Art direction audition · Sculpting Static
The goal of this run
{
"high_level_description": "A 16:9 editorial key-art page printed on warm uncoated paper: a huge charcoal headline fills the top third, and below a hairline rule a lighthouse stands solid on a rocky point at right, its beam sweeping left through a field of coarse television static that breaks apart into clean, empty paper sky.",
"style_description": {
"aesthetics": "bold editorial newspaper layout, high-contrast black-and-white printing, patient and precise, quietly wistful, generous white space, hairline rules, halftone grain",
"lighting": "flat even press lighting with no cast shadows; within the printed image a soft overcast maritime daylight, the lantern beam the only directional source, rendered as an open wedge of bare paper",
"medium": "graphic_design",
"art_style": "mid-century broadsheet front page crossed with a 1960s offset-printed duotone news plate: coarse halftone dot structure, slight registration drift, ink bleed at the edge of dark masses, hairline column rules, trimmed page edges",
"color_palette": ["#F7F2F1", "#FFFFFF", "#EDE9E7", "#DCD7D4", "#C9C5C2", "#9C9895", "#6E6B69", "#3A3A3A", "#1A1A1A", "#202124", "#000000"]
},
"compositional_deconstruction": {
"background": "A warm off-white uncoated paper page filling the full 16:9 frame, faint fibre and press texture visible, edges trimmed clean; the upper-right area of the printed image is bare paper standing in for clear, emptied sky",
"elements": [
{
"type": "obj",
"bbox": [55, 55, 59, 945],
"desc": "a single hairline horizontal rule running the full measure above the headline, printed thin and slightly uneven as offset ink",
"color_palette": ["#9C9895", "#C9C5C2"]
},
{
"type": "text",
"bbox": [85, 55, 415, 945],
"text": "Sculpting Static",
"desc": "headline set in Jost Bold (700), geometric sans with round Futura-like letterforms, all caps, tight tracking, set enormous so the two words fill the full measure edge to edge on two stacked lines; flat charcoal ink, no outline, bevel or glow",
"color_palette": ["#202124"]
},
{
"type": "obj",
"bbox": [300, 80, 770, 620],
"desc": "a broad field of television static — dense coarse halftone noise, every dot a hard black speck on paper — thinning from left to right, its grain loosening and finally dissolving into bare untouched paper sky near the lighthouse",
"color_palette": ["#1A1A1A", "#6E6B69", "#C9C5C2", "#F7F2F1"]
},
{
"type": "obj",
"bbox": [330, 110, 540, 665],
"desc": "the lantern beam, a clean open wedge sweeping left and slightly upward from the lighthouse gallery, carved out of the static as bare paper with a crisp halftone edge",
"color_palette": ["#FFFFFF", "#F7F2F1", "#DCD7D4"]
},
{
"type": "obj",
"bbox": [325, 615, 855, 930],
"desc": "the lighthouse itself, tall and unmistakably solid: a tapered masonry tower with banded courses, glazed lantern room, iron railing gallery and a small keeper's outbuilding, standing on a wedge of fractured granite rock; rendered as a fine, tightly registered halftone photographic plate so it reads real and dimensional against the coarse static",
"color_palette": ["#FFFFFF", "#DCD7D4", "#6E6B69", "#1A1A1A", "#000000"]
},
{
"type": "obj",
"bbox": [770, 55, 880, 945],
"desc": "a low band of sea meeting the rocky point, printed as long horizontal halftone strokes with pale paper breaking through as spray and swell",
"color_palette": ["#3A3A3A", "#9C9895", "#EDE9E7"]
},
{
"type": "obj",
"bbox": [893, 55, 897, 945],
"desc": "a hairline horizontal rule closing the image, with two short vertical hairline column dividers dropping from it to suggest a broadsheet column grid",
"color_palette": ["#9C9895", "#C9C5C2"]
},
{
"type": "text",
"bbox": [912, 55, 968, 520],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead set in Figtree Medium (500), friendly humanist geometric sans, sentence case, normal tracking, small and calm, sitting on a single line in the leftmost column directly beneath the lower rule; flat black ink, no effects",
"color_palette": ["#000000"]
}
]
}
}Left: what the brief becomes when Claude explores its neighbourhood in words and Ideogram 4 renders it. Right: the same tile repainted by Qwen-Image-Edit in the reference's actual surface. Same seed, same layout, same brand type. Every image downloads with its workflow embedded.
Brief: 16:9 key art for "Sculpting Static" — a solid, real lighthouse on a rocky point, beam cutting through a field of TV static that dissolves into clear sky; patient, precise, wistful; headline "Sculpting Static" and subhead "Diffusion explained in 120 seconds". From the [style] reference I took the medium (bold editorial newspaper page, offset-printed on warm uncoated paper), the palette (paper white #F7F2F1, near-black lithographic ink, hairline warm greys), the texture (coarse halftone dots, slight ink bleed, flat press lighting) and the typographic VOICE ONLY — enormous display headline filling the top field edge to edge, hairline rules above and below the image, and a small subhead sitting in a left-hand column band under the lower rule. The reference's own Didone letterforms and its body copy are NOT carried over: the K-State "Side Car" brand owns the type, so the headline is Jost Bold (700) and the subhead Figtree Medium (500). Ground is warm paper white, so text uses Charcoal #202124 for the headline and Black #000000 for the subhead, and #202124 is carried in the image-level palette.
