Stylogeny combining Memphis Design × La Movida Madrileña Graphics

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Style combination · Pairs well

Memphis Design × La Movida Madrileña Graphics

Memphis showed its first collection in Milan in 1981, three years before Madrid Me Mata: add its clashing laminate colours, squiggles and geometric primitives to a Movida poster for a fuller 1980s postmodern look, keeping the hand-drawn figures and lettering.

From the research on La Movida Madrileña Graphics

Mix them and make something Memphis Design La Movida Madrileña Graphics

A brightly coloured, distressed collage poster reads “RUiDO ViVO” in large brush-painted letters on overlapping paper scraps. An open mouth and a raised hand with a pink lightning bolt appear among triangles, circles, starbursts, squiggles and black dotted patterns.
AI-generated by Stylogeny from the recipe below, and checked against it: the type from La Movida Madrileña Graphics, the form from Memphis Design, the composition from Memphis Design. Not a real or historical work.

01

What each style brings

Each part of the design comes from the style with the stronger say in it, and each style gives at least two.

Memphis Design La Movida Madrileña Graphics

Type from La Movida Madrileña Graphics
Colour from Memphis Design
Form from Memphis Design
Composition from Memphis Design
Surface from La Movida Madrileña Graphics

02

The type

Open fonts standing in for each style’s own type, which is often hand-drawn or commercial.

Display · La Movida Madrileña Graphics

Pop

Londrina Solid, standing in for Free hand lettering over cut-out images ('collage de rotulación libre') in Madrid Me Mata, whose masthead moves from a special display lettering to a plain sans ('de una tipografía especial a otra funcional de palo') and whose 'MMM' works as a zigzag of lightning

Text · Memphis Design

The Milan collective founded by Ettore Sottsass, whose furniture, laminates and objects (first shown in September 1981) became a graphic language of their own. Clashing colours, speckles, squiggles, zigzags and primitive geometric shapes were combined with deliberate bad taste, mocking modernist good form while quoting 1950s kitsch, Pop and Art Deco.

Jost; Memphis Design used Futura and ITC Avant Garde Gothic

03

The colours

The ground and leading colours come from Memphis Design, with a counter-accent from La Movida Madrileña Graphics. The ink reads on the ground at 4.5:1 or more.

Memphis Design La Movida Madrileña Graphics

  • #ffd23f ground · 36%
  • #111111 ink · 14%
  • #ff5a36 accent · 18%
  • #2ec4b6 accent · 14%
  • #ff2e88 accent · 10%
  • #2a52be accent · 8%

As CSS

:root {
  --ground: #ffd23f;
  --ink: #111111;
  --accent-1: #ff5a36;
  --accent-2: #2ec4b6;
  --accent-3: #ff2e88;
  --accent-4: #2a52be;
  --font-display: "Londrina Solid", cursive;
  --font-text: "Jost", sans-serif;
}

Use it with care

La Movida Madrileña Graphics: The Movida's makers are recent and partly living (Mariné and García-Alix still work; Ceesepe died in 2018, Ouka Leele in 2022), and their works and the Madrid Me Mata, Madriz and La Luna mastheads are under copyright: draw your own figures, titles and mastheads in the shared idiom, do not ask an image model for Ceesepe's, Costus's, Ouka Leele's or Mariné's hand, and do not present a generated piece as a period work. Its Virgins and saints, at once camp and devotional, were painted by insiders who grew up under Franco's National Catholicism; turning Catholic images into a joke or a sales gimmick from outside is a different act. The Valle de los Caídos that Costus quoted, renamed Valle de Cuelgamuros under the 2022 Democratic Memory Law, was built largely by Republican political prisoners and holds over 33,000 Civil War dead of both sides, Republicans among them: its imagery is not neutral decoration. The camp idiom came from a queer scene: Costus were a couple, and both died in 1989.

04

The two styles

A dense geometric pattern on a pink background combines turquoise polka-dot triangles, yellow squares with black dashes, blue circles with yellow sprinkles, orange-red zigzags, and scattered squiggles and small shapes. Bold black offset shapes give many motifs a shadowed, layered appearance. 1981–1988 · Southern Europe Memphis Design The Milan collective founded by Ettore Sottsass, whose furniture, laminates and objects (first shown in September 1981) became a graphic language of their own. Clashing colours, speckles, squiggles, zigzags and primitive geometric shapes were combined with deliberate bad taste, mocking modernist good form while quoting 1950s kitsch, Pop and Art Deco. A brightly coloured, distressed comic-style collage centres on a spiky-haired singer holding a microphone, surrounded by guitarists, a drummer and concertgoers. Tilted panels contain a moonlit city, a cat, a classical statue, a fish, a dog, kissing figures, drinks and sunglasses. 1977–1988 · Southern Europe La Movida Madrileña Graphics The graphics of Madrid's Movida, the post-Franco scene of new-wave bands, fanzines and night life usually dated from the Canito concert of 9 February 1980 and later backed by the city council. Punk's cut-and-paste fanzine met underground comics and Pop: drawn figures in loud colour, hand lettering over cut-out photographs of the scene's own people, the castizo tebeo mixed with cosmopolitan Pop, in Madriz, La Luna de Madrid, Madrid Me Mata and the posters for Almodóvar's first films; its painters and photographers added hand-coloured prints and saints re-staged with camp.

05

More combinations

With Memphis Design

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With La Movida Madrileña Graphics

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