A dictionary of design styles, written from the works themselves.
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193
パペル・ピカド / 19th century– / Technique / Craft Movements
For Mexican festivals dozens of sheets of tissue are chiseled through at once. The delicate openings let light and wind pass, and they carry celebration and remembrance of the dead with the same lightness.
Chisel-cut openwork / Tissue-paper banners / Light and wind passing through / Fiesta and Día de los Muertos
194
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ソール・バスのタイトルデザイン / 1955 to 1990s / Style / Broadcast Design
Moves flat cut paper shapes and hand drawn capitals along simple straight paths in time with the music, stating the theme before the film begins.
Flat cut paper silhouettes / A palette held to a few colors / Uneven hand drawn capitals / Simple moves along straight lines
195
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カートゥーン・モダン / 1943–1959 / Style / Animation Techniques
UPA's animators dropped Disney-style dimensional realism for flat color fields, simplified lines and stylized movement, bringing mid-century graphic sensibility into animation.
Flat color fields / Omitted outlines / Figures as shapes / Abstract backgrounds
196
リミテッド・アニメーション / 1940s– / Technique / Animation Techniques
Deliberately reduces the number of drawings, using held frames, repeats and partial movement as style. UPA established it as an aesthetic; television and Japanese commercial animation grew it into grammars of their own.
Few in-betweens / Held frames put to work / Partial animation / Stylized movement
197
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セル・アニメーション / 1915–1990s / Technique / Animation Techniques
The division-of-labor technique of painting only the moving parts on transparent celluloid layered over a still background. It defined the industrial structure of commercial animation for nearly a century.
Layered transparent cels / Uniform paint / Background separated from movement / Traced ink lines
198
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ストップモーション / 1898– / Technique / Animation Techniques
Moving puppets and models one frame at a time to give matter life. The faint tremor of handwork and the presence of real materials remain a charm CG cannot replace.
Frame-by-frame shooting / Real models and textures / A faint tremor / Miniature lighting
199
ロトスコープ / 1915– / Technique / Animation Techniques
Tracing live-action footage frame by frame. Patented by the Fleischers, it mixes the gravity of live action with the freedom of drawing into a distinctive wavering line.
Movement from live action / Wavering contours / Bodies with weight / Between film and drawing
200
ヴィジュアル・ミュージック / 1920s– / Style / Experimental Film
Film art that translates musical structure into abstract shape, color and motion. From the color organ through abstract animation to today's audiovisual work, it forms a lineage of listening with the eyes.
Abstract forms in motion / Chords of color / Counterpoint of sound and shape / No narrative
201
ダイレクト・アニメーション / 1935– / Technique / Experimental Film
Images made without a camera, by drawing, scratching and pasting directly onto the filmstrip. The film stock itself becomes the brushstroke and the rhythm.
Hand-drawing on film / Scratched marks / Continuity that ignores frames / Physical blots of color
202
スリットスキャン / 1968– / Technique / Film Technology
Long exposure through a slit while the camera or the subject moves, stretching space and time into a single image. The Stargate sequence of 2001: A Space Odyssey wrote it into film history.
Streaked light / Endless planes / Time turned into space / Machine-controlled exposure
203
バレットタイム / 1999– / Technique / Film Technology
An arc of still cameras fired at once or in sequence: time nearly stops while the viewpoint alone moves. The Matrix popularized the idea of the virtual camera.
Frozen time / A traveling viewpoint / The arc of cameras / Live action mixed with interpolation
204
テストパターン / 1934– / Style / Broadcast Design
The calibration image broadcast during setup and downtime. Color bars, grids, circles and skin-tone references answered an engineering necessity, yet they became a public geometry lodged in a generation's memory.
Color bars / Concentric circles and grids / A skin-tone reference image / Waveform test patterns
205
フィルムリーダー / 1930s– / Style / Film Technology
The countdown at the head of a print, there for synchronization and inspection. Reversed lettering, punch holes and numbers falling from 8 to 2 were purely functional shapes, and they turned into the cultural sign that the film is about to start.
