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 Mexico 68 Identity: Waves of line carried surface to surface, crossing the boundaries between elements
- Type
- Set in Mexico 68 Identity's manner (Concentric lines from the mark reused as the skeleton of a custom alphabet), and let Pictogram System's lettering (Draw every mark on one grid and stroke weight, human proportions shared) appear only where you want the eye to catch.
- Material
- Ground in Mexico 68 Identity's material (A few high-chroma colors including fluorescents, repeated at large outdoor scale); bring in exactly one thing from Pictogram System (Single color silhouettes, minimum size and viewing distance decided first).
- Colour
- Build on #f6f4ef, #e8214b, #101010 and admit one accent from #ffffff, #005bab, #111111.
Where they fight
These are already listed as related entries, so the join should come easily.
Caution
- Mexico 68 Identity Pasting concentric lines on as decoration produces no vibration and leaves a scatter of unrelated patterns across the pieces.
- Pictogram System Drawing each mark as a picture lets stroke and proportion drift, the set stops reading as a system, and meanings swap at a distance.
Image prompt
Produce four original images that take their structure from Mexico 68 Identity (style, 1966–1968) and their accent from Pictogram System (style, 1964–). ## What to make Make the kind of thing Mexico 68 Identity exists for: identity for a games or arts festival carried from venues down to tickets, or connecting local folk pattern to a contemporary system rather than quoting it. Choose one subject and hold it across all four. ## Structure comes from Mexico 68 Identity - Radiating concentric lines - Op-art vibration - Fusion with folk art - City-scale deployment Composition: Waves of line carried surface to surface, crossing the boundaries between elements. Type and lettering: Concentric lines from the mark reused as the skeleton of a custom alphabet. ## Accent comes from Pictogram System, used sparingly - Geometrized human figures - Uniform stroke weight - Consistency as a system - Independence from language Let one material quality come from it: Single color silhouettes, minimum size and viewing distance decided first. ## Colour and feeling Build the ground on #f6f4ef, carry the structure in #e8214b and #101010, and let a single accent come from #005bab. These are read off real works, so a direction rather than a fixed palette. Feeling to carry: exhilaration, play, technique, trust, intimacy. ## What goes wrong - Mexico 68 Identity: Pasting concentric lines on as decoration produces no vibration and leaves a scatter of unrelated patterns across the pieces. - Pictogram System: Drawing each mark as a picture lets stroke and proportion drift, the set stops reading as a system, and meanings swap at a distance. ## 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
- Mexico 68 Identity 1966–1968 / Style / Public Design
The Olympic identity Wyman built for Mexico City: concentric lines radiating from the logotype into venues, uniforms and stamps, fusing Op art with folk art and wrapping a whole city in pulsing imagery.
- Pictogram System 1964– / Style / Information Design
Unified symbol systems that name facilities and actions without language. Tokyo 1964 systematized sport and wayfinding symbols; the AIGA/DOT transportation set became the public-domain world standard.
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