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.
| Terms | 598 |
|---|
Search by style name or describe what you are making. Name matches come first; purpose, desired effect and medium add relevant alternatives.
TryBauhausa premium recruiting websitea trustworthy finance app
97
タブロー写真 / 1970s / Style / Photography Movements
Assembles the scene before the shutter and holds it in a single print made to hang like a painting, its figures acting as if no viewer were there.
A single large print made to hang / Figures who never look back at you / Interiors and streets built to the last corner / Lighting borrowed from cinema
98
%2C%20Tate%20Modern.JPG)
バイオモーフィズム／有機的形態 / 1930s–1960s / ongoing / Style / Modern Architecture
Extends asymmetric, continuous forms suggesting cells, bones, organs and plants into abstraction, furniture, vessels and space.
Asymmetric curves / Cell-like forms / Smooth continuous surfaces / Abstraction from nature
99
インターナショナル・スタイル / 1920s–1960s / Style / Modern Architecture
Strips ornament and aims at a universal architectural language crossing borders: the box, the free plan, steel, concrete and glass.
Rectangular volumes / Glass planes / No ornament / The free plan
100
メタボリズム建築 / 1960s–1970s / Style / Modern Architecture
Conceives city and building as one vast system that can grow, exchange and renew itself like an organism.
Exchangeable capsules / Megastructures / Growing cities / Organic networks
101
ハイテック建築 / 1970s– / Style / Modern Architecture
Ducts, structure, elevators and joints, all of them normally hidden, are pushed to the outside so that the building reads as an enormous machine.
Exposed services / External structure / Metal and glass / Modules
102
トロピカル・モダニズム / 1940s–1970s / Style / Modern Architecture
Adapts modern architecture to hot, humid climates through canopies, louvers, ventilation and sun control.
Brise-soleil / Deep eaves / Cross-ventilation / Permeable screens
103
.jpg)
有機的建築 / 1900s– / Style / Modern Architecture
Refuses to treat building, furniture, material, terrain and light separately, designing them as one continuum that includes the place and the life lived in it.
Integration with terrain / Horizontals / Natural materials / Inside-outside continuity
104
ラディカル建築／イタリアン・ラディカル / late-1960s–1970s / Style / Modern Architecture
Objects to functionalism and consumer society, critiquing architecture's own premises with fictional cities, furniture, photographs and collage.
Speculative cities / Anti-functionalism / Vast grids / Play and critique
105
ポストモダン建築 / 1960s–1990s / Style / Modern Architecture
Rebels against modernism's universality, reintroducing historical quotation, ornament, sign, color and irony to city and building.
Historical quotation / Ornament returned / Strong color / Double meanings
106
グーギー建築 / late-1940s–1960s / Style / Modern Architecture
Theatricalizes roadside commerce with exaggerated roofs, neon, glass and space-age shapes readable in an instant from a car.
Upswept roofs / Giant neon / Boomerang shapes / Full glazing
107
スペースエイジ・デザイン / 1957–early 1970s / Style / Postwar Industrial Design
Translates the hopes of the space race into capsule forms, spheres, molded plastic, vivid color and lightweight furniture.
Capsule forms / Molded plastic / Spheres / Vivid synthetic color
108
.jpg)
%2C%20by%20Aaron%20Douglas.jpg)
ハーレム・ルネサンス / 1920s–1930s / Style / Black Arts Movement
A cultural movement that rebuilt Black self-representation and modernity in the words and images of Black people themselves, working through literature, music, theater, publishing and art.
Black self-representation / The jazz age / Magazines and publishing / Modern figures
109
.jpg)
メキシコ壁画運動 / 1920s–1940s / Style / Mural Traditions
Paints post-revolutionary history, labor, indigenous culture and visions of the future onto the vast walls of public buildings.
Monumental murals / Crowds of figures / Political narrative / Public space
110
アフリコブラ / 1968– / Style / Black Arts Movement
Visualizes Black communal affirmation and political consciousness through blazing color, rhythm, lettering and Africa-centered images.
Kool-Aid colors / Rhythmic repetition / Letters and figures / Afrocentric imagery
111
OSPAAAL連帯ポスター / 1966–1990s / Style / Printmaking and Social Movements
Carries transnational solidarity with anti-colonial liberation movements through flat color, photography, iconography and short multilingual text.
Blazing flat color / Multiple languages / Symbolic iconography / International solidarity
112
.jpg)
.jpg)
イスラム幾何学文様 / 8th century– / Technique / Ornament
Divides, repeats and combines circles, squares, polygons and stars, building infinite extension and order on a finite plane.
Compass construction / Star forms / Repeating units / Interlacing lines
113
ムガル細密画 / 16th–19th centuries / Style / Persian and Indian Painting
Condenses court life, history, nature and story into a small plane through precise brushwork, gold, pigments, ornamental borders and multiple viewpoints.