Countdown numerals / Sync marks and punch holes / Inspection lettering / Scratches and flicker
206
スキャニメイト / 1969–1980s / Technique / Broadcast Design
An analog video synthesizer that distorted images on a CRT electrically and in real time. It is the true source of the glowing, flying, undulating logos of 1970s and 80s television, and it carried the motion industry before digital.
Glowing outlines / Electronic undulation / Rainbow glow / Scanline texture
207
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ビデオ・シンセシス / 1969– / Technique / Experimental Film
Generating and modulating the video signal itself like an instrument. Nam June Paik and Shuya Abe's synthesizer turned the television from receiver into raw material, opening video art's technical ground.
Modulated signal / Feedback vortices / Waveforms made visible / Television sets repurposed
208
データモッシュ / 2005– / Technique / Digital Image Techniques
Deliberately breaking a video's keyframes so that the previous image is dragged along and dissolved by the next motion. The technique turns the inner workings of the compression algorithm into an aesthetic.
Melting, flowing frames / Macroblock debris / Motion vectors dragging pixels / Compression exposed
209
VHS美学 / 1980s–2000s / 2010s revival / Aesthetic / Film Technology
Scanlines, tracking noise, bleeding color and timestamp overlays: the degradation and on-screen displays of the home recording medium, stylized into the texture of recorded memory.
Scanlines and noise / Bleeding chroma / REC and timestamp overlays / Tracking distortion
210
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パッラーディオ主義 / 1550s– / 17th–18th century revival / Style / Historical Styles
Palladio distilled proportion, the temple front and strict symmetry from Roman antiquity into a formula for the villa. His Four Books carried it to Britain and America, where it became the archetypal correct face of public architecture.
Temple-front portico / Strict symmetry / Plans from proportion / Central dome
211
バロック / 1600–1750 / Style / Historical Styles
A total art that draws the viewer in with ovals, curved surfaces, dramatic light and an excess of ornament. Architecture, sculpture, painting and city planning were handled as one staging, turning power and faith into spectacle.
Ovals and curved surfaces / Dramatic light / Illusionistic ceilings / Architecture fused with sculpture
212
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ロココ / 1730s–1770s / Style / Historical Styles
Turned Baroque grandeur toward interior intimacy: shell-like curves, pale color and asymmetrical ornament composing a light-footed social space. One of the first styles in which decoration broke free of architecture to take the lead.
Rocaille shell curves / Pale pastels / Asymmetrical ornament / Mirrored white-and-gold rooms
213
ボザール様式 / 1830s–1920s / Style / Historical Styles
The academic synthesis of the classical taught at the École des Beaux-Arts in Paris. Grand axes, sculptural ornament and a hierarchy of formality were laid over the new technologies of iron and glass, giving the modern city its public face in stations, museums and banks.
Grand axes and staircases / Synthesized classical orders / Sculptural ornament / Stone over iron structure
214
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プレーリー・スクール / 1893–1920s / Style / Modern Architecture
An architecture of the horizontal line answering the midwestern prairie. Deep eaves, ribbon windows, low roofs and continuity between inside and out established the first American modern house free of imported European styles.
Emphasized horizontals / Deep overhanging eaves / Ribbon windows / Low-slung roofs
215
表現主義建築 / 1910s–1920s / Style / Modern Architecture
Architecture that speaks emotion and symbol through sculptural curves and brick detail. Mendelsohn's streamlines and the Amsterdam School's undulating housing mark modernism's other road, the one functionalism never absorbed.
Sculptural curved masses / Expressive brickwork / Crystal and organic motifs / Handcrafted detail
216
AEGの企業アイデンティティ / 1907-1914 / Style / Modern Design Movements
Products, factory and printed matter all handed to one architect, so that a company looked as though a single hand had made it. The lettering, objects and buildings Behrens drew for AEG from 1907 became the prototype of corporate design.
Company lettering drawn from geometry / Products built as one family of forms / A gabled front of steel and glass with the ornament taken off / One hand visible from kettle to catalogue
217
ウィーン工房 / 1903–1932 / Style / Modern Design Movements
The workshop founded by Hoffmann and Moser designed buildings, furniture, tableware and clothing to a single geometry and a single standard of handwork. It practiced the total work of art, treating all of daily life as one piece, inside a commercial enterprise.
