial printing.
Dense borders / Symmetry / Botanical pattern / Chromolithography
51
ウィーン分離派 / 1897–1910s / Style / Fin de Siècle Art
Tightens organic ornament with geometry and flat composition, erasing the border between art and design.
Square skeletons / Repeating pattern / Gold and black / Flattened figures and plants
52
プラカートシュティール／即物ポスター / 1900s–1910s / Style / Advertising Posters
Cuts advertising down to the product and its name, delivering meaning at a glance from across the street.
A single product image / Bold contours / Flat color / A short brand name
53
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ダダ / 1916–1920s / Style / Avant-garde
Deliberately dislocates meaning and order, making authority itself the material of the joke.
Rotated type / Fragments of sound / Collisions of scale / Unbalanced margins
54
イタリア未来派 / 1909–1940s / Style / Avant-garde
Converts speed, noise and shock into the size and trajectory of letters, setting the quiet page in motion.
Words-in-freedom / Radiating type / Onomatopoeia / Extreme jumps in scale
55
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デ・ステイル / 1917–1931 / Style / Geometric Abstraction
Restricts the vocabulary to vertical, horizontal and primary color, building universal order from balance.
Vertical and horizontal / Red, blue, yellow / White planes / Asymmetric equilibrium
56
シュプレマティスム / 1915–1920s / Style / Geometric Abstraction
Leaves depiction behind, raising felt tension from a few geometric forms and empty space.
Floating rectangles / White space / Diagonal gravity / Restricted color
57
浮世絵 / 17th–19th century / Style / Japanese Woodblock Prints
Fixes a passing moment of daily life or landscape into strong composition with contour, flat color and daring crops.
Clear outlines / Flat color / Bold cropping / Overlapping space
58
WPAポスター / 1935–1943 / Style / Public Design
Carries a public purpose broadly and forcefully through simple imagery and few printed colors.
Simplified landscapes / Bold sans-serifs / Screenprint color / A clear call to action
59
アイソタイプ / 1920s–1940s / Layout / Information Design
Translates quantity into repeated same-size symbols, making comparison readable before language.
Unified pictograms / Repetition of signs / Axes of comparison / Restricted color
60
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サイアノタイプ / 1842– / Technique / Photographic Techniques
Fixes the outline of a light-struck object directly into deep blue, making record and lyric the same image.
Prussian blue / White object traces / Contact shadows / Chemical unevenness
62
木版画 / 8th century– / Technique / Relief Printing
Prints the surface left after carving, raising an image through line direction and the pressure of black and white.
Direction of the cut / Hard black-white contrast / Density of line / The block's materiality
63
リノカット / 1890s– / Technique / Relief Printing
Cuts the smooth block boldly, giving few colors and repeated figures a driving rhythm.
Large cut planes / Overlapping color blocks / Simplified figures / Repeating movement
64
活版印刷 / 15th century– / Technique / Relief Printing
Sets physical type, joining the repeatable order of text with the touch of impression on paper.
The regularity of type / Impression into paper / Limited widths / Ink variation
65
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マーブリング / historical–present / Technique / Decorated Paper
Color floated on liquid is lifted onto paper once and only once, producing an order that cannot be repeated. It names the family, and under it sit separate disciplines: Turkish ebru, combed into figures, and Japanese suminagashi, disturbed by breath and brush.
Fluid veins / Comb patterns / Multicolor swirls / Every sheet different
66
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ポショワール / 1890s–1930s / Technique / Stencil Printing
Builds print color stencil by stencil, giving publications the crisp planes and fine variance of hand coloring.
Sharp color planes / Stencil edges / Hand-color variance / Fashion plates
67
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彩飾写本 / late antiquity–Renaissance / Style / Publishing and Editing
Weaves text, image and gilding into one page structure, turning reading into ritual.
Gilding / Ornamented initials / Miniatures / Marginalia
68
水墨画 / Tang dynasty–present / Technique / East Asian Painting
With only ink gradations and emptiness, keeps a subject's presence, speed and distance rather than its shape.
Ink gradation / Dry-brush scratch / Vast emptiness / The speed of one stroke
69
ステンドグラス / medieval–present / Technique / Ornament
Divides light with colored glass and lead lines, making contour itself structure and story.
Lead contours / Transmitted color / Geometric division / Jewel tones
70
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オプ・アート / 1960s– / Style / Geometric Abstraction
Raises perceptual vibration and depth inside a still image through repeated line, form and value.
High contrast / Repeated lines / Optical illusion / Geometric distortion
71
ジャポニスム / 1850s–1900s / Style / Cross-cultural Reception
Re-edits asymmetry, flatness and daring crops learned from Japanese prints into Western modern composition.
Asymmetry / Bold cropping / Flat color planes / Plants and everyday objects
72
トロンプ・ルイユ / antiquity–present / Technique / Painting Techniques
Hides the picture plane's boundary, aligning material, shadow and scale until you believe the thing is there.
Life size / Grounded shadows / Material rendering / Using the frame's edge
73
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フルティガー・エアロ / mid-2000s–early 2010s / Style / Digital Retro
Shows glossy digital technology as an approachable future by tying it to blue sky, water, grass and bubbles. The gloss is the same as Aqua's, but Aqua is the texture of a control and this is the world of the wallpaper and the advert.
Blue sky and grass / Transparent bubbles / Glossy UI / Humanist type
74
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コーポレート・メンフィス / mid-2010s– / Style / Illustration Styles
Explains digital services as safe and friendly through simplified figures, geometry and soft color.