{
"high_level_description": "A 16:9 editorial key-art page printed on warm uncoated paper: a huge charcoal headline fills the top third, and below a hairline rule a lighthouse stands solid on a rocky point at right, its beam sweeping left through a field of coarse television static that breaks apart into clean, empty paper sky.",
"style_description": {
"aesthetics": "bold editorial newspaper layout, high-contrast black-and-white printing, patient and precise, quietly wistful, generous white space, hairline rules, halftone grain",
"lighting": "flat even press lighting with no cast shadows; within the printed image a soft overcast maritime daylight, the lantern beam the only directional source, rendered as an open wedge of bare paper",
"medium": "graphic_design",
"art_style": "mid-century broadsheet front page crossed with a 1960s offset-printed duotone news plate: coarse halftone dot structure, slight registration drift, ink bleed at the edge of dark masses, hairline column rules, trimmed page edges",
"color_palette": ["#F7F2F1", "#FFFFFF", "#EDE9E7", "#DCD7D4", "#C9C5C2", "#9C9895", "#6E6B69", "#3A3A3A", "#1A1A1A", "#202124", "#000000"]
},
"compositional_deconstruction": {
"background": "A warm off-white uncoated paper page filling the full 16:9 frame, faint fibre and press texture visible, edges trimmed clean; the upper-right area of the printed image is bare paper standing in for clear, emptied sky",
"elements": [
{
"type": "obj",
"bbox": [55, 55, 59, 945],
"desc": "a single hairline horizontal rule running the full measure above the headline, printed thin and slightly uneven as offset ink",
"color_palette": ["#9C9895", "#C9C5C2"]
},
{
"type": "text",
"bbox": [85, 55, 415, 945],
"text": "Sculpting Static",
"desc": "headline set in Jost Bold (700), geometric sans with round Futura-like letterforms, all caps, tight tracking, set enormous so the two words fill the full measure edge to edge on two stacked lines; flat charcoal ink, no outline, bevel or glow",
"color_palette": ["#202124"]
},
{
"type": "obj",
"bbox": [300, 80, 770, 620],
"desc": "a broad field of television static — dense coarse halftone noise, every dot a hard black speck on paper — thinning from left to right, its grain loosening and finally dissolving into bare untouched paper sky near the lighthouse",
"color_palette": ["#1A1A1A", "#6E6B69", "#C9C5C2", "#F7F2F1"]
},
{
"type": "obj",
"bbox": [330, 110, 540, 665],
"desc": "the lantern beam, a clean open wedge sweeping left and slightly upward from the lighthouse gallery, carved out of the static as bare paper with a crisp halftone edge",
"color_palette": ["#FFFFFF", "#F7F2F1", "#DCD7D4"]
},
{
"type": "obj",
"bbox": [325, 615, 855, 930],
"desc": "the lighthouse itself, tall and unmistakably solid: a tapered masonry tower with banded courses, glazed lantern room, iron railing gallery and a small keeper's outbuilding, standing on a wedge of fractured granite rock; rendered as a fine, tightly registered halftone photographic plate so it reads real and dimensional against the coarse static",
"color_palette": ["#FFFFFF", "#DCD7D4", "#6E6B69", "#1A1A1A", "#000000"]
},
{
"type": "obj",
"bbox": [770, 55, 880, 945],
"desc": "a low band of sea meeting the rocky point, printed as long horizontal halftone strokes with pale paper breaking through as spray and swell",
"color_palette": ["#3A3A3A", "#9C9895", "#EDE9E7"]
},
{
"type": "obj",
"bbox": [893, 55, 897, 945],
"desc": "a hairline horizontal rule closing the image, with two short vertical hairline column dividers dropping from it to suggest a broadsheet column grid",
"color_palette": ["#9C9895", "#C9C5C2"]
},
{
"type": "text",
"bbox": [912, 55, 968, 520],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead set in Figtree Medium (500), friendly humanist geometric sans, sentence case, normal tracking, small and calm, sitting on a single line in the leftmost column directly beneath the lower rule; flat black ink, no effects",
"color_palette": ["#000000"]
}
]
}
}{
"high_level_description": "A 16:9 risograph-printed key-art page on cream stock: the headline sits in orange ink at the top, and below a hairline rule a slate-blue lighthouse stands on a rocky point, its beam cutting left through a two-colour field of television static that thins into bare cream paper.",
"style_description": {
"aesthetics": "risograph duplex print, two spot inks, misregistration, visible roller streaks, warm and handmade, patient and precise, generous cream space",
"lighting": "flat even press lighting; inside the printed image an overcast maritime daylight, the beam rendered as unprinted cream paper cutting through both ink layers",
"medium": "graphic_design",
"art_style": "small-press risograph broadsheet: two spot inks laid as coarse dithered screens, deliberate 1-2mm registration drift between layers, ink saturation blotching in dense areas, hairline rules, soy-ink sheen on uncoated cream stock",
"color_palette": ["#FBF4E6", "#F2E8D5", "#FF6234", "#E0522A", "#7C93B5", "#4A5F80", "#2E3C52", "#202124", "#000000"]
},
"compositional_deconstruction": {
"background": "A warm cream uncoated riso stock filling the full 16:9 frame, faint roller streaking and paper tooth visible; the upper-right of the printed image is unprinted cream standing in for cleared sky",
"elements": [
{
"type": "obj",
"bbox": [55, 55, 59, 945],
"desc": "a single hairline horizontal rule running the full measure above the headline, printed in slate blue ink with a faint orange ghost offset a hair to the right",
"color_palette": ["#4A5F80", "#FF6234"]
},
{
"type": "text",
"bbox": [85, 55, 415, 945],
"text": "Sculpting Static",
"desc": "headline set in Jost Bold (700), geometric sans with round Futura-like letterforms, all caps, tight tracking, set enormous across two stacked lines filling the full measure; printed as flat solid orange spot ink, no outline, bevel or glow",
"color_palette": ["#FF6234"]
},
{
"type": "obj",
"bbox": [300, 80, 770, 620],
"desc": "a broad field of television static built from two coarse dithered screens — slate blue and orange dots slightly out of register so the noise shimmers — thinning left to right until it dissolves into unprinted cream paper",
"color_palette": ["#4A5F80", "#7C93B5", "#FF6234", "#F2E8D5"]
},
{
"type": "obj",
"bbox": [330, 110, 540, 665],
"desc": "the lantern beam, a clean open wedge sweeping left and slightly upward, knocked out of both ink layers as bare cream paper with a ragged dithered edge",
"color_palette": ["#FBF4E6", "#F2E8D5"]
},
{
"type": "obj",
"bbox": [325, 615, 855, 930],
"desc": "the lighthouse itself, solid and dimensional: tapered banded masonry tower, glazed lantern room, iron railing gallery and small keeper's outbuilding on fractured granite; printed as a tight slate-blue screen with an orange shadow layer offset slightly, its edges crisp so it reads real against the loose static",
"color_palette": ["#2E3C52", "#4A5F80", "#7C93B5", "#E0522A", "#FBF4E6"]
},
{
"type": "obj",
"bbox": [770, 55, 880, 945],
"desc": "a low band of sea meeting the rocky point, laid as long horizontal slate-blue dither strokes with cream paper breaking through as spray",
"color_palette": ["#4A5F80", "#7C93B5", "#F2E8D5"]
},
{
"type": "obj",
"bbox": [893, 55, 897, 945],
"desc": "a hairline horizontal rule closing the image with two short vertical column dividers dropping from it, printed slate blue with slight orange misregistration",
"color_palette": ["#4A5F80", "#FF6234"]
},
{
"type": "text",
"bbox": [912, 55, 968, 520],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead set in Figtree Medium (500), friendly humanist geometric sans, sentence case, normal tracking, small and calm on one line in the leftmost column beneath the lower rule; flat black ink, no effects",
"color_palette": ["#000000"]
}
]
}
}{
"high_level_description": "A 16:9 large-format photograph under flat pale overcast light: a granite lighthouse stands solid on a wet rocky point at right, its beam a pale wedge sweeping left through a hanging field of television-static grain that thins and clears into blank white sky, with the headline and subhead set over the bright upper field.",