Precise brushwork / Gold and opaque watercolor / Ornamental borders / Multiple viewpoints
114
ニュー・トポグラフィックス / 1975– / Style / Photography Movements
Turns from grand natural scenery to the landscapes people have altered, recording suburbs, graded building sites and industrial zones without heat.
Empty suburbs / Frontality / Dry color / Man-altered landscape
115
.jpg)
.jpeg)
フィルム・ノワール / 1940s–1950s / later revivals / Style / Cinematic Visual Styles
Cuts distrust, isolation and fatalism into the frame with low-key lighting, deep shadow, oblique composition, the city at night, reflections.
Low-key lighting / Hard chiaroscuro / Rain and night streets / Slanting shadows
116
ライオット・ガール・ジン / 1990s / Style / Publishing and Editing
Cuts and pastes handwritten and typed words, then copies them as they are, keeping the photocopier's crushed blacks and the crooked page.
Handwriting mixed with typewriting / Shadows along the pasted edges / Crushed blacks and coarse grain / Pages copied while still crooked
117
リキッドガラス / 2025– / Style / Apple UI
Unifies the floating control and navigation layer as a fluid glass material that refracts and adapts to the content beneath.
Dynamic refraction / Concentric corner radii / Floating control layers / Reflected background color
118
フルーエント2 / 2022– / Style / Microsoft UI
Tokenizes color, type, spacing, radius and depth, deploying Solid, Acrylic, Mica and Smoke materials by role across Microsoft products.
Mica and Acrylic / Neutral tonal hierarchy / Soft corner radii / Tokenized depth
119
フルクサス / early 1960s–late 1970s / Style / Avant-garde
Values the act and the participation above the finished piece, working in scores, boxes, cheap multiples, performances and events until the border between art and daily life gives way.
Event scores / Boxes and multiples / Everyday actions / Anti-art humor
120
アルテ・ポーヴェラ / 1967–1970s / Style / Italian Avant-garde
Takes up earth, branches, cloth, stone, fire and metal, materials that are neither precious nor stable, and uses them to intervene in the commodification of art and the values of industrial society.
Non-precious materials / Change and decay / Nature against industry / Bare assembly
121
具体美術協会 / 1954–1972 / Style / Japanese Postwar Avant-garde
Acts directly on body, mud, paper, water, smoke and light bulbs, making the work an event in which spirit does not master material and each exposes the nature of the other.
Body colliding with material / Outdoor exhibitions / Tearing, throwing, treading / Participation and play
122
%20-%20Google%20Art%20Project.jpg)
琳派 / early 17th century– / Style / East Asian Painting
Gold and silver grounds, mineral pigment, simplified nature, empty space, repetition and tarashikomi run across its work, pulling painting, craft and calligraphy into one bold, flat composition.
Gold and silver grounds / Boldly abbreviated nature / Repetition and emptiness / Tarashikomi pooling
123
スカンジナビアン・モダン / late 1940s–1960s / Style / Scandinavian Design
Joins function and mass production to the warmth of natural materials, curves that follow the body, and clear usable form.
Lucid function / Natural materials / Body-following curves / Restrained color
124
%20-%20Franz%20Kline%20(1910-1962)%20(31087622617).jpg)
抽象表現主義 / 1940s–1950s / Style / Postwar American Art
On huge canvases, with bodily strokes, drips, stains and broad fields of color, what stays on the surface is the act of painting and strong inner feeling rather than a depicted subject.
Vast canvases / Bodily brushwork / All-over composition / Drips and stains
125
カラーフィールド・ペインティング / late 1940s–1960s / Style / Postwar Abstract Painting
Large continuous fields, soaked edges and few forms build a space of color that fills the entire surface and asks to be looked at for a long time.
Vast color fields / Soaked contours / Few forms / Immersive scale
126
.jpg)
コンセプチュアル・アート / mid-1960s–1970s / Style / Postwar American Art
Puts the idea at the center of the work and presents it through words, definitions, rules, documentation and placement, caring little for finish as an object.
Words and definitions / Instructions and rules / Documentary photographs / Dematerialization
127
アースワーク／ランドアート / late 1960s–1970s / Style / Postwar American Art
Shapes the landscape itself with earth, stone, branches, terrain and machinery, folding place, time, erosion and documentation into the work.
Intervention in terrain / Earth and stone / Vast scale / Erosion and time
128
.jpg)
ネオ・コンクリート・アート / 1959–1966 / Style / Brazilian Avant-garde
Releases geometric abstraction from a fixed visual order and opens the work to touching, moving and entering, so that it becomes an experience that changes as the body takes part.
Movable geometry / Bodily participation / Folds and hinges / Sensuous color and space
129
トロピカリア / mid-1960s– / Style / Brazilian Avant-garde
Mixes vivid color, music, sand, plants, temporary structures and audience participation to criticize both the repression of military rule and the outsider's image of a 'tropical paradise.'
