A dictionary of design styles, written from the works themselves.
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| Terms | 776 |
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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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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
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
61
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
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
Painting in Chinese and Japanese traditions that uses ink lines and tonal variation as its main means to depict landscapes, figures, birds and flowers. Its range includes careful outlines as well as dry strokes and washes that abbreviate forms. Unpainted space can suggest depth and atmosphere, but quick execution or vast emptiness is not required.
Ink lines and tonal variation / Wet, dry and broken brush marks / Relations between painted forms and the ground / A range from fine outlines to ink masses
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
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
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