Exaggerated body ratios / Flat color / Geometric plants / White grounds
75
ドリームコア / late-2010s–2020s / Aesthetic / Internet Aesthetics
Edits nostalgic spaces by the logic of dreams, producing images like memories in which comfort and wrongness sit together.
Hazy suburbs / Clouds and sky / Cryptic captions / Eyes and doors
76
ウィアードコア / 2010s–2020s / Aesthetic / Internet Aesthetics
Layers low-res images, unrelated text and warped symbols until reality's connections feel slightly broken.
Low resolution / Mismatched text / Eyes and faces / Compression noise
77
リミナル・スペース / late-2010s– / Aesthetic / Internet Aesthetics
Photographs transitional spaces empty when people ought to be in them, drawing out déjà vu, loneliness and the sense that time has stopped. The subjects carry their own names in circulation, from the empty indoor pool to the night corridor to the mall after closing.
Empty corridors / Fluorescent light / Dated interiors / Public space after midnight
78
シーパンク / 2011–2013 / Style / Internet Aesthetics
Mixes ocean CG, turquoise, dolphins and 90s 3D with the music and fashion of the social-media age.
Turquoise / Dolphin CG / Waves and shells / Early 3D
79
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ネット・アート / 1990s– / Style / Digital Art
Treats the browser, the link, the transmission error and the network itself as both the material and the site of the work.
Link structures / Browser UI / Errors / Participation and transmission
80
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ピクセルアート / 1970s– / Technique / Digital Image Techniques
Treats the pixel as an honest unit, building clear form from limited resolution and palette.
Visible pixels / Limited palettes / Tiles / Sprites
82
ローポリ / 1990s– / revival / Technique / Digital Art
Leaves the few polygons and hard facet changes visible, using simplicity of form as the expression.
Triangular facets / Angular contours / Flat shading / Few vertices
83
ポーランド・ポスター派 / 1950s–1980s / Style / Regional Graphics
Rather than explain a film or a play, it turns the assignment into a psychological image built from painting, metaphor and hand-drawn letters.
Symbolic metaphor / Hand-drawn lettering / Rough paint surface / One strong image
84
チェコ映画ポスター / 1950s–1980s / Style / Regional Graphics
Turns film promotion into independent interpretation through collage, fantastical rendering and experimental letters.
Surreal collage / Drawn letters / Symbols / Transformed photography
85
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ニュー・タイポグラフィ / 1920s–1930s / Layout / Experimental Typography
Turned printed matter into rational information structure through asymmetry, sans-serifs, photography and functional hierarchy.
Asymmetry / Sans-serif type / Photography / Functional white space
86
スーパーフラット / 2000s– / Style / Japanese Postwar Avant-garde
Juxtaposes anime, manga, advertising and traditional painting on one flat plane, questioning the border of high art and consumer culture.
Extreme flatness / Vivid color / Repeated characters / Commercial culture
87
フォトモンタージュ / 1910s– / Technique / Photographic Techniques
Cuts and rejoins photographic fragments, assembling relations and critical meanings that never existed in the original reality.
Cut-out photographs / Mixed scales / Visible seams / Reused print matter
88
具体詩／コンクリート・ポエトリー / 1950s–1970s / Layout / Experimental Typography
Treats the placement, repetition, blank space and sound of words as the poem itself, not only what they mean.
Repeated words / Shapes made of letters / Large blanks / Dismantled reading order
89
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ストリームライン・モダン / 1930s–1940s / Style / Modern Architecture
Gives even stationary things speed and machine-age optimism through streamlines, horizontals, rounded corners and metal.
Streamlined forms / Horizontal bands / Rounded corners / Chrome
90
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プレシジョニズム / 1910s–1940s / Style / American Modern Art
Paints factories, silos, cities and machines reduced to clear contour, simple geometry and smooth planes.
Sharp contours / Industrial landscapes / Geometric simplification / Smooth surfaces
91
ニュー・ヴィジョン写真 / 1920s–1930s / Style / Photography Movements
Looks for perception only a camera can produce, using views from far above and far below, extreme close-ups and experiments with light.
Steep angles / Close-up / Hard light and shadow / Abstraction
92
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フォトグラム / 1830s– / avant-garde revival / Technique / Photographic Techniques
No camera is involved. Objects laid on the sensitive surface and exposed to light turn contour, transparency and distance into the picture.
Cameraless / Object contours / Reversed values / Contact and distance
93
ソラリゼーション / 19th century– / 1920s revival / Technique / Photographic Techniques
Re-exposes the print mid-development, reversing part of the tonal scale into glowing edges and metallic light.
Partial tone reversal / Glowing edges / Metallic feel / Darkroom manipulation
94
ピクトリアリズム / late-1800s–c.1914 / Style / Photography Movements
Presented photography as art equal to painting, through soft focus, staged scenes and handworked prints.
Soft focus / Mist and backlight / Painterly composition / Handcrafted prints
95
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新即物主義写真 / 1920s–1930s / Style / Photography Movements
Steps back from sentiment and records the structure of people and things coolly: sharp focus, frontality, typology.
Sharp focus / Frontality / Repetition and types / Material detail
96
連続写真／クロノフォトグラフィ / 1870s–1890s / Technique / Photographic Techniques
Decomposes movement into successive instants, making the structure of time visible in one or a series of photographs.
Multiple exposure / Sequential bodies / Equal intervals / Motion analysis
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