Design System
The Style. Pure abstraction through perpendicular lines and primary colors.
Only primary colors are permitted: red, blue, and yellow. Combined with black, white, and occasionally gray, these create maximum visual contrast with minimal means.
De Stijl rejected secondary and tertiary colors as impure. The three primary colors, along with black and white, were considered the only true colors. This radical reduction created a universal visual language free from naturalistic representation.
Heavy geometric sans-serif typefaces embody the movement's principles. No serifs, no flourishes. Pure geometric letterforms with strong vertical and horizontal strokes.
A rigid 8px base unit creates the grid. All spacing derives from this fundamental unit, creating mathematical harmony and strict perpendicular relationships.
Strictly rectangular. No rounded corners permitted. Bold borders define interactive areas. Color indicates hierarchy and purpose.
Input elements use bold rectangular borders. Focus states employ color shifts and perpendicular shadow offsets. No curves permitted.
Content containers use Mondrian-inspired compositions. Asymmetric grids, bold dividing lines, and primary color blocks create dynamic visual hierarchy.
Neoplastic compositions reduce form to pure abstraction through perpendicular relationships.
Buildings as three-dimensional paintings, with interlocking rectangular planes.
Functional objects as sculptural compositions of intersecting planes.
Grid-based layouts inspired by Mondrian's neoplastic paintings, using asymmetric proportions and primary color fields.
Information presented in strict grid alignment. Bold headers, perpendicular dividers, and color-coded status indicators provide clarity.
| Artist | Medium | Period | Status | Works |
|---|---|---|---|---|
| Piet Mondrian | Painting | 1917-1944 | Founder | 250+ |
| Theo van Doesburg | Multi-disciplinary | 1917-1931 | Co-founder | 180 |
| Gerrit Rietveld | Architecture | 1919-1964 | Member | 95 |
| Bart van der Leck | Painting | 1917-1918 | Former | 120 |
| Vilmos Huszar | Graphic Design | 1917-1923 | Former | 85 |
Compact rectangular labels for status, categories, and metadata. Strictly perpendicular forms with no rounded corners.
The fundamental ideas that guided De Stijl: reduction to essentials, universal harmony through abstract form, and the integration of art into everyday life.
Only horizontal and vertical lines are permitted. Diagonals and curves are rejected as impure. This constraint creates a universal visual grammar that transcends cultural specificity.
Red, blue, and yellow are the only chromatic colors allowed, alongside black and white. These represent the fundamental building blocks of all color, reduced to their purest essence.
Dynamic equilibrium is achieved through asymmetric composition rather than static symmetry. Varying proportions of colored and white planes create tension and visual interest.
The goal was to create a universal aesthetic language that could unify all art forms. Painting, architecture, furniture, and typography would share the same formal vocabulary.
All naturalistic forms are reduced to their geometric essence. Representation is eliminated in favor of pure abstraction, revealing the underlying structure of visual experience.
Art should not be separate from life. The principles of neoplasticism should extend from canvas to architecture to everyday objects, creating a complete aesthetic environment.
A complex Mondrian-inspired grid demonstrating the interplay of asymmetric proportions, primary colors, and perpendicular structure.