Art direction audition · Sculpting Static
The goal of this run
{
"high_level_description": "Landscape 16:9 key art rendered as a charcoal drawing on yellowing newsprint: a solid, carefully modelled lighthouse stands on a rocky point at right, its beam sweeping left in hand-drawn radiating rays that cut a clean corridor through a field of grainy television static, which dissolves into bare, untouched paper sky around the tower. Headline and subhead sit in the cleared sky at left.",
"style_description": {
"aesthetics": "patient, precise, a little wistful; hand-drawn, tonal, analogue, quiet",
"lighting": "single hard light source at the lantern, drawn as radiating rays and eraser-lifted white burst; soft ambient overcast tone elsewhere, deepest blacks in the rocks and the tower's shadow side",
"medium": "illustration",
"art_style": "charcoal drawing on yellowing newsprint in the tradition of a working sketchbook study: vine charcoal for smudged mid-tones, compressed charcoal for velvety blacks, kneaded-eraser lifts for highlights, dry scratchy stroke ends, visible paper tooth and foxing, framed by a ragged border of loose black strokes",
"color_palette": ["#EFD8AE", "#E3C08A", "#D2A96F", "#F6EBD2", "#FFF8E7", "#C9C2B6", "#8E8880", "#5A5551", "#2E2A27", "#141210", "#202124", "#000000"]
},
"compositional_deconstruction": {
"background": "Bare yellowing newsprint standing in for sky and horizon, warm tan with visible pulp fibre and faint foxing; the sheet's edges break into loose scribbled charcoal strokes. A low horizon sits around two-thirds down, drawn as a single soft smudged line.",
"elements": [
{
"type": "obj",
"bbox": [170, 620, 840, 800],
"desc": "the lighthouse: a tapering stone tower with a gallery rail and glazed lantern room, drawn solid and convincing with careful contour hatching, cross-hatched shadow side, crisp compressed-charcoal edges and eraser-lifted sunlit face so it reads as the most real, most resolved object on the page",
"color_palette": ["#141210", "#5A5551", "#8E8880", "#F6EBD2", "#FFF8E7"]
},
{
"type": "obj",
"bbox": [190, 90, 470, 660],
"desc": "the beam: a wedge of hand-drawn radiating rays fanning left and slightly up from the lantern, made of ruled charcoal lines and eraser-lifted white channels that scrub the paper clean where they pass",
"color_palette": ["#FFF8E7", "#F6EBD2", "#C9C2B6", "#5A5551"]
},
{
"type": "obj",
"bbox": [0, 0, 540, 1000],
"desc": "the field of television static: dense stippled charcoal speckle and broken horizontal scan-noise filling the upper sky, thinning as it approaches the tower and the beam until it becomes bare newsprint, its dissolving edge left deliberately unresolved and smudged",
"color_palette": ["#2E2A27", "#5A5551", "#8E8880", "#C9C2B6", "#EFD8AE"]
},
{
"type": "obj",
"bbox": [660, 460, 960, 1000],
"desc": "the rocky point: blocky wet boulders and a sloping shelf of stone in the heaviest compressed-charcoal blacks, angular facets with dry broken stroke edges and a few white eraser scratches for spray",
"color_palette": ["#141210", "#2E2A27", "#5A5551", "#8E8880", "#F6EBD2"]
},
{
"type": "obj",
"bbox": [760, 0, 1000, 620],
"desc": "the sea: low swell drawn as long smudged horizontal charcoal drags with lifted white crests, quieter and softer than the rocks, fading toward the left margin into open paper",
"color_palette": ["#5A5551", "#8E8880", "#C9C2B6", "#F6EBD2", "#2E2A27"]
},
{
"type": "text",
"bbox": [380, 60, 500, 560],
"text": "Sculpting Static",
"desc": "headline set in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, flat solid charcoal with no outline, glow or texture, sitting in the cleared paper sky at left, fully legible",
"color_palette": ["#202124"]
},
{
"type": "text",
"bbox": [520, 60, 572, 470],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead set in Figtree Regular (400), friendly humanist geometric sans-serif, normal tracking, sentence case, flat solid black, left-aligned directly under the headline at roughly one third its cap height",
"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 asks for 16:9 key art: a solid, real lighthouse on a rocky point, its beam cutting through a field of TV static that dissolves into clear sky, mood patient and precise and a little wistful, with the headline 'Sculpting Static' and subhead 'Diffusion explained in 120 seconds'. From the [style] reference I took the medium (charcoal drawing, vine and compressed stick), the support (yellowing newsprint with visible pulp tooth and a ragged hand-drawn stroke border), the palette (warm tan/cream paper, velvety blacks, thumb-smudged mid-grays, chalky lifted whites, no chroma beyond the paper's warmth), the texture (dry scratchy stroke ends, grainy hatching, eraser-lifted highlights) and the light motif (hand-drawn radiating rays bursting from a single lamp). No subject content was taken from the reference — its town, lamppost and cobblestones are irrelevant to this brief. Ground is the light tan paper, so the brand type runs Charcoal #202124 headline / Black #000000 subhead, and #202124 is carried in the image-level palette.
