Stylogeny combining Josef Frank and Svenskt Tenn Botanical Prints × Vienna Secession

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Style combination · Contrasts

Josef Frank and Svenskt Tenn Botanical Prints × Vienna Secession

Frank came out of Vienna, but his loose, asymmetric plant repeats are the opposite of the Secession's geometric, symmetrical ornament; compare a Wiener Werkstätte grid pattern with his free-growing trees.

From the research on Josef Frank and Svenskt Tenn Botanical Prints

Mix them and make something Josef Frank and Svenskt Tenn Botanical Prints Vienna Secession

Large blue lettering reading “GARDEN DAYS” tops a cream-colored poster filled with winding branches, green leaves, colorful flowers, and fruit. Three women in floral dresses sit among the foliage alongside a blue bird and a golden, blue-spotted cat.
AI-generated by Stylogeny from the recipe below, and checked against it: the type from Vienna Secession, the form from Josef Frank and Svenskt Tenn Botanical Prints, the composition from Josef Frank and Svenskt Tenn Botanical Prints. Not a real or historical work.

01

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.

Josef Frank and Svenskt Tenn Botanical Prints Vienna Secession

Type from Vienna Secession
Colour from Josef Frank and Svenskt Tenn Botanical Prints
Form from Josef Frank and Svenskt Tenn Botanical Prints
Composition from Josef Frank and Svenskt Tenn Botanical Prints
Surface from Vienna Secession

02

The type

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

Display · Vienna Secession

Soirée

Federant; Vienna Secession used Alfred Roller's elongated, interlocking block capitals and Koloman Moser's geometric display lettering

Text · Josef Frank and Svenskt Tenn Botanical Prints

The linens Josef Frank drew for Svenskt Tenn, which still prints them: invented trees, flowers, fruit and birds, even a map of Manhattan, packed edge to edge in long repeats and many clear colours, mostly on white or natural linen. The plants are outlined, stylised but recognisable, loose and asymmetric. Frank meant different patterns to be mixed in one room, against the cold purity of functionalism; his 1958 essay "Accidentism" later named the idea: rooms should look as if they had come about by chance. Unlike Marimekko's single enlarged motif, Frank keeps many small motifs and colours.

Schibsted Grotesk; Josef Frank and Svenskt Tenn Botanical Prints used Lettering drawn inside the repeat, such as the grey banners naming 'MANHATTAN' that run through the Manhattan print and The printed selvedge mark naming pattern, designer and maker, such as 'La Plata Komp. Av Josef Frank Svenskt Tenn Stockholm'

03

The colours

The ground and leading colours come from Josef Frank and Svenskt Tenn Botanical Prints, with a counter-accent from Vienna Secession. The ink reads on the ground at 4.5:1 or more.

Josef Frank and Svenskt Tenn Botanical Prints Vienna Secession

  • #f4efe3 ground · 36%
  • #1f4f8f ink · 14%
  • #e3a92b accent · 18%
  • #b8913a accent · 14%
  • #c8372d accent · 10%
  • #d77a9a accent · 8%

As CSS

:root {
  --ground: #f4efe3;
  --ink: #1f4f8f;
  --accent-1: #e3a92b;
  --accent-2: #b8913a;
  --accent-3: #c8372d;
  --accent-4: #d77a9a;
  --font-display: "Federant", sans-serif;
  --font-text: "Schibsted Grotesk", sans-serif;
}

04

The two styles

A cream-ground illustrated poster is densely filled with winding green foliage, colorful flowers, lemons, berries, birds, spotted animals, and people relaxing in summer clothes. Red lettering reading “Sunny Days” appears near the upper right, above a small blue table with a pitcher and fruit beside a red chair. 1934–present · Northern Europe Josef Frank and Svenskt Tenn Botanical Prints The linens Josef Frank drew for Svenskt Tenn, which still prints them: invented trees, flowers, fruit and birds, even a map of Manhattan, packed edge to edge in long repeats and many clear colours, mostly on white or natural linen. The plants are outlined, stylised but recognisable, loose and asymmetric. Frank meant different patterns to be mixed in one room, against the cold purity of functionalism; his 1958 essay "Accidentism" later named the idea: rooms should look as if they had come about by chance. Unlike Marimekko's single enlarged motif, Frank keeps many small motifs and colours. An ornate, symmetrical gold border surrounds a large blank cream oval. Red flowers, dark green leaves, striped panels, and black, gold, and cream checkerboards fill the border. 1897–1918 · Central Europe Vienna Secession The Viennese break with academic art led by Gustav Klimt, Koloman Moser, Josef Hoffmann and Alfred Roller, which pulled Art Nouveau toward the square, the grid and the flat plane. Its exhibition posters, the journal Ver Sacrum and Wiener Werkstätte graphics enclose stylised figures and dense geometric lettering in rectangular frames, in black, white and gold, with severe symmetrical clarity.

05

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