# 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.

- Period: 1960–1975
- Where: Global / networked
- Origin: Paris, London, Milan and New York, with Latin American kinetic art in Caracas and Paris
- Branch: Rational modernism
- Also known as: Optical Art, Op, Kinetic graphics
- Page: https://stylogeny.com/styles/op-art/

## How it works

- Build the whole image from one repeated module (line, square or circle) and vary its thickness, spacing or curvature progressively.
- Use maximum value contrast, or complementary hues of equal value, to make edges vibrate.
- Distort a regular grid locally to suggest bulging, twisting or receding surfaces.
- Draw lettering with parallel or concentric outlines so type and field share one rhythm.
- Execute with mechanical precision; any wobble breaks the illusion.

## Its design choices

Defining choices make the style, characteristic ones are usual, occasional ones turn up now and then.

### Layout & composition
- [All-over field](https://stylogeny.com/design-choices/all-over-field/) (defining)
- [Radial & concentric](https://stylogeny.com/design-choices/radial-and-concentric/) (characteristic)
- [Modular grid](https://stylogeny.com/design-choices/modular-grid/) (characteristic)
- [Full bleed](https://stylogeny.com/design-choices/full-bleed/) (characteristic)
- [Central symmetry](https://stylogeny.com/design-choices/central-symmetry/) (occasional)

### Space & hierarchy
- [Repetition & rhythm](https://stylogeny.com/design-choices/repetition-and-rhythm/) (defining)
- [Illusion of depth](https://stylogeny.com/design-choices/illusion-of-depth/) (defining)
- [Visual tension](https://stylogeny.com/design-choices/visual-tension/) (characteristic)
- [Flat hierarchy](https://stylogeny.com/design-choices/flat-hierarchy/) (occasional)

### Typography
- [Geometric sans](https://stylogeny.com/design-choices/geometric-sans/) (characteristic)
- [Ornamented display](https://stylogeny.com/design-choices/ornamented-display/) (characteristic)
- [Experimental & distorted](https://stylogeny.com/design-choices/experimental-and-distorted/) (occasional)
- [Type as image](https://stylogeny.com/design-choices/type-as-image/) (occasional)

### Colour
- [Monochrome](https://stylogeny.com/design-choices/monochrome/) (defining)
- [Complementary clash](https://stylogeny.com/design-choices/complementary-clash/) (characteristic)
- [Flat fields](https://stylogeny.com/design-choices/flat-fields/) (characteristic)
- [Full polychrome](https://stylogeny.com/design-choices/full-polychrome/) (occasional)
- [Gradients](https://stylogeny.com/design-choices/gradients/) (occasional)

### Form & shape
- [Optical pattern](https://stylogeny.com/design-choices/optical-pattern/) (defining)
- [Non-representational](https://stylogeny.com/design-choices/non-representational/) (characteristic)
- [Geometric primitives](https://stylogeny.com/design-choices/geometric-primitives/) (characteristic)

### Surface & texture
- [Flat](https://stylogeny.com/design-choices/flat/) (characteristic)

### Ornament
- [Geometric tessellation](https://stylogeny.com/design-choices/geometric-tessellation/) (occasional)

### Imagery
- [Pattern & repeat](https://stylogeny.com/design-choices/pattern-and-repeat/) (characteristic)

### Medium & production
- [Screen printing](https://stylogeny.com/design-choices/screen-printing/) (characteristic)
- [Offset printing](https://stylogeny.com/design-choices/offset-printing/) (characteristic)
- [Textile & craft](https://stylogeny.com/design-choices/textile-and-craft/) (occasional)

### Tone & intent
- [Playful & witty](https://stylogeny.com/design-choices/playful-and-witty/) (characteristic)
- [Technological & futurist](https://stylogeny.com/design-choices/technological-and-futurist/) (characteristic)
- [Rational & objective](https://stylogeny.com/design-choices/rational-and-objective/) (occasional)

