Seen as graphic design, these images offer connections with clothes, furniture and film posters. Some draw explicitly on Art Deco or the 1980s. Others share the pastel backgrounds and stronger accents familiar from decorating schemes.
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Art Deco, from eveningwear to decorative borders
Art Deco brings fashion and interiors into the same conversation through geometry, polished finishes and carefully placed ornament.
A purple satin evening dress designed by Jeanne Lanvin in 1935, held by the V&A, shows how these elements work together. Above its long silhouette sits a collar based on triangles and squares. Close rows of stitching help the fabric hold its shape and add another layer of detail.
An Eileen Gray lacquer screen made around 1923 achieves a different balance. Its eight panels have brass hinges, polished surfaces and areas of silver foil.
Related details appear in Art Deco-themed slot graphics. Gold-coloured frames surround the imagery, while geometric borders and gemstone decoration give the screen an orderly, elaborate finish.
How a colour becomes a gemstone
The stones deserve a closer look. Their colours gain depth through small, sharply divided areas of light and shade.
In one illustrated star, purple, pink, orange, yellow, green and blue occupy separate segments. Each segment contains angular planes, with white highlights along the edges. Even within a small image, those divisions suggest the hard, polished surface of a cut stone.
Art Deco jewellery offers a comparison. By the late 1920s, diamonds, rock crystal and platinum appeared together in restrained settings that gave the stones prominence.
There is a contrast with Lanvin’s satin here. Light spreads across the dress’s folds in broad bands; on a faceted illustration, it appears in short flashes. The treatment gives colour its material character.
Pale backgrounds and brighter accents
Step back from those individual details and the background becomes important. A pale setting leaves room for stronger colours elsewhere in the image.
Confectionery-themed slot artwork uses blue skies, pastel landscape elements and cloud-like forms behind brighter fruit and sweet illustrations. Rounded title lettering carries the softness of the scenery into the typography.
This pink-and-blue territory also appears in wider design discussions. For 2016, Pantone selected Rose Quartz and Serenity together, pairing a warmer rose tone with a cooler blue. Its accompanying material considered the colours across matte, metallic and glossy finishes.
The comparison with a room scheme comes down to how much space each colour occupies. Pale walls and colourful accessories distribute attention differently from a room filled with equally strong shades.
The eighties in pink, green and zigzags
Turn up the colour and add a patterned surface, and another period comes into view.
Ettore Sottsass established the Memphis group in 1981. His Carlton bookcase and Casablanca sideboard use vivid colour, emphatic shapes and unexpected arrangements. Diagonals and asymmetry make their construction part of the decoration.
Cassette-themed slot illustrations bring a comparable mix to the screen. Pink and green casings carry stars, diagonal divisions and yellow zigzags, with neon-like accents adding to the eighties setting.
The cassette supplies a recognisable object, while its label contributes a second set of references. Placed beside Memphis furniture, the similarities become specific: bright colour sits against bright colour, and angular patterns divide up the surfaces. The period look comes from the combination.
What a film poster can teach about colour
Film posters pull these separate choices into a single composition. Background, objects and accents have to establish a setting within one frame.
James Boswell’s poster for the 1950 crime film The Blue Lamp places figures around an amusement arcade. Rusty reds dominate the foreground, with blue around the police lamp behind. The BFI’s analysis connects those colours with the scene’s contrasting elements.
Crime-themed slot artwork also concentrates its setting into a few objects. An illustrated safe, for example, combines cool blue-grey metal with red-orange details and bright edges.
Here the earlier observations meet. Colour suggests a surface, pattern places it within a style, and composition decides how the parts relate. Those choices connect a dress, a cabinet and a digital illustration, giving familiar shades a different character on each surface.