Stylogeny combining Early Computer Art × Op Art Graphics

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Style combination · Pairs well

Early Computer Art × Op Art Graphics

Borrow progressive line spacing for a local optical effect, but retain omissions and irregularities so the computational drawing is not reduced to an illusion.

From the research on Early Computer Art & Plotter Graphics

Mix them and make something Early Computer Art Op Art Graphics

FUTUREEarly Computer Art × Op Art Graphics
A sample layout drawn from the recipe: shapes from Early Computer Art, their arrangement from Op Art Graphics, the finish from Early Computer Art. 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.

Early Computer Art & Plotter Graphics Op Art Graphics

Type from Op Art Graphics

Early Computer Art avoids ornamented display: this is where the two pull against each other.

Colour from Op Art Graphics
Form from Early Computer Art
Composition from Op Art Graphics
Surface from Early Computer Art

02

The type

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

Display · Op Art Graphics

Future

Monoton, standing in for Mexico 68 multiline lettering (Lance Wyman)

Text · Early Computer Art

An early computational print idiom that turns explicit procedures and bounded chance into visible marks on paper. Fine paths or coloured modules, repeated units, omissions and changes of density make the rule and its variations readable. Plotter drawings circulated alongside screenprinted and offset versions; this entry centres that paper-based abstraction, not all computer art, pixel imagery or later variable branding.

Inter; Early Computer Art used Small technical work identifiers and captions subordinate to the image and Handwritten artist signatures and edition numerals in the sheet margin

03

The colours

The ground and leading colours come from Op Art Graphics, with a counter-accent from Early Computer Art. The ink reads on the ground at 4.5:1 or more.

Early Computer Art & Plotter Graphics Op Art Graphics

  • #ffffff ground · 36%
  • #0a0a0a ink · 14%
  • #e3001b accent · 18%
  • #28249a accent · 14%
  • #0050b5 accent · 10%
  • #b24b88 accent · 8%

As CSS

:root {
  --ground: #ffffff;
  --ink: #0a0a0a;
  --accent-1: #e3001b;
  --accent-2: #28249a;
  --accent-3: #0050b5;
  --accent-4: #b24b88;
  --font-display: "Monoton", sans-serif;
  --font-text: "Inter", sans-serif;
}

04

The two styles

A cream poster headed “ITERATION” contains a rectangular grid filled with fine blue, green and magenta lines. Repeated fans of lines overlap into sweeping curves and woven-looking geometric patterns. 1963–1980 · Central Europe, Western Europe, North America, Southern Europe Early Computer Art & Plotter Graphics An early computational print idiom that turns explicit procedures and bounded chance into visible marks on paper. Fine paths or coloured modules, repeated units, omissions and changes of density make the rule and its variations readable. Plotter drawings circulated alongside screenprinted and offset versions; this entry centres that paper-based abstraction, not all computer art, pixel imagery or later variable branding. Alternating red and white curved stripes fill the poster, swelling and pinching into a repeating optical illusion of bulges and tunnels. The word “PULSE” appears in tall, multiline red lettering near the center. 1960–1975 · Global / networked Op Art Graphics A 1960s style that turned perceptual research into graphic effect: precisely drawn lines, checks, concentric rings and modular grids, usually black and white or complementaries of equal value, that seem to vibrate, swell or move. Rooted in Bauhaus form teaching through Vasarely and Albers and popularised by MoMA's 1965 'The Responsive Eye', it spread quickly into posters, record sleeves, fashion textiles and identities such as Mexico 68.

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