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 Antropofagia: One swollen figure dominating the field, the borrowed reference still legible underneath it
- Type
- Set in Antropofagia's manner (A European display face redrawn until its proportions no longer belong to it), and let Neo-Concrete Art's lettering (Run type across the fold so it resolves only when opened) appear only where you want the eye to catch.
- Material
- Ground in Antropofagia's material (Saturated primaries and tropical greens laid flat, mixed without hiding where each came from); bring in exactly one thing from Neo-Concrete Art (Thin metal or board with hinges tuned to move under the hand's weight).
- Colour
- Build on #c3c6b8, #455a59, #22201a and admit one accent from #ece5ce, #d95b37, #315f86.
Where they fight
- Antropofagia and Neo-Concrete Art both belong to Brazilian Avant-garde, so the difference is small. Push the roles further apart than feels comfortable.
Caution
- Antropofagia Treating it as a licence to sample freely: the point is digestion, and a collage that leaves its sources intact is quotation rather than appetite.
- Neo-Concrete Art Read it through the revolt against objectivism and the transformation the viewer's body performs, not as Brazilian geometric abstraction, and note that fragile moving parts go untouched and leave only ornament.
Image prompt
Produce four original images that take their structure from Antropofagia (aesthetic, 1928–1930s) and their accent from Neo-Concrete Art (style, 1959–1966). ## What to make Make the kind of thing Antropofagia exists for: brand work for cultures that import heavily and want to own what they import rather than apologise for it, or cross-cultural campaigns in which the visible seam between a foreign form and a local one is the idea, not a defect. Choose one subject and hold it across all four. ## Structure comes from Antropofagia - The deliberate digestion of imported styles - Mixture with indigenous imagery - Motifs of the enlarged body - Primary colours and a tropical range Composition: One swollen figure dominating the field, the borrowed reference still legible underneath it. Type and lettering: A European display face redrawn until its proportions no longer belong to it. ## Accent comes from Neo-Concrete Art, used sparingly - Movable geometry - Bodily participation - Folds and hinges - Sensuous color and space Let one material quality come from it: Thin metal or board with hinges tuned to move under the hand's weight. ## Colour and feeling Build the ground on #c3c6b8, carry the structure in #455a59 and #22201a, and let a single accent come from #d95b37. These are read off real works, so a direction rather than a fixed palette. Feeling to carry: rebellion, play, exhilaration, intimacy. ## Where they fight - Antropofagia and Neo-Concrete Art both belong to Brazilian Avant-garde, so the difference is small. Push the roles further apart than feels comfortable. ## What goes wrong - Antropofagia: Treating it as a licence to sample freely: the point is digestion, and a collage that leaves its sources intact is quotation rather than appetite. - Neo-Concrete Art: Read it through the revolt against objectivism and the transformation the viewer's body performs, not as Brazilian geometric abstraction, and note that fragile moving parts go untouched and leave only ornament. ## 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
- Antropofagia 1928–1930s / Aesthetic / Brazilian Avant-garde
A Brazilian programme that took cannibalism as its metaphor: do not refuse European culture, eat it and turn it into your own blood. Its affirmation of mixture as a method rather than a weakness has run underneath Brazilian design, music and architecture ever since.
- Neo-Concrete Art 1959–1966 / Style / Brazilian Avant-garde
Releases geometric abstraction from a fixed visual order and opens the work to touching, moving and entering, so that it becomes an experience that changes as the body takes part.
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