Blazing hybridity / Participatory space / Music and costume / The tropical image inverted
130
スクリーンプリント／シルクスクリーン / 20th century– / Technique / Stencil Printing
Parts of a mesh screen are blocked and parts left open, and a squeegee forces ink through, printing hard contours and flat, strong color one layer at a time.
Hard contours / Flat color planes / Layer-by-layer overlap / Slight misregistration
131
%20Bal%20au%20Moulin%20Rouge%20place%20Blanche%201889%20-%20Jules%20Ch%C3%A9ret.jpg)
石版画／リトグラフ / 1796– / Technique / Planographic Printing
Uses the repulsion of oil and water to reproduce crayon and tusche drawing from stone or plate, keeping all the softness of the hand.
Greasy crayon / Stone or metal plate / Painterly tone / Multicolor overprinting
132
.jpg)
凹版印刷 / 15th century– / Technique / Intaglio Printing
Ink is left in lines and hollows cut below the surface of a metal plate, and heavy pressure drives damp paper into them, picking up precise lines and the trace of the plate's edge. How the plate is lowered gives each technique its name, so a plate bitten with acid is an etching and a plate roughened then burnished is a mezzotint.
Sunken lines / Plate marks / Damp paper / High-pressure press
133
.jpg)
メゾチント / 1640s– / Technique / Intaglio Printing
The whole plate is roughened to hold a deep black, then burnished back to raise the lights, so that the image emerges from soft velvet darkness instead of from lines.
Velvet blacks / From dark to light / Soft gradation / Burnished light
134
%20(14773678652).jpg)
エッチング／腐食銅版画 / 16th century– / Technique / Intaglio Printing
A needle draws through the acid-resistant ground and the acid bites the metal it exposes, cutting lines into the plate that are thin, fluid and close to handwriting.
Thin flowing lines / Depth by biting / Cross-hatching / Plate marks
135
ローマン・キャピタル / 1st–2nd century / Style / Type Classification
Capitals cut for stone, with geometric proportions and serifs, became the skeleton of the Latin alphabet and the archetype of authority for two thousand years.
Geometric proportions / Chiseled serifs / All-capital setting / Monumental letterspacing
136
ブラックレター / 12th century– / Style / Type Classification
The manuscript hand compressed into dense black verticals, filling the page with an even darkness like woven cloth. It was also the first typeface of printing.
Dense vertical strokes / Curves replaced by breaks / Heavy blackness / Ornamental capitals
137
.jpg)
オールドスタイル・ローマン / 15th–16th century– / Style / Type Classification
Set the standard for text faces that read without fatigue: the pen's oblique axis and gentle stroke contrast.
Oblique stress / Gentle contrast / Bracketed serifs / Modest x-height
138
イタリック / 1501– / Style / Type Classification
The humanist cursive cast in type: slanted letters that made pocket books possible, later becoming the second voice beside roman.
Rightward slant / Cursive continuity / Narrow width / Contrast with roman
139
.png)
トランジショナル / 18th century / Style / Type Classification
Raising the axis toward vertical, sharpening the contrast between strokes and designing paper and ink along with the letter moved type past handwriting into an object made in its own right.
Near-vertical axis / Strengthened contrast / Sharp horizontal serifs / Designed with polished paper
140
ディドーネ / late 18th century– / Style / Type Classification
A constructed roman that pushes the contrast of hairline and thick vertical stem to its limit, standing at once as the terminus of the Age of Reason and as a sign of luxury.
Extreme contrast / Vertical stress / Hairline serifs / Mathematical construction
141
ファットフェイス / c. 1803– / Style / Type Classification
Advertising swelled the didone's stems to extremes. The result was the earliest display type, built to shout across the street.
Swollen stems / Hairline horizontals / Tight spacing / Poster scale
142
%20shaded%20typeface.jpg)
.jpg)
スラブセリフ / 1815– / Style / Type Classification
Square serifs as thick as the strokes turned letters into machine structures. Industrial society's advertising and notices found their sturdy voice.
Slab serifs / Even strokes / Sturdy letterforms / Mechanical repetition
143
.jpg)
.jpg)
グロテスク・サンセリフ / 1816– / Style / Type Classification
When the letter dropped its serifs it was at first called grotesque, but its odd evenness became the new voice of notices and headlines.
No serifs / Tight apertures / Quirky uneven widths / Headline blackness
144
.jpg)
.jpg)
ネオ・グロテスク / 1957– / Style / Type Classification
The grotesque had its quirks removed and neutrality set in their place as the design goal. What came out became the voice of postwar rationalism and the global corporation.
Even, closed letterforms / Low contrast / Large x-height / A voice that performs neutrality
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