Squares and grids / Black-and-white contrast / Luxurious handcraft / Whole lives designed
218
田園都市 / 1898– / Layout / Modern Architecture
Howard's diagrammed proposal for self-contained towns of planned population joining the advantages of town and country. The concentric diagram materialized at Letchworth and became the template for suburbs and new towns worldwide.
Concentric diagrams / Separation by green belt / Planned population / Work near home
219
ケース・スタディ・ハウス / 1945–1966 / Style / Modern Architecture
The experimental housing program commissioned by Arts & Architecture for the postwar shortage: steel and glass from off-the-shelf parts, popularizing an image of bright modern living open to the California climate.
Lightness of steel and glass / Indoors flowing outdoors / Off-the-shelf components / Horizontally open plans
220
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ブルータリズム建築 / 1950s–1970s / Style / Modern Architecture
A postwar ethic of public building that leaves béton brut exposed and hides neither structure nor services. Bound up with the ideals of the welfare state, it is now the subject of preservation campaigns.
Raw exposed concrete / Massive volumes / Exposed structure / Repeating units
221
シェーカー・デザイン / 1780s–1900s / Style / Furniture and Interiors
Plainness practiced as an article of faith by the Shaker communities of the United States. With ornament refused, their furniture and rooms were arrived at through use and honest workmanship alone, anticipating functionalism and Scandinavian design.
Ornament fully renounced / Peg-rail walls / Light, precise furniture / Perfection as labor
222
曲木家具（トーネット） / 1859– / Technique / Furniture and Interiors
Thonet's chair No. 14 reduced steam-bent beech to a handful of parts, the first industrial furniture to ship knocked-down and be made in quantity. Rational components and an elegant curve arrived together, which is why it is called the origin of modern design.
Steam-bent curves / Reduction to few parts / Knock-down shipping / Lightness and mass production
223
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数寄屋 / 16th century– / Style / Historical Styles
The light, informal residential style born of tea-ceremony aesthetics: slender posts, bark-edged timber, earthen walls and shoji light that let material nature and empty space become the quality of the room. Katsura became modernism's pilgrimage site.
Slender posts, light roofs / Bark-edged timber and earthen walls / Diffuse shoji light / Continuity with the garden
224
イタリアン・ベル・デザイン / 1950s–1970s / Style / Postwar Industrial Design
The golden age of industrial products made by postwar Italian industry and its designers, who added feeling and sculptural presence to functionalism. Castiglioni's lamps and Olivetti's machines exported the product as culture.
Sculptural products / Bold color and wit / Alliances of firms and designers / Material experiment
225
ウルム造形大学 / 1953–1968 / Style / Postwar Industrial Design
Founded by Max Bill as the Bauhaus's successor, the school redefined design as science, method and system. Its collaboration with Braun made the functionalist face a world standard.
Method and system / Grids and modules / Ornament excluded / Design as science
226
情感の建築 / 1953- / Style / Modern Architecture
Building that raises unbroken walls as sculptural mass and works on feeling through color, direct sun and stillness alone. Goeritz gave it the name in the 1953 manifesto he wrote for El Eco, against the functionalism of his day.
A single large wall left without windows / Surfaces painted through in one flat color / Planes of shadow cast by direct sun / Mass read as sculpture rather than as building
227
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パラメトリシズム / 2008– / Style / Modern Architecture
A style that relates every element continuously through parameters and organizes architecture as flowing surface and gradient change. Schumacher named it, and the work of Zaha Hadid Architects became its demonstration.
Continuous curved surfaces / Gradient variation / Mutually adapting elements / The absence of right angles
228
シノワズリ / 17th–18th century / Style / Cross-cultural Reception
Europe's imagined China: longing for imported porcelain and lacquer unfolded into wallpaper, furniture and garden pagodas, joined to Rococo lightness. Read it as a decorative world born of desire, not description.
Fantasized Eastern motifs / Pagodas and lattices / Lacquer and porcelain textures / Continuous wallpaper scenes
229
スキーマティック路線図 / 1933– / Layout / Information Design
Discards geographic accuracy for horizontal, vertical and 45-degree lines with evenly spaced stations. Beck's 1933 London Underground diagram established it as the common language of transit maps worldwide.
