Compose styles
Rather than blending styles toward a middle, this gives them roles. The first one carries the structure, the next comes in as the accent, and anything after that shows up in a single detail. Where they fight each other, it says so before you start.
How to divide the work
- Composition
- Follow AfriCOBRA: Repeat one shape at even intervals so the eye keeps circling the surface
- Type
- Set in AfriCOBRA's manner (Bend the words along the figures so the slogan becomes structure, not caption), and let Casablanca Art School's lettering (Set short headings in a clear sans and treat Arabic and Latin scripts as equal compositional units) appear only where you want the eye to catch.
- Material
- Ground in AfriCOBRA's material (Set near fluorescent saturated colors side by side, holding print flatness); bring in exactly one thing from Casablanca Art School (Use matte pigment, wood, leather, textile and print according to their medium, documenting craft source and maker).
- Colour
- Build on #f0c632, #d8452c, #315c79 and admit one accent from #D94A2D, #E3B33C, #236A78.
Where they fight
These are already listed as related entries, so the join should come easily.
Caution
- AfriCOBRA Copying only the intensity of color while dropping the community's words and faces stylizes the look and loses the purpose, which was affirmation.
- Casablanca Art School This was not Moroccan pattern pasted behind Western modern art. Treat education, public space, publishing and the revaluation of craft as part of its decolonial practice.
Image prompt
Produce four original images that take their structure from AfriCOBRA (style, 1968–) and their accent from Casablanca Art School (style, 1962–1970s). ## What to make Make the kind of thing AfriCOBRA exists for: posters for Black community events and music where color and rhythm are the subject, or affirming words built into the image and printed to be carried and held up. Choose one subject and hold it across all four. ## Structure comes from AfriCOBRA - Kool-Aid colors - Rhythmic repetition - Letters and figures - Afrocentric imagery Composition: Repeat one shape at even intervals so the eye keeps circling the surface. Type and lettering: Bend the words along the figures so the slogan becomes structure, not caption. ## Accent comes from Casablanca Art School, used sparingly - Geometric and organic abstraction built from flat color and contour - Repetition and symmetry learned from Amazigh rugs, jewelry and signs - Strong red, orange, blue and green on earth color or white - One language crossing painting, poster, magazine and outdoor mural Let one material quality come from it: Use matte pigment, wood, leather, textile and print according to their medium, documenting craft source and maker. ## Colour and feeling Build the ground on #f0c632, carry the structure in #d8452c and #315c79, and let a single accent come from #D94A2D. These are read off real works, so a direction rather than a fixed palette. Feeling to carry: exhilaration, rebellion, intimacy. ## What goes wrong - AfriCOBRA: Copying only the intensity of color while dropping the community's words and faces stylizes the look and loses the purpose, which was affirmation. - Casablanca Art School: This was not Moroccan pattern pasted behind Western modern art. Treat education, public space, publishing and the revaluation of craft as part of its decolonial practice. ## Across the four Keep the roles fixed in all four. Vary the framing, the scale and the arrangement so the set shows what this pairing can do rather than four versions of one picture. ## Constraints - Do not imitate, reference or name any specific artist, studio, brand, character or copyrighted work. - Do not reproduce the composition of an existing work. - Produce original compositions in the general period languages described above.
Related entries
- AfriCOBRA 1968– / Style / Black Arts Movement
Visualizes Black communal affirmation and political consciousness through blazing color, rhythm, lettering and Africa-centered images.
- Casablanca Art School 1962–1970s / Style / Modern and Contemporary Art Movements
In post-independence Morocco, the Casablanca Art School challenged colonial art education by connecting abstraction to Amazigh rugs, jewelry, calligraphy and painted ceilings, then carrying the same language beyond framed painting into posters, magazines, street exhibitions and murals.
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