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 Casablanca Art School: Divide large fields into waves, chevrons, circles and bands that continue to the edge of page or wall. Avoid small framed-picture enclosures
- Type
- Set in Casablanca Art School's manner (Set short headings in a clear sans and treat Arabic and Latin scripts as equal compositional units), and let Modernism's lettering (A sans-serif with few quirks) appear only where you want the eye to catch.
- Material
- Ground in Casablanca Art School's material (Use matte pigment, wood, leather, textile and print according to their medium, documenting craft source and maker); bring in exactly one thing from Modernism (Black and white with a single accent color).
- Colour
- Build on #D94A2D, #E3B33C, #236A78 and admit one accent from #f5f3ec, #315a8f, #1a1a18.
Where they fight
- Casablanca Art School and Modernism share no intent, so the contrast has to become the subject rather than something to smooth over.
Caution
- 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.
- Modernism Blandness is not universality. Hold clear intent in every ratio and interval.
Image prompt
Produce four original images that take their structure from Casablanca Art School (style, 1962–1970s) and their accent from Modernism (style, 1920s–1970s). ## What to make Make the kind of thing Casablanca Art School exists for: opening a cultural or educational program from gallery into poster, publication and street through one language, or translating regional craft into principles of modern color and repetition instead of pasting it on as ornament. Choose one subject and hold it across all four. ## Structure comes from Casablanca Art School - 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 Composition: Divide large fields into waves, chevrons, circles and bands that continue to the edge of page or wall. Avoid small framed-picture enclosures. Type and lettering: Set short headings in a clear sans and treat Arabic and Latin scripts as equal compositional units. ## Accent comes from Modernism, used sparingly - Simplification - Clear hierarchy - Function first - Universal forms Let one material quality come from it: Black and white with a single accent color. ## Colour and feeling Build the ground on #E3B33C, carry the structure in #D94A2D and #236A78, and let a single accent come from #315a8f. These are read off real works, so a direction rather than a fixed palette. Feeling to carry: rebellion, exhilaration, intimacy, trust, calm. ## Where they fight - Casablanca Art School and Modernism share no intent, so the contrast has to become the subject rather than something to smooth over. ## What goes wrong - 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. - Modernism: Blandness is not universality. Hold clear intent in every ratio and interval. ## 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
- 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.
- Modernism 1920s–1970s / Style / Functionalism
Replaces ornament with reasoned form and aims at universality. The particular answers stand as their own entries, and Bauhaus, Swiss, Minimalism and Streamline Moderne are all separate solutions arrived at from this one stance.
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