This is an early example of the geometric mode of painting that Mondrian called Neo-Plasticism. For Mondrian, Neo-Plasticism was a universal style because its emphasis on planar relationships could be extended not only to painting, but also to design and architecture. Here, he uses thick black lines to divide the canvas into eleven different rectangles, some of which are painted in primary shades of red and blue. Mondrian created lighter hues by mixing primary colors (red, blue, or yellow) with white. Over time, Mondrian ceased diluting his palette altogether in favor of pure color.