Lines limited to 45 degrees / Evenly spaced stations / Color-coded lines / Independence from geography
230
案内用ピクトグラム / 1964– / Style / Information Design
Unified symbol systems that name facilities and actions without language. Tokyo 1964 systematized sport and wayfinding symbols; the AIGA/DOT transportation set became the public-domain world standard.
Geometrized human figures / Uniform stroke weight / Consistency as a system / Independence from language
231
初三郎式鳥瞰図 / 1913–1950s / Style / Diagrammatic Expression
The tourist bird's-eye map style perfected by Hatsusaburō Yoshida: extravagantly curved horizons, exaggerated landmarks and a view that pulls distant cities into one sheet, turning Taishō and Shōwa era travel into pictorial maps.
Curving horizons / Exaggerated landmarks / Extreme wide-angle views / Painterly color
232
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ホワイトキューブ / 1930s– / Style / Exhibition Design
White walls, even light and an unadorned room, so that only the work stands up. MoMA made it standard, and though O'Doherty's criticism exposed it as an institution disguised as neutrality, it remains the default for showing contemporary art.
White walls / Even lighting / The isolated artwork / Context erased
233
驚異の部屋 / 16th–18th century / Style / Exhibition Design
The early modern collection room heaped natural and man-made things, specimens and art, into one space without distinction. Its floor-to-ceiling density aimed at a model of the world, making it the ancestor of the museum and the origin of an aesthetics of collecting.
Accumulation to the ceiling / Nature and artifice mixed / Wonder before classification / A collector's universe
234
サロン掛け / 1667–19th century / Layout / Exhibition Design
The Paris Salon's way of stacking paintings frame to frame from floor to ceiling. Height announced a work's rank, and looking became competition and society. It is the exact opposite of the white cube, and its origin.
Stacked floor to ceiling / Crowded frames / Rank by position / The whole wall used
235
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ハビタット・ジオラマ / 1889– / Style / Exhibition Design
The natural history museum format that fuses taxidermy, real foreground and curved background painting into a slice of habitat. Akeley raised it to an art, and it became the prototype of immersive display.
Curved background paintings / Seams between object and paint erased / An ecological instant frozen / A window to peer into
236
パノラマ館 / 1787–1900s / Style / Exhibition Design
A giant painting covering the entire inner wall of a rotunda placed the audience at the center of the landscape. Lighting and real objects in the foreground erased the edge of the picture, and this 19th-century immersion machine became the summit of mass visual entertainment before cinema.
A 360-degree painting / The central viewing platform / Foregrounds that erase the boundary / Controlled natural light
237
ネオンサイン / 1912–1990s / revival / Style / Signage and Display
The commercial sign style of bent glass tubes glowing as letters and pictures. Hong Kong's street-spanning character signs and Las Vegas's escalating light wars built each city's nighttime visual language.
Lines of bent glass tube / Glowing letters on the night sky / Signs projecting over the road / Blinking and chasing motion
238
ゴーストサイン / 1880s–1950s / rediscovery / Style / Signage and Display
Hand-painted brick-wall advertisements faded by weather. The lettering of the craftsmen called wall dogs, through peeling and fading, is being rediscovered as a stratum of urban memory.
Paint applied straight to brick / Fading and peeling / Craftsman lettering / Layers of overpainting
239
スーパーグラフィックス / 1966–1970s / Style / Signage and Display
Environmental graphics at a scale that overruns the wall, bending geometry and letters around architecture to alter spatial perception itself. Solomon fused Swiss typography with Californian boldness at Sea Ranch.
Shapes crossing the architecture / Letters turning corners / Large fields of primary color / Perception manipulated
240
サーカスポスター / 1870s–1930s / Style / Advertising Posters
Show bills that mustered chromolithography and wood type to announce the spectacle in overloaded scenes and the largest words available. Pasted up until they occupied whole walls, they were advertising that turned the city into a theater.
Saturated chromolithography / Exaggerated animals and acrobats / Superlative slogans / Dense composition
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