 Designs ranged from respectful copies of concert posters to prurient adolescent fantasies.At its height radical black artists found inspiration in the aesthetic, such as Faith Ringgold's series of "Black Light" paintings that eschewed any white pigment, or Barbara Jones-Hogu's prints (especially "Relate to Your Heritage").Commercial producers happily reciprocated by incorporating blaxploitation themes into their posters, as in George Goode's series for the Houston Black Light Company and George Stowe Jr.'s work for One Stop Posters.