"style_description": {
"aesthetics": "quiet documentary landscape, desaturated near-monochrome, patient and precise, wistful, high detail, generous empty sky",
"lighting": "flat diffuse overcast noon, soft shadowless key from a high white sky, the lantern beam a faint pale wedge with no glare bloom, sea surface returning a low silver sheen",
"photo": "4x5 large-format film camera, 150mm lens at f/16, tripod-locked, half-second exposure so the swell blurs to silk, fine panchromatic grain, deep focus front to back, level horizon, no vignette",
"medium": "photograph",
"color_palette": ["#F7F2F1", "#F1EEEC", "#DCDBD9", "#BFBEBC", "#96968F", "#6D6E69", "#494A47", "#2A2B29", "#202124", "#000000"]
},
"compositional_deconstruction": {
"background": "A blown-out pale overcast sky filling the upper two-thirds of the 16:9 frame, gradating to soft grey near the horizon, with wet dark granite and open sea across the lower band",
"elements": [
{
"type": "obj",
"bbox": [55, 55, 59, 945],
"desc": "a thin pale horizon-parallel contrail scratch high in the sky, reading as a hairline rule above the headline",
"color_palette": ["#DCDBD9", "#BFBEBC"]
},
{
"type": "text",
"bbox": [85, 55, 415, 945],
"text": "Sculpting Static",
"desc": "headline set in Jost Bold (700), geometric sans with round Futura-like letterforms, all caps, tight tracking, set enormous across two stacked lines filling the full measure over the bright sky; flat charcoal, no outline, bevel or glow",
"color_palette": ["#202124"]
},
{
"type": "obj",
"bbox": [300, 80, 770, 620],
"desc": "a hanging field of television static suspended in the air like dense drifting sleet, sharply resolved photographic speckle at left, loosening and clearing to smooth empty sky as it approaches the lighthouse",
"color_palette": ["#494A47", "#96968F", "#DCDBD9", "#F1EEEC"]
},
{
"type": "obj",
"bbox": [330, 110, 540, 665],
"desc": "the lantern beam, a faint pale wedge of light sweeping left and slightly upward, visible only where it lifts the hanging static into a soft luminous corridor",
"color_palette": ["#F7F2F1", "#F1EEEC", "#DCDBD9"]
},
{
"type": "obj",
"bbox": [325, 615, 855, 930],
"desc": "the lighthouse itself, photographed with unmistakable physical weight: tapered granite masonry with visible block joints and lichen, glazed lantern room, painted iron railing gallery, small slate-roofed keeper's outbuilding, standing on fractured wet rock; every surface crisply resolved at f/16",
"color_palette": ["#F1EEEC", "#BFBEBC", "#6D6E69", "#2A2B29", "#000000"]
},
{
"type": "obj",
"bbox": [770, 55, 880, 945],
"desc": "a low band of long-exposure sea meeting the rocky point, swell smoothed to silk with pale streaks of spray drawn out around the rocks",
"color_palette": ["#96968F", "#BFBEBC", "#DCDBD9"]
},
{
"type": "obj",
"bbox": [893, 55, 897, 945],
"desc": "the far waterline reading as a hairline horizontal rule closing the image, with two short vertical mooring posts dropping below it",
"color_palette": ["#6D6E69", "#96968F"]
},
{
"type": "text",
"bbox": [912, 55, 968, 520],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead set in Figtree Medium (500), friendly humanist geometric sans, sentence case, normal tracking, small and calm on one line at lower left beneath the waterline; flat black, no effects",
"color_palette": ["#000000"]
}
]
}
}{
"high_level_description": "A 16:9 physically-based 3D render at deep dusk: a matte concrete lighthouse stands solid on a dark rocky point at right, its volumetric beam sweeping left through a glowing field of television static that thins and clears into deep blue night sky, with the headline and subhead set in warm white over the dark upper field.",
"style_description": {
"aesthetics": "clean physically-based render, deep desaturated midnight blues, patient and precise, wistful, quiet and spacious, subtle volumetrics",
"lighting": "post-sunset blue hour; a cool ambient sky dome as fill, the lantern as the single warm practical throwing a soft volumetric wedge, faint rim light along the tower's seaward edge, no hard specular hits",
"medium": "3d_render",
"art_style": "restrained physically-based CG in the lineage of architectural visualisation: microfacet roughness on cast concrete and wet granite, subtle ambient occlusion in the rock crevices, ray-marched atmospheric volume for the beam, mild filmic tonemapping with no bloom halos",
"color_palette": ["#080C16", "#101828", "#1B2740", "#2C3D5E", "#43597F", "#6C82A6", "#A8B6CC", "#E8C98A", "#F7F2F1", "#BABCC2"]
},
"compositional_deconstruction": {
"background": "A deep blue-black night sky filling the 16:9 frame, gradating to a faint cold teal along the horizon where the last daylight sits, with black water and darker rock across the lower band",
"elements": [
{
"type": "obj",
"bbox": [55, 55, 59, 945],
"desc": "a thin cold horizontal light-band high in the sky, a residual haze layer reading as a hairline rule above the headline",
"color_palette": ["#43597F", "#6C82A6"]
},
{
"type": "text",
"bbox": [85, 55, 415, 945],
"text": "Sculpting Static",
"desc": "headline set in Jost Bold (700), geometric sans with round Futura-like letterforms, all caps, tight tracking, set enormous across two stacked lines filling the full measure over the dark sky; flat warm white, no outline, bevel or glow",
"color_palette": ["#F7F2F1"]
},
{
"type": "obj",
"bbox": [300, 80, 770, 620],
"desc": "a broad volume of television static rendered as a dense cloud of tiny self-lit particles, cold and busy at left, thinning and going dark as it approaches the lighthouse until only clean night sky remains",
"color_palette": ["#6C82A6", "#43597F", "#2C3D5E", "#A8B6CC"]
},
{
"type": "obj",
"bbox": [330, 110, 540, 665],
"desc": "the lantern beam, a warm ray-marched volumetric wedge sweeping left and slightly upward, its light extinguishing the particles it passes through and leaving a swept-clean corridor",
"color_palette": ["#E8C98A", "#A8B6CC", "#43597F"]
},
{
"type": "obj",
"bbox": [325, 615, 855, 930],
"desc": "the lighthouse itself, heavy and unmistakably solid: cast-concrete tapered tower with visible form-work seams, glazed lantern room with a warm lit interior, steel railing gallery and a low keeper's outbuilding, bedded into wet displaced granite; high-resolution roughness and displacement so it reads as real geometry against the particulate static",
"color_palette": ["#A8B6CC", "#6C82A6", "#2C3D5E", "#101828", "#E8C98A"]
},
{
"type": "obj",
"bbox": [770, 55, 880, 945],
"desc": "a low band of near-black sea meeting the rocky point, its surface catching a broken cold specular trail from the sky dome",
"color_palette": ["#101828", "#1B2740", "#43597F"]
},
{
"type": "obj",
"bbox": [893, 55, 897, 945],
"desc": "a hairline horizontal light line closing the image where the water meets the frame, with two short vertical channel-marker posts dropping below it",
"color_palette": ["#43597F", "#6C82A6"]
},
{
"type": "text",
"bbox": [912, 55, 968, 520],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead set in Figtree Medium (500), friendly humanist geometric sans, sentence case, normal tracking, small and calm on one line at lower left beneath the light line; flat cool gray, no effects",
"color_palette": ["#BABCC2"]
}
]
}
}{
"high_level_description": "A 16:9 hand-painted gouache poster in a mid-century travel-poster manner: a warm sand-and-rust lighthouse stands solid on a rocky point at right, its beam sweeping left through a stippled field of television static that breaks up into a flat warm dusk sky, with the headline and subhead set in charcoal across the layout.",
"style_description": {
"aesthetics": "hand-painted gouache, warm dusk palette, flat simplified shapes with visible brush texture, patient and precise, gently wistful",
"lighting": "late golden hour; a low warm sun off frame left casting long flat shadow shapes across the rock, the lantern beam painted as a pale opaque wedge, no glow or gradient bloom",