Avoids: Naturalistic depiction, Straight photography, Painterly illustration, Painterly brushwork, Grain & noise, Floral & vegetal, Script, Collage & layering

Palette: #ffffff, #0a0a0a, #e3001b, #0050b5, #00a651

Typefaces: Mexico 68 multiline lettering (Lance Wyman), Futura, Helvetica, Eurostile

Known for: Victor Vasarely (Zebra, 1937; Renault lozenge with Yvaral, 1972); Bridget Riley (Movement in Squares, 1961); Franco Grignani (Woolmark logo, 1964; Alfieri & Lacroix advertisements); Lance Wyman, Eduardo Terrazas & Pedro Ramírez Vázquez (Mexico 68 Olympic identity); Josef Albers (Interaction of Color, 1963); William C. Seitz, The Responsive Eye (MoMA, 1965)

## Where it comes from, and what it’s close to

- Grew out of: [Bauhaus](https://stylogeny.com/styles/bauhaus.md) (1919–1933)
- Influenced by: [Russian Constructivism](https://stylogeny.com/styles/constructivism.md) (1917–1934)
- Influenced by: [Italian Futurism](https://stylogeny.com/styles/futurism.md) (1909–1944)
- Alike in its design choices: [Mexico 68 Olympic & Metro Identity](https://stylogeny.com/styles/mexico-68.md) (1966–1970), 60% alike
- Alike in its design choices: [Zagreb Modernist Graphics (EXAT 51 to Teatar &TD)](https://stylogeny.com/styles/zagreb-modernist-graphics.md) (1951–1975), 55% alike
- Alike in its design choices: [Lucerne Poster Scene (Neubad & Südpol Posters)](https://stylogeny.com/styles/lucerne-poster-scene.md) (2007–present), 53% alike
- Alike in its design choices: [Di Tella Graphic Design (Instituto Torcuato Di Tella)](https://stylogeny.com/styles/di-tella-graphics.md) (1960–1970), 51% alike
- Alike in its design choices: [Brazilian Concrete Design](https://stylogeny.com/styles/brazilian-concrete.md) (1951–1975), 49% alike
- Alike in its design choices: [Square Kufic (Bannāʾī)](https://stylogeny.com/styles/square-kufic.md) (c. 1100–present), 47% alike

## Real works

- [Alfieri & Lacroix tipolitozincografia in Milano – L'evoluzione della grafica accompagna la dimensione quotidiana della vita umana](https://www.emuseum.ch/en/objects/20917): Franco Grignani, c. 1960, Museum für Gestaltung Zürich, Poster Collection (71-0612)
- [Untitled (Based on Movement in Squares)](https://www.moma.org/collection/works/75869): Bridget Riley, 1962, The Museum of Modern Art, New York (1161.1964)
- [Kazumasa Nagai One-Man Show at Imabashi Gallery](https://www.moma.org/collection/works/8812): Kazumasa Nagai, 1968, The Museum of Modern Art, New York (1515.2000)
- [The Paris Review](https://www.moma.org/collection/works/8985): Richard Anuszkiewicz, 1965, The Museum of Modern Art, New York (2282.1967)
- [Poster for an exhibition of work by François Morellet at Galerie der Spiegel, Cologne](https://www.moma.org/collection/works/7904): François Morellet, 1966, The Museum of Modern Art, New York (676.1966)

## Sources

- William C. Seitz, The Responsive Eye (MoMA, 1965) (https://www.moma.org/documents/moma_catalogue_2860_300190234.pdf)
- Estorick Collection, Franco Grignani: Art as Design 1950–1990 (https://estorickcollection.com/exhibitions/franco-grignani-art-as-design-1950-1990)
- Philip B. Meggs & Alston W. Purvis, Meggs' History of Graphic Design

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From Stylogeny (https://stylogeny.com/), an atlas of graphic-design styles by Van Riel Online Services. How it is made: https://stylogeny.com/about/. Cite as: Stylogeny, “Op Art Graphics”, https://stylogeny.com/styles/op-art/