Craft & organic · 1890–1914 · Western Europe
Glasgow Style
Also known as The Glasgow Four, Spook School, Scottish Art Nouveau
Glasgow's distinctive answer to Art Nouveau, formed around Charles Rennie Mackintosh, Margaret and Frances Macdonald and Herbert MacNair at the Glasgow School of Art. It sets attenuated, ghostly figures and tight rosebuds against long vertical lines and small square lattices in tall, symmetrical compositions, balancing Celtic and Japanese restraint against continental exuberance.
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01
How it works
- Stretch compositions and figures vertically, elongating bodies into tall, column-like silhouettes.
- Counterpoint long straight verticals and small square grids with a few tight, stylised rosebuds or seed-pods.
- Keep compositions symmetrical and frontal, concentrating ornament in small, precise clusters.
- Draw lettering by hand as attenuated capitals with unusually high or low crossbars.
- Work in a cool, limited palette of white, black, silver, rose and lilac.
Glasgow School of Art, Scotland
02
Its design choices
From Stylogeny’s vocabulary of design choices: defining choices make the style, characteristic ones are usual, occasional ones turn up now and then.
- Layout & composition
- Space & hierarchy
- Colour
- Form & shape
- Surface & texture
- Ornament
- Medium & production
- Tone & intent
- Avoids
- Horror vacui, Abundant decoration, Full polychrome, Eclectic mixing, Diagonal axis, Naturalistic depiction
Palette
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Typefaces
Charles Rennie Mackintosh's attenuated hand lettering
ITC Rennie Mackintosh
Phill Grimshaw, 1996
Talwin Morris's book-cover lettering
Known for
Charles Rennie Mackintosh
The Scottish Musical Review poster, 1896
Margaret Macdonald Mackintosh
Frances Macdonald MacNair
Herbert MacNair
Jessie M. King
Talwin Morris
book covers for Blackie & Son
Francis 'Fra' Newbery, Glasgow School of Art
03
Make something in this style
Say what you need, and Stylogeny’s image studio draws it from Glasgow Style’s design choices and checks it against them. It takes about a minute, and you get a link to share.
04
Where it comes from, and what it’s close to
Before it
The style it grew out of, and the styles it borrowed from.
After it
The styles that grew out of it.
No later style in the atlas grew out of it yet.
Alike in its design choices
Styles that make many of the same choices, related or not, besides those above.
05
Real works
Artefacts in museums, libraries and archives that show the style, linked at their source.
- The Scottish Musical Review (poster)Charles Rennie Mackintosh (printed by Banks & Co., Edinburgh and Glasgow) · 1896 · Albertina, Vienna (DG2004/1919)
- Glasgow Institute of the Fine Arts (exhibition poster)Charles Rennie Mackintosh (printed by Carter & Pratt, Glasgow) · 1894 (MKG; often dated 1895) · Museum für Kunst und Gewerbe Hamburg (E1897.199)
- Album von Dresden und Sächsische Schweiz (front cover)Jessie M. King (cover design); Globus-Verlag, Berlin (publisher) · c. 1900 · Wikimedia Commons (uploader's own scan of a copy; holding institution not stated)
- The Songs, Poems and Sonnets of William Shakespeare (cover for Mudie's Select Library)Talwin Morris · undated (c. 1895–1911) · Glasgow School of Art Library (photograph via Wikimedia Commons)
- R. L. Stevenson Memories (front cover)Jessie M. King · October 1912 · Wikimedia Commons (uploader's photograph of a copy; holding institution not stated)
06
Sources
- Philip B. Meggs & Alston W. Purvis, Meggs' History of Graphic Design
- The Hunterian, University of Glasgow: Mackintosh collection (hunterian.gla.ac.uk)
- Kelvingrove Art Gallery and Museum, Glasgow: 'Mackintosh and the Glasgow Style' gallery
How Stylogeny researches and checks a style: where the facts come from.