"medium": "painting",
"art_style": "mid-century national-park travel poster gouache: opaque matte paint on cold-press board, flat colour fields with hand-stippled transitions, hard confident edges, subtle visible brush drag, limited warm palette in the lineage of 1930s-1950s WPA park lithographs",
"color_palette": ["#F6EBDC", "#EBD8BC", "#DEB98C", "#C98A5C", "#A85F3E", "#7C4632", "#5C4A3E", "#3D3730", "#202124", "#000000"]
},
"compositional_deconstruction": {
"background": "A flat warm dusk sky filling the 16:9 frame, painted as broad bands of cream and sand gouache with visible brush drag, meeting ochre rock and warm brown water across the lower band",
"elements": [
{
"type": "obj",
"bbox": [55, 55, 59, 945],
"desc": "a thin painted horizontal band of deeper sand high in the sky, a single confident brush stroke reading as a hairline rule above the headline",
"color_palette": ["#C98A5C", "#DEB98C"]
},
{
"type": "text",
"bbox": [85, 55, 415, 945],
"text": "Sculpting Static",
"desc": "headline set in Jost Bold (700), geometric sans with round Futura-like letterforms, all caps, tight tracking, set enormous across two stacked lines filling the full measure over the sky; flat charcoal paint, no outline, bevel or glow",
"color_palette": ["#202124"]
},
{
"type": "obj",
"bbox": [300, 80, 770, 620],
"desc": "a broad field of television static hand-stippled in rust and umber dots over the warm sky, dense and crowded at left, the stipple opening out and vanishing into flat unbroken paint as it nears the lighthouse",
"color_palette": ["#7C4632", "#A85F3E", "#C98A5C", "#EBD8BC"]
},
{
"type": "obj",
"bbox": [330, 110, 540, 665],
"desc": "the lantern beam, a pale opaque wedge of cream gouache swept left and slightly upward, laid flatly over the stipple so the noise simply stops inside it",
"color_palette": ["#F6EBDC", "#EBD8BC"]
},
{
"type": "obj",
"bbox": [325, 615, 855, 930],
"desc": "the lighthouse itself, painted with weight and conviction: tapered banded tower in cream and rust, glazed lantern room, dark iron railing gallery and a low keeper's outbuilding, standing on blocky faceted ochre granite with long flat shadow shapes; more modelled and detailed than anything else on the board so it reads solid",
"color_palette": ["#F6EBDC", "#C98A5C", "#A85F3E", "#5C4A3E", "#3D3730"]
},
{
"type": "obj",
"bbox": [770, 55, 880, 945],
"desc": "a low band of warm brown sea meeting the rocky point, painted as flat stacked horizontal strokes with cream crests scraped in over the top",
"color_palette": ["#7C4632", "#A85F3E", "#EBD8BC"]
},
{
"type": "obj",
"bbox": [893, 55, 897, 945],
"desc": "a hairline painted rule closing the image, with two short vertical strokes dropping from it as mooring posts",
"color_palette": ["#7C4632", "#5C4A3E"]
},
{
"type": "text",
"bbox": [912, 55, 968, 520],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead set in Figtree Medium (500), friendly humanist geometric sans, sentence case, normal tracking, small and calm on one line at lower left beneath the rule; flat black paint, no effects",
"color_palette": ["#000000"]
}
]
}
}{
"high_level_description": "A 16:9 flat vector poster reduced to essentials: a hard-edged geometric lighthouse silhouette stands at right on a single rock wedge, a solid angular beam cutting left across a measured grid of dots that thins from chaotic to empty, with the headline in orange and a small black subhead on a bone-white field.",
"style_description": {
"aesthetics": "flat vector, sparse and diagrammatic, hard geometric edges, no texture or gradient, patient and precise, generous emptiness",
"lighting": "no simulated light source; the beam and the cleared field are stated as flat shapes, illumination implied purely by figure-ground contrast",
"medium": "graphic_design",
"art_style": "Swiss-modern pictogram poster in the lineage of 1960s international signage systems: pure vector shapes on a strict grid, a four-colour maximum, uniform stroke weights, dots of graded size standing in for noise, absolutely flat fills with no shading",
"color_palette": ["#FAF7F4", "#E6E2DD", "#C3BFB9", "#5A6470", "#2E3540", "#FF6234", "#202124", "#000000"]
},
"compositional_deconstruction": {
"background": "A flat bone-white field filling the whole 16:9 frame with no texture, no horizon and no atmosphere; all separation is achieved by shape alone",
"elements": [
{
"type": "obj",
"bbox": [55, 55, 58, 945],
"desc": "a single uniform-weight horizontal vector rule spanning the full measure above the headline",
"color_palette": ["#C3BFB9"]
},
{
"type": "text",
"bbox": [85, 55, 415, 945],
"text": "Sculpting Static",
"desc": "headline set in Jost Bold (700), geometric sans with round Futura-like letterforms, all caps, tight tracking, set enormous across two stacked lines filling the full measure; flat solid orange, no outline, bevel or glow",
"color_palette": ["#FF6234"]
},
{
"type": "obj",
"bbox": [300, 80, 770, 620],
"desc": "the field of television static reduced to a strict measured grid of slate dots, large and irregularly jittered at far left, shrinking and snapping onto the grid as they move right until the last few dots vanish entirely — pure diagram, no texture",
"color_palette": ["#2E3540", "#5A6470", "#C3BFB9", "#E6E2DD"]
},
{
"type": "obj",
"bbox": [330, 110, 540, 665],
"desc": "the lantern beam as one solid flat triangular wedge sweeping left and slightly upward, every dot inside its outline simply absent",
"color_palette": ["#FAF7F4", "#E6E2DD"]
},
{
"type": "obj",
"bbox": [325, 615, 855, 930],
"desc": "the lighthouse as a hard-edged geometric silhouette that still reads unmistakably solid: a clean tapered trapezoid tower with three flat banded stripes, a small trapezoid lantern room, a single-stroke railing line and a square outbuilding, set on one angular slate rock wedge — the only fully saturated dark mass in the composition",
"color_palette": ["#2E3540", "#5A6470", "#FAF7F4", "#FF6234"]
},
{
"type": "obj",
"bbox": [770, 55, 880, 945],
"desc": "the sea as three evenly spaced flat horizontal bars of graded grey running the width beneath the rock, no texture or crest detail",
"color_palette": ["#5A6470", "#C3BFB9", "#E6E2DD"]
},
{
"type": "obj",
"bbox": [893, 55, 897, 945],
"desc": "a uniform-weight horizontal vector rule closing the image, with two short vertical dividers dropping from it on the grid",
"color_palette": ["#C3BFB9", "#5A6470"]
},
{
"type": "text",
"bbox": [912, 55, 968, 520],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead set in Figtree Regular (400), friendly humanist geometric sans, sentence case, normal tracking, small and calm on one line at lower left beneath the rule; flat black, no effects",
"color_palette": ["#000000"]
}
]
}
}TEXT BRAND (mandatory): K-State Consulting "Side Car" Fonts (name them in every text element's desc, with weight): - Headline: Jost Bold (700), a geometric sans-serif with round, Futura-like letterforms, tight tracking, sentence case or all caps. - Subhead / body: Figtree Regular (400) or Medium (500), a friendly humanist geometric sans-serif, normal tracking, sentence case. Text colours (use ONLY these hexes in text elements' color_palette; choose by the scene's ground): - On dark grounds: headline Warm White #F7F2F1, subhead Cool Gray #BABCC2. - On light grounds: headline Charcoal #202124, subhead Black #000000. - One accent word or the whole headline may use Orange #FF6234 or Purple #AB4FF6 when the scene's palette can carry it; never both accents in one text element. - Never other colours, gradients, outlines, bevels or glow on the letters: flat, clean, legible. Rules: - The brand owns the type; the reference image owns everything else (medium, materials, palette of the imagery, lighting). - Text elements keep the brand in every adjacent direction. The "typographic voice" axis may only vary size, case, tracking and placement, never typeface or colour. - Add #F7F2F1 or #202124 (whichever the text uses) to the image-level color_palette so the ground supports the text.
