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
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
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
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