CoBrA exploded onto the postwar European art scene in November 1948 when painters and poets from Copenhagen, Brussels, and Amsterdam rejected Parisian refinement for the raw honesty of children's drawings, Nordic folklore, and Marxist spontaneity. Their canvases seethed with gore-bright reds, acid greens, and sun yellows held together by thick tar-black contour lines.

This design system channels that energy — impasto textures, monstrous beast figures, hand-lettered type, and hard-offset block shadows that refuse polish. Every surface should feel painted, not designed.