a-bold-editorial-newspaper-layout-featur_PTo3JMDaRqaRuTckR6Bssw_IQgV8bQ8S_WKIwDlFsiyQQ_cover.png (role: style), shown at the top. It is not rendered from; Claude reads it for surface qualities in step 2 and Qwen sees it as image 2 in step 6.
Claude reads the brief and the reference image shown at the top (style only: it may take medium, materials, palette and light, never the subject) and writes one canonical Ideogram 4 caption plus five adjacent directions. Each adjacent keeps the subject and composition and shifts one or two named axes. Text elements follow the brand block; the reference never touches the type.
BRIEF: Key art for "Sculpting Static", a short explainer about how diffusion video models carve a clean image out of noise. Hero image: a lighthouse on a rocky point, its beam cutting through a field of television static that is dissolving into clear sky around it. Mood: patient, precise, a little wistful. The lighthouse itself must read as solid and real. Text, rendered exactly: - Headline: "Sculpting Static" - Subhead: "Diffusion explained in 120 seconds" The reference image sets the medium, palette, texture and typographic voice. Landscape 16:9. Target aspect ratio: 16:9. Produce the canonical caption plus exactly 5 adjacent directions. TEXT BRAND (mandatory): K-State Consulting "Side Car" Fonts (name them in every text element's desc, with weight): - Headline: Jost Bold (700), a geometric sans-serif with round, Futura-like letterforms, tight tracking, sentence case or all caps. - Subhead / body: Figtree Regular (400) or Medium (500), a friendly humanist geometric sans-serif, normal tracking, sentence case. Text colours (use ONLY these hexes in text elements' color_palette; choose by the scene's ground): - On dark grounds: headline Warm White #F7F2F1, subhead Cool Gray #BABCC2. - On light grounds: headline Charcoal #202124, subhead Black #000000. - One accent word or the whole headline may use Orange #FF6234 or Purple #AB4FF6 when the scene's palette can carry it; never both accents in one text element. - Never other colours, gradients, outlines, bevels or glow on the letters: flat, clean, legible. Rules: - The brand owns the type; the reference image owns everything else (medium, materials, palette of the imagery, lighting). - Text elements keep the brand in every adjacent direction. The "typographic voice" axis may only vary size, case, tracking and placement, never typeface or colour. - Add #F7F2F1 or #202124 (whichever the text uses) to the image-level color_palette so the ground supports the text. REFERENCE IMAGES (read each file with the Read tool before answering): - [style] /Users/kellyabbott/Documents/ComfyUI/projects/art-direction-audition/briefs/art directions/a-bold-editorial-newspaper-layout-featur_PTo3JMDaRqaRuTckR6Bssw_IQgV8bQ8S_WKIwDlFsiyQQ_cover.png
You are an art director's technical assistant. Your job: turn a creative brief (text, plus optional reference images) into ONE canonical Ideogram 4 structured JSON caption, then propose N ADJACENT art directions as further captions, so the team can audition them side by side.
# Ideogram 4 caption schema (strict)
```
{
"high_level_description": "one or two sentences summarising the whole image",
"style_description": {
"aesthetics": "keywords, e.g. moody, cinematic, desaturated",
"lighting": "lighting description",
"photo": "camera/lens details (ONLY for medium = photograph)",
"medium": "photograph | illustration | 3d_render | painting | graphic_design",
"art_style": "style description (ONLY for non-photograph media)",
"color_palette": ["#RRGGBB", ...] // up to 16, uppercase hex
},
"compositional_deconstruction": {
"background": "the environment / ground / backdrop",
"elements": [
{"type": "obj", "bbox": [y_min, x_min, y_max, x_max], "desc": "...", "color_palette": ["#RRGGBB"]},
{"type": "text", "bbox": [y_min, x_min, y_max, x_max], "text": "LITERAL COPY", "desc": "typographic treatment", "color_palette": ["#RRGGBB"]}
]
}
}
```
Rules:
- style_description contains EXACTLY ONE of `photo` or `art_style`, matching `medium` (photograph -> photo; anything else -> art_style).
- bbox is optional; when used it is integers on a 0..1000 grid, origin top-left, order [y_min, x_min, y_max, x_max]. Use bboxes when layout matters (posters, UI, text placement); omit them for free compositions.
- Element `color_palette` has at most 5 colours. Image-level palette at most 16. Hex must be uppercase.
- `text` elements render the `text` string byte-for-byte. Only add text elements when the brief supplies copy; never invent slogans.
- Hex palettes are DIRECTION, prose is INTERPRETATION: encode the palette as hex, then describe materials, era and mood in prose.
- Never mention living artists by name. Describe the lineage instead ("mid-century Swiss poster", "1970s NASA technical illustration").
# What "adjacent" means
The canonical caption is the most literal, faithful reading of the brief and the references.
An ADJACENT direction keeps the brief's intent and subject and shifts ONE or TWO axes so the result still belongs to the same family but reads as a distinct look. Axes:
- medium (photograph / illustration / 3d_render / painting / graphic_design)
- palette (temperature, saturation, contrast, number of colours)
- era or reference lineage (the design tradition the look descends from)
- lighting (key, quality, direction, time of day)
- typographic voice (only when the brief includes copy)
- level of abstraction (literal -> stylised -> symbolic)
- material and texture (paper, film grain, glossy render, ink, fabric)
- composition density (sparse -> dense; single hero -> ensemble)
Requirements for the N adjacent directions:
1. Same subject and the same core composition as canonical: keep `compositional_deconstruction.elements` (their count, their roles and their bboxes when present) unless the axis you shift genuinely requires a change; only rewrite `desc` to match the new look.
2. Each adjacent direction names its axis (or pair of axes) and gives a one-line rationale for why it is a plausible neighbour of THIS brief.
3. The N directions are mutually distinct: no repeated axis pair, and every one differs from canonical on at least one axis. Include at least one medium shift and at least one palette shift across the set.
4. Do not "improve" the brief or change its idea. Audition a different LOOK, not a different concept.
5. Each `name` is short kebab-case that describes the look (e.g. "gouache-warm", "risograph-two-tone", "studio-photo-cool"). Do not number the names.
6. Give each adjacent direction its own `high_level_description` rewritten to match its look, and its own `style_description` (changed on the shifted axes, kept identical elsewhere).
