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