Stylogeny combining De Stijl × NK Textilkammare Geometric Print

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Style combination · Pairs well

De Stijl × NK Textilkammare Geometric Print

Sampe's late-1940s fabrics followed Mondrian: take De Stijl's black lines and primary accents and turn them into an even, directionless repeat.

From the research on NK Textilkammare Geometric Print (Astrid Sampe, Signerad Textil)

Mix them and make something De Stijl NK Textilkammare Geometric Print

GRIDDe Stijl × NK Textilkammare1917 · 1937
A sample layout drawn from the recipe: shapes from De Stijl, their arrangement from NK Textilkammare Geometric Print, the finish from De Stijl. Not a real work, and not an image of either style.

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What each style brings

Each part of the design comes from the style with the stronger say in it, and each style gives at least two.

De Stijl NK Textilkammare Geometric Print (Astrid Sampe, Signerad Textil)

Type from De Stijl
Colour from NK Textilkammare Geometric Print
Form from De Stijl
Composition from NK Textilkammare Geometric Print
Surface from De Stijl

02

The type

Open fonts standing in for each style’s own type, which is often hand-drawn or commercial.

Display · De Stijl

Grid

Rubik Mono One; De Stijl used Theo van Doesburg's rectilinear alphabet and Vilmos Huszár's block-letter De Stijl masthead

Text · NK Textilkammare Geometric Print

The reduced, geometric household textiles of NK's textile department in Stockholm under Astrid Sampe: small ruled units, stripes, checks, arrows and thin outlines repeated evenly, mostly on screen-printed linen and cotton, some on woven linen, in black and white with a few flat accents of red, blue or yellow. Sampe's late-1940s fabrics followed Mondrian; the 1954 Signerad Textil collection put artists' names, Aalto's among them, on industrially printed cloth. Quiet, rational cloth with no focal point and no type in the repeat.

Jost; NK Textilkammare Geometric Print used No lettering in the repeat and The printed selvedge mark naming maker, pattern and designer in capitals, such as 'TEXTILKAMMARE MADE IN SWEDEN "14/6" ALVAR AALTO DESIGN' on Aalto's 14/6 (MFA Boston 2012.847)

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The colours

The ground and leading colours come from NK Textilkammare Geometric Print, with a counter-accent from De Stijl. The ink reads on the ground at 4.5:1 or more.

De Stijl NK Textilkammare Geometric Print (Astrid Sampe, Signerad Textil)

  • #f2eee4 ground · 36%
  • #161616 ink · 14%
  • #e5b51f accent · 18%
  • #c62a20 accent · 14%
  • #1f4f9a accent · 10%
  • #8f8b82 accent · 8%

As CSS

:root {
  --ground: #f2eee4;
  --ink: #161616;
  --accent-1: #e5b51f;
  --accent-2: #c62a20;
  --accent-3: #1f4f9a;
  --accent-4: #8f8b82;
  --font-display: "Rubik Mono One", sans-serif;
  --font-text: "Jost", sans-serif;
}

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The two styles

A geometric poster features the words “NEW ORDER” in heavy black capitals at the upper left. Thick black bars divide an off-white background into unequal rectangles filled with red, blue, yellow, grey, and white. 1917–1931 · Western Europe De Stijl A Dutch movement formed around Theo van Doesburg's journal De Stijl and Piet Mondrian's Neoplasticism, which sought universal harmony through the most elementary means: horizontal and vertical lines, rectangles, the three primaries and black, white and grey. In typography it produced block-constructed letters and orthogonal, asymmetric layouts whose principles flowed directly into the Bauhaus and the New Typography. An edge-to-edge geometric pattern alternates red and blue blocks with narrow black vertical bars, broad black horizontal bars, and small yellow squares on a cream background. The word “RUTNÄT” occupies a gap in the pattern near the upper right. 1937–1971 · Northern Europe NK Textilkammare Geometric Print (Astrid Sampe, Signerad Textil) The reduced, geometric household textiles of NK's textile department in Stockholm under Astrid Sampe: small ruled units, stripes, checks, arrows and thin outlines repeated evenly, mostly on screen-printed linen and cotton, some on woven linen, in black and white with a few flat accents of red, blue or yellow. Sampe's late-1940s fabrics followed Mondrian; the 1954 Signerad Textil collection put artists' names, Aalto's among them, on industrially printed cloth. Quiet, rational cloth with no focal point and no type in the repeat.

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More combinations

With De Stijl

With NK Textilkammare Geometric Print

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