# Text brand
When the user prompt contains a TEXT BRAND block, it is mandatory: every `text` element names the brand's typeface and weight in its `desc` and uses only the brand's hexes in its `color_palette`, in canonical and in every adjacent direction. The reference image never changes the type. The "typographic voice" axis then means size, case, tracking and placement only.
# Reference images
When reference image paths are given, READ every one before answering. A reference tagged `style` informs style_description and the palette (extract 5 to 8 dominant hex colours from it). A reference tagged `subject` informs high_level_description and the elements only, never the style. Say in `summary` what you took from each reference.
# Restyle prompt (only when at least one `style` reference is given)
Also write `restyle_prompt`: one paragraph (60 to 120 words) for an image-editing model that will repaint an already-rendered tile (image 1) into the reference's look (image 2). It must LEAD with the transformation ("Transform image 1 into ..."), name the reference's medium, materials, surface finish, palette in words (never hex), lighting and backdrop treatment concretely, and state that every surface of IMAGE 1's OWN scene adopts them, naming image 1's subject and elements (for example 'the lighthouse, the rocks, the beam, the static and the sea become ...'). NEVER name or describe any object, person, figure, room, prop or setting that appears in image 2: the editor will paste it in. Image 2 contributes only surface qualities. END with exactly this sentence: "Keep the layout of image 1 and keep its text exactly as it is: same letters, typeface and colours, fully legible." Do not mention preserving anything else: words spent on preservation make the editor preserve.
# Restyle reference mode (only when at least one `style` reference is given)
Also write `restyle_ref_mode`: "palette" if the reference has a dominant subject that an image editor would be tempted to paste into the scene (a person, face, figure, creature, or a single hero object in front of a backdrop); "full" if the reference is a texture, material, pattern, landscape, interior, abstract, typographic or graphic composition without such a subject. With "palette" the editor is shown only a blurred colour-field of the reference (its palette and light survive; its subject does not).
# Output
Respond with ONE JSON object and nothing else (no markdown fences, no commentary):
```
{
"canonical": {"name": "canonical", "summary": "what the brief asks for and what you took from each reference", "prompt": {caption}},
"adjacent": [
{"name": "kebab-name", "axis": "medium + palette", "rationale": "one line", "prompt": {caption}},
...
],
"restyle_prompt": "Transform image 1 into ... Keep the layout of image 1 and keep its text exactly as it is: same letters, typeface and colours, fully legible.",
"restyle_ref_mode": "full"
}
```
Stored with the run for reading intent; never sent to an image model. The prompt itself is the JSON caption under tile 00.
Brief: 16:9 key art for "Sculpting Static" — a solid, real lighthouse on a rocky point, beam cutting through a field of TV static that dissolves into clear sky; patient, precise, wistful; headline "Sculpting Static" and subhead "Diffusion explained in 120 seconds". From the [style] reference I took the medium (bold editorial newspaper page, offset-printed on warm uncoated paper), the palette (paper white #F7F2F1, near-black lithographic ink, hairline warm greys), the texture (coarse halftone dots, slight ink bleed, flat press lighting) and the typographic VOICE ONLY — enormous display headline filling the top field edge to edge, hairline rules above and below the image, and a small subhead sitting in a left-hand column band under the lower rule. The reference's own Didone letterforms and its body copy are NOT carried over: the K-State "Side Car" brand owns the type, so the headline is Jost Bold (700) and the subhead Figtree Medium (500). Ground is warm paper white, so text uses Charcoal #202124 for the headline and Black #000000 for the subhead, and #202124 is carried in the image-level palette.
| # | Direction | Axis | Why it is a plausible neighbour |
|---|---|---|---|
| 00 | canonical | original | Brief: 16:9 key art for "Sculpting Static" — a solid, real lighthouse on a rocky point, beam cutting through a field of TV static that dissolves into clear sky; patient, precise, wistful; headline "Sculpting Static" and subhead "Diffusion explained in 120 seconds". From the [style] reference I took the medium (bold editorial newspaper page, offset-printed on warm uncoated paper), the palette (paper white #F7F2F1, near-black lithographic ink, hairline warm greys), the texture (coarse halftone dots, slight ink bleed, flat press lighting) and the typographic VOICE ONLY — enormous display headline filling the top field edge to edge, hairline rules above and below the image, and a small subhead sitting in a left-hand column band under the lower rule. The reference's own Didone letterforms and its body copy are NOT carried over: the K-State "Side Car" brand owns the type, so the headline is Jost Bold (700) and the subhead Figtree Medium (500). Ground is warm paper white, so text uses Charcoal #202124 for the headline and Black #000000 for the subhead, and #202124 is carried in the image-level palette. |
| 01 | risograph-two-tone | material and texture + palette | The reference is already an ink-on-paper printing process, so swapping offset black for a two-colour riso duplex keeps the print logic while letting the static and the beam separate as misregistered layers — a natural neighbour for a page about noise resolving into signal. |
| 02 | plate-camera-photograph | medium + lighting | The brief insists the lighthouse read as solid and real, and the reference's editorial page would plausibly carry a large-format news photograph instead of a drawn plate — shifting to a real 4x5 exposure at flat overcast noon tests the most literal reading of "solid and real". |
| 03 | midnight-3d-render | medium + palette | A lighthouse is nocturnal by nature, so inverting the reference's paper-white ground to a deep midnight blue render is the most obvious neighbouring read of the same scene — and it lets the beam and the dissolving static do the work the black ink did on the page. |
| 04 | gouache-warm-dusk | medium + era or reference lineage | Swapping the reference's press-ink lineage for a mid-century national-park travel-poster gouache keeps the flat, printed, high-craft feeling and the same layout, but makes the wistful register of the brief the dominant note. |
| 05 | symbol-flat-vector | level of abstraction + composition density | The subject is itself a diagram of noise becoming signal, so pushing the same layout toward a sparse Swiss-modern pictogram — where the static becomes a countable dot grid resolving into order — is the natural symbolic neighbour of the reference's typographic page. |
Every caption is normalised (strict key order, uppercase hex, bounding boxes on a 0–1000 grid) and sent verbatim to the local Ideogram 4 graph. Under each tile: the Ideogram prompt (the structured JSON the text encoder receives) and the exact ComfyUI workflow that was queued, with that prompt embedded in its CLIPTextEncode node ("from PNG" = read from the tile metadata; "rebuilt" = regenerated through the same code path for tiles that predate metadata preservation).
