Stylogeny combining Scandinavian Functionalism × 10-gruppen Printed Textiles

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Style combination · Pairs well

Scandinavian Functionalism × 10-gruppen Printed Textiles

Set a bright repeat behind calm functionalist typography and white space: the pattern brings the colour, the layout keeps the order.

From the research on 10-gruppen (Tiogruppen) Printed Textiles

Mix them and make something Scandinavian Functionalism 10-gruppen Printed Textiles

HelloScandinavian Functionalism × 10-gruppenPrinted Textiles
A sample layout drawn from the recipe: shapes from 10-gruppen Printed Textiles, their arrangement from 10-gruppen Printed Textiles, the finish from Scandinavian Functionalism. Not a real work, and not an image of either style.

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.

Scandinavian Functionalism 10-gruppen (Tiogruppen) Printed Textiles

Type from Scandinavian Functionalism
Colour from 10-gruppen Printed Textiles
Form from 10-gruppen Printed Textiles
Composition from 10-gruppen Printed Textiles
Surface from Scandinavian Functionalism

02

The type

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

Display · Scandinavian Functionalism

Hello

Jost, standing in for Futura

Text · 10-gruppen Printed Textiles

The printed fabrics of 10-gruppen, a Stockholm collective of ten textile designers founded in 1970: bright, flat all-over repeats of stripes, checks, dripping drops and simple figurative motifs such as dogs, bananas and Stockholm landmarks, in a few saturated inks on cotton or linen. Against the discreet patterns then usual in Swedish textiles, they made cheap, cheerful pattern for everyday goods, sold by the metre at IKEA and on bags and trays in the group's own shop. Unlike Marimekko's large organic shapes, the repeats are mid-sized, cleanly drawn and often pictorial.

Nunito; 10-gruppen Printed Textiles used No lettering in the repeat and IKEA's capitalised Swedish product names (STRIX/STRAX, PLASK, SOLREGN, RANDIG BANAN, as IKEA Museum writes them), the form in which most buyers met the group's prints; this naming is IKEA's convention, not a choice of the group, and the only lettering tied to the prints in the sources

03

The colours

The ground and leading colours come from 10-gruppen Printed Textiles, with a counter-accent from Scandinavian Functionalism. The ink reads on the ground at 4.5:1 or more.

Scandinavian Functionalism 10-gruppen (Tiogruppen) Printed Textiles

  • #f4f1e8 ground · 36%
  • #161616 ink · 14%
  • #f6c800 accent · 18%
  • #e3b53a accent · 14%
  • #e8641c accent · 10%
  • #a63a2a accent · 8%

As CSS

:root {
  --ground: #f4f1e8;
  --ink: #161616;
  --accent-1: #f6c800;
  --accent-2: #e3b53a;
  --accent-3: #e8641c;
  --accent-4: #a63a2a;
  --font-display: "Jost", sans-serif;
  --font-text: "Nunito", sans-serif;
}

04

The two styles

A rust-red cat sleeps curled beside a leafy green plant in a yellow pot on a cream background. Large dark lettering reads “Quiet Days” at upper left, with a yellow circle above the plant. 1930–present · Northern Europe Scandinavian Functionalism Nordic functionalism (funkis) arrived in graphic form with Sigurd Lewerentz's posters and winged emblem for the 1930 Stockholm Exhibition. It adapted Bauhaus rationalism to a social-democratic ideal of beautiful everyday things for everyone. Its graphic language is modernism with warmth: clear sans-serif or humane serif type, generous space, friendly simplified symbols and colours taken from nature, applied to public services, consumer goods and national identities. An all-over pattern shows black-haired people in yellow tops and orange trousers sitting in blue chairs with green mugs, interspersed with black cats and orange dome-shaped lamps on a cream background. Bold black lettering near the upper left reads “HEMMA.” 1970–2015 · Northern Europe 10-gruppen (Tiogruppen) Printed Textiles The printed fabrics of 10-gruppen, a Stockholm collective of ten textile designers founded in 1970: bright, flat all-over repeats of stripes, checks, dripping drops and simple figurative motifs such as dogs, bananas and Stockholm landmarks, in a few saturated inks on cotton or linen. Against the discreet patterns then usual in Swedish textiles, they made cheap, cheerful pattern for everyday goods, sold by the metre at IKEA and on bags and trays in the group's own shop. Unlike Marimekko's large organic shapes, the repeats are mid-sized, cleanly drawn and often pictorial.

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