{
"high_level_description": "A 16:9 editorial key-art page printed on warm uncoated paper: a huge charcoal headline fills the top third, and below a hairline rule a lighthouse stands solid on a rocky point at right, its beam sweeping left through a field of coarse television static that breaks apart into clean, empty paper sky.",
"style_description": {
"aesthetics": "bold editorial newspaper layout, high-contrast black-and-white printing, patient and precise, quietly wistful, generous white space, hairline rules, halftone grain",
"lighting": "flat even press lighting with no cast shadows; within the printed image a soft overcast maritime daylight, the lantern beam the only directional source, rendered as an open wedge of bare paper",
"medium": "graphic_design",
"art_style": "mid-century broadsheet front page crossed with a 1960s offset-printed duotone news plate: coarse halftone dot structure, slight registration drift, ink bleed at the edge of dark masses, hairline column rules, trimmed page edges",
"color_palette": ["#F7F2F1", "#FFFFFF", "#EDE9E7", "#DCD7D4", "#C9C5C2", "#9C9895", "#6E6B69", "#3A3A3A", "#1A1A1A", "#202124", "#000000"]
},
"compositional_deconstruction": {
"background": "A warm off-white uncoated paper page filling the full 16:9 frame, faint fibre and press texture visible, edges trimmed clean; the upper-right area of the printed image is bare paper standing in for clear, emptied sky",
"elements": [
{
"type": "obj",
"bbox": [55, 55, 59, 945],
"desc": "a single hairline horizontal rule running the full measure above the headline, printed thin and slightly uneven as offset ink",
"color_palette": ["#9C9895", "#C9C5C2"]
},
{
"type": "text",
"bbox": [85, 55, 415, 945],
"text": "Sculpting Static",
"desc": "headline set in Jost Bold (700), geometric sans with round Futura-like letterforms, all caps, tight tracking, set enormous so the two words fill the full measure edge to edge on two stacked lines; flat charcoal ink, no outline, bevel or glow",
"color_palette": ["#202124"]
},
{
"type": "obj",
"bbox": [300, 80, 770, 620],
"desc": "a broad field of television static — dense coarse halftone noise, every dot a hard black speck on paper — thinning from left to right, its grain loosening and finally dissolving into bare untouched paper sky near the lighthouse",
"color_palette": ["#1A1A1A", "#6E6B69", "#C9C5C2", "#F7F2F1"]
},
{
"type": "obj",
"bbox": [330, 110, 540, 665],
"desc": "the lantern beam, a clean open wedge sweeping left and slightly upward from the lighthouse gallery, carved out of the static as bare paper with a crisp halftone edge",
"color_palette": ["#FFFFFF", "#F7F2F1", "#DCD7D4"]
},
{
"type": "obj",
"bbox": [325, 615, 855, 930],
"desc": "the lighthouse itself, tall and unmistakably solid: a tapered masonry tower with banded courses, glazed lantern room, iron railing gallery and a small keeper's outbuilding, standing on a wedge of fractured granite rock; rendered as a fine, tightly registered halftone photographic plate so it reads real and dimensional against the coarse static",
"color_palette": ["#FFFFFF", "#DCD7D4", "#6E6B69", "#1A1A1A", "#000000"]
},
{
"type": "obj",
"bbox": [770, 55, 880, 945],
"desc": "a low band of sea meeting the rocky point, printed as long horizontal halftone strokes with pale paper breaking through as spray and swell",
"color_palette": ["#3A3A3A", "#9C9895", "#EDE9E7"]
},
{
"type": "obj",
"bbox": [893, 55, 897, 945],
"desc": "a hairline horizontal rule closing the image, with two short vertical hairline column dividers dropping from it to suggest a broadsheet column grid",
"color_palette": ["#9C9895", "#C9C5C2"]
},
{
"type": "text",
"bbox": [912, 55, 968, 520],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead set in Figtree Medium (500), friendly humanist geometric sans, sentence case, normal tracking, small and calm, sitting on a single line in the leftmost column directly beneath the lower rule; flat black ink, no effects",
"color_palette": ["#000000"]
}
]
}
}{
"1": {
"class_type": "UNETLoader",
"inputs": {
"unet_name": "ideogram4_fp8_scaled.safetensors",
"weight_dtype": "default"
}
},
"2": {
"class_type": "UNETLoader",
"inputs": {
"unet_name": "ideogram4_unconditional_fp8_scaled.safetensors",
"weight_dtype": "default"
}
},
"3": {
"class_type": "CFGOverride",
"inputs": {
"model": [
"1",
0
],
"cfg": 3.0,
"start_percent": 0.7,
"end_percent": 1.0
}
},
"4": {
"class_type": "CLIPLoader",
"inputs": {
"clip_name": "qwen3vl_8b_fp8_scaled.safetensors",
"type": "ideogram4",
"device": "default"
}
},
"5": {
"class_type": "CLIPTextEncode",
"inputs": {
"clip": [
"4",
0
],
"text": "{\n \"high_level_description\": \"A 16:9 editorial key-art page printed on warm uncoated paper: a huge charcoal headline fills the top third, and below a hairline rule a lighthouse stands solid on a rocky point at right, its beam sweeping left through a field of coarse television static that breaks apart into clean, empty paper sky.\",\n \"style_description\": {\n \"aesthetics\": \"bold editorial newspaper layout, high-contrast black-and-white printing, patient and precise, quietly wistful, generous white space, hairline rules, halftone grain\",\n \"lighting\": \"flat even press lighting with no cast shadows; within the printed image a soft overcast maritime daylight, the lantern beam the only directional source, rendered as an open wedge of bare paper\",\n \"medium\": \"graphic_design\",\n \"art_style\": \"mid-century broadsheet front page crossed with a 1960s offset-printed duotone news plate: coarse halftone dot structure, slight registration drift, ink bleed at the edge of dark masses, hairline column rules, trimmed page edges\",\n \"color_palette\": [\"#F7F2F1\", \"#FFFFFF\", \"#EDE9E7\", \"#DCD7D4\", \"#C9C5C2\", \"#9C9895\", \"#6E6B69\", \"#3A3A3A\", \"#1A1A1A\", \"#202124\", \"#000000\"]\n },\n \"compositional_deconstruction\": {\n \"background\": \"A warm off-white uncoated paper page filling the full 16:9 frame, faint fibre and press texture visible, edges trimmed clean; the upper-right area of the printed image is bare paper standing in for clear, emptied sky. The centre part of the frame stays open and uncluttered: the background simply continues there, with no objects, details, panels or lettering, as quiet breathing space.\",\n \"elements\": [\n {\n \"type\": \"obj\",\n \"bbox\": [55, 55, 59, 945],\n \"desc\": \"a single hairline horizontal rule running the full measure above the headline, printed thin and slightly uneven as offset ink\",\n \"color_palette\": [\"#9C9895\", \"#C9C5C2\"]\n },\n {\n \"type\": \"obj\",\n \"bbox\": [300, 80, 770, 620],\n \"desc\": \"a broad field of television static — dense coarse halftone noise, every dot a hard black speck on paper — thinning from left to right, its grain loosening and finally dissolving into bare untouched paper sky near the lighthouse\",\n \"color_palette\": [\"#1A1A1A\", \"#6E6B69\", \"#C9C5C2\", \"#F7F2F1\"]\n },\n {\n \"type\": \"obj\",\n \"bbox\": [330, 110, 540, 665],\n \"desc\": \"the lantern beam, a clean open wedge sweeping left and slightly upward from the lighthouse gallery, carved out of the static as bare paper with a crisp halftone edge\",\n \"color_palette\": [\"#FFFFFF\", \"#F7F2F1\", \"#DCD7D4\"]\n },\n {\n \"type\": \"obj\",\n \"bbox\": [325, 615, 855, 930],\n \"desc\": \"the lighthouse itself, tall and unmistakably solid: a tapered masonry tower with banded courses, glazed lantern room, iron railing gallery and a small keeper's outbuilding, standing on a wedge of fractured granite rock; rendered as a fine, tightly registered halftone photographic plate so it reads real and dimensional against the coarse static\",\n \"color_palette\": [\"#FFFFFF\", \"#DCD7D4\", \"#6E6B69\", \"#1A1A1A\", \"#000000\"]\n },\n {\n \"type\": \"obj\",\n \"bbox\": [770, 55, 880, 945],\n \"desc\": \"a low band of sea meeting the rocky point, printed as long horizontal halftone strokes with pale paper breaking through as spray and swell\",\n \"color_palette\": [\"#3A3A3A\", \"#9C9895\", \"#EDE9E7\"]\n },\n {\n \"type\": \"obj\",\n \"bbox\": [893, 55, 897, 945],\n \"desc\": \"a hairline horizontal rule closing the image, with two short vertical hairline column dividers dropping from it to suggest a broadsheet column grid\",\n \"color_palette\": [\"#9C9895\", \"#C9C5C2\"]\n }\n ]\n }\n}"
}
},
"6": {
"class_type": "ConditioningZeroOut",
"inputs": {
"conditioning": [
"5",
0
]
}
},
"7": {
"class_type": "DualModelGuider",
"inputs": {
"model": [
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],
"model_negative": [
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],
"positive": [
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"negative": [
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},
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"inputs": {
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"batch_size": 1
}
},
"9": {
"class_type": "Ideogram4Scheduler",
"inputs": {
"steps": 12,
"width": 1344,
"height": 768,
"mu": 0.5,
"std": 1.75
}
},
"10": {
"class_type": "KSamplerSelect",
"inputs": {
"sampler_name": "euler"
}
},
"11": {
"class_type": "RandomNoise",
"inputs": {
"noise_seed": 314159
}
},
"12": {
"class_type": "SamplerCustomAdvanced",
"inputs": {
"noise": [
"11",
0
],
"guider": [
"7",
0
],
"sampler": [
"10",
0
],
"sigmas": [
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0
],
"latent_image": [
"8",
0
]
}
},
"13": {
"class_type": "VAELoader",
"inputs": {
"vae_name": "flux2-vae.safetensors"
}
},
"14": {
"class_type": "VAEDecode",
"inputs": {
"samples": [
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0
],
"vae": [
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}
},
"15": {
"class_type": "SaveImage",
"inputs": {
"images": [
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],
"filename_prefix": "art-direction/art-directions-01--03-a-bold-editorial-newspaper-layout-featur/00-canonical"
}
}
}{
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"high_level_description": "A 16:9 physically-based 3D render at deep dusk: a matte concrete lighthouse stands solid on a dark rocky point at right, its volumetric beam sweeping left through a glowing field of television static that thins and clears into deep blue night sky, with the headline and subhead set in warm white over the dark upper field.",
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"samples": [
"12",
0
],
"vae": [
"13",
0
]
}
},
"15": {
"class_type": "SaveImage",
"inputs": {
"images": [
"14",
0
],
"filename_prefix": "art-direction/art-directions-01--03-a-bold-editorial-newspaper-layout-featur/05-symbol-flat-vector"
}
}
}Claude also writes a restyle instruction for the reference: it must lead with the transformation and name the reference's medium, materials, palette (in words), lighting and backdrop, and it may never name an object, person or setting from the reference. The code appends a guard that pins the scene to image 1 and, because the text is blurred out for the edit, states that there is no text in the image. This is the exact final prompt Qwen received:
Text-last mode: the six pictures were rendered with no text at all. Claude's recipe kept the text area reserved as a calm, empty zone, so the picture leaves room for the type. The clean render is saved as raw/NN.clean.png and is exactly what the editor receives as image 1. Nothing is blurred; there are no letters to hide.
Qwen-Image-Edit-2511 takes the textless tile as image 1 and the reference as image 2 and repaints image 1 with the prompt above. Layout survives because the edit model preserves structure; the look changes because the prompt insists every surface adopts the reference's. These are the exact mechanics:
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}{
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}{
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}Text-last mode: back on the Mac, the brand text is typeset onto every finished picture, both approaches alike, with the real font files: Jost[wght].ttf at weight 700 for the headline and Figtree[wght].ttf at weight 500 for the subhead, placed where Claude's recipe reserved the text area. The colour is chosen per picture by measuring the ground under the text: Warm White #F7F2F1 on dark, Charcoal #202124 / Black on light. If the ground is busy or mid-tone, a soft scrim is laid under the text first; the letters stay flat. Then the K mark is applied. Clean, text-free renders are kept in raw/ as NN.clean.png, and every PNG keeps the ComfyUI workflow in its metadata.
Record a verdict per direction and one honest risk for the winner in verdict.md, then promote the winner to the project's ART-DIRECTION.md. Re-render a winner at full quality with audition.py rerender art-directions-01--03-a-bold-editorial-newspaper-layout-featur NN --preset quality --mp 2.
| # | Direction | Axis | Rationale | Verdict | Risk |
|---|---|---|---|---|---|
| 00 | canonical | original | Brief: 16:9 key art for "Sculpting Static" — a solid, real lighthouse on a rocky point, beam cutting through a field of TV static that dissolves into clear sky; patient, precise, wistful; headline "Sculpting Static" and subhead "Diffusion explained in 120 seconds". From the [style] reference I took the medium (bold editorial newspaper page, offset-printed on warm uncoated paper), the palette (paper white #F7F2F1, near-black lithographic ink, hairline warm greys), the texture (coarse halftone dots, slight ink bleed, flat press lighting) and the typographic VOICE ONLY — enormous display headline filling the top field edge to edge, hairline rules above and below the image, and a small subhead sitting in a left-hand column band under the lower rule. The reference's own Didone letterforms and its body copy are NOT carried over: the K-State "Side Car" brand owns the type, so the headline is Jost Bold (700) and the subhead Figtree Medium (500). Ground is warm paper white, so text uses Charcoal #202124 for the headline and Black #000000 for the subhead, and #202124 is carried in the image-level palette. | ||
| 01 | risograph-two-tone | material and texture + palette | The reference is already an ink-on-paper printing process, so swapping offset black for a two-colour riso duplex keeps the print logic while letting the static and the beam separate as misregistered layers — a natural neighbour for a page about noise resolving into signal. | ||
| 02 | plate-camera-photograph | medium + lighting | The brief insists the lighthouse read as solid and real, and the reference's editorial page would plausibly carry a large-format news photograph instead of a drawn plate — shifting to a real 4x5 exposure at flat overcast noon tests the most literal reading of "solid and real". | ||
| 03 | midnight-3d-render | medium + palette | A lighthouse is nocturnal by nature, so inverting the reference's paper-white ground to a deep midnight blue render is the most obvious neighbouring read of the same scene — and it lets the beam and the dissolving static do the work the black ink did on the page. | ||
| 04 | gouache-warm-dusk | medium + era or reference lineage | Swapping the reference's press-ink lineage for a mid-century national-park travel-poster gouache keeps the flat, printed, high-craft feeling and the same layout, but makes the wistful register of the brief the dominant note. | ||
| 05 | symbol-flat-vector | level of abstraction + composition density | The subject is itself a diagram of noise becoming signal, so pushing the same layout toward a sparse Swiss-modern pictogram — where the static becomes a countable dot grid resolving into order — is the natural symbolic neighbour of the reference's typographic page. |