{
"high_level_description": "Landscape 16:9 key art rendered as a charcoal drawing on yellowing newsprint: a solid, carefully modelled lighthouse stands on a rocky point at right, its beam sweeping left in hand-drawn radiating rays that cut a clean corridor through a field of grainy television static, which dissolves into bare, untouched paper sky around the tower. Headline and subhead sit in the cleared sky at left.",
"style_description": {
"aesthetics": "patient, precise, a little wistful; hand-drawn, tonal, analogue, quiet",
"lighting": "single hard light source at the lantern, drawn as radiating rays and eraser-lifted white burst; soft ambient overcast tone elsewhere, deepest blacks in the rocks and the tower's shadow side",
"medium": "illustration",
"art_style": "charcoal drawing on yellowing newsprint in the tradition of a working sketchbook study: vine charcoal for smudged mid-tones, compressed charcoal for velvety blacks, kneaded-eraser lifts for highlights, dry scratchy stroke ends, visible paper tooth and foxing, framed by a ragged border of loose black strokes",
"color_palette": ["#EFD8AE", "#E3C08A", "#D2A96F", "#F6EBD2", "#FFF8E7", "#C9C2B6", "#8E8880", "#5A5551", "#2E2A27", "#141210", "#202124", "#000000"]
},
"compositional_deconstruction": {
"background": "Bare yellowing newsprint standing in for sky and horizon, warm tan with visible pulp fibre and faint foxing; the sheet's edges break into loose scribbled charcoal strokes. A low horizon sits around two-thirds down, drawn as a single soft smudged line.",
"elements": [
{
"type": "obj",
"bbox": [170, 620, 840, 800],
"desc": "the lighthouse: a tapering stone tower with a gallery rail and glazed lantern room, drawn solid and convincing with careful contour hatching, cross-hatched shadow side, crisp compressed-charcoal edges and eraser-lifted sunlit face so it reads as the most real, most resolved object on the page",
"color_palette": ["#141210", "#5A5551", "#8E8880", "#F6EBD2", "#FFF8E7"]
},
{
"type": "obj",
"bbox": [190, 90, 470, 660],
"desc": "the beam: a wedge of hand-drawn radiating rays fanning left and slightly up from the lantern, made of ruled charcoal lines and eraser-lifted white channels that scrub the paper clean where they pass",
"color_palette": ["#FFF8E7", "#F6EBD2", "#C9C2B6", "#5A5551"]
},
{
"type": "obj",
"bbox": [0, 0, 540, 1000],
"desc": "the field of television static: dense stippled charcoal speckle and broken horizontal scan-noise filling the upper sky, thinning as it approaches the tower and the beam until it becomes bare newsprint, its dissolving edge left deliberately unresolved and smudged",
"color_palette": ["#2E2A27", "#5A5551", "#8E8880", "#C9C2B6", "#EFD8AE"]
},
{
"type": "obj",
"bbox": [660, 460, 960, 1000],
"desc": "the rocky point: blocky wet boulders and a sloping shelf of stone in the heaviest compressed-charcoal blacks, angular facets with dry broken stroke edges and a few white eraser scratches for spray",
"color_palette": ["#141210", "#2E2A27", "#5A5551", "#8E8880", "#F6EBD2"]
},
{
"type": "obj",
"bbox": [760, 0, 1000, 620],
"desc": "the sea: low swell drawn as long smudged horizontal charcoal drags with lifted white crests, quieter and softer than the rocks, fading toward the left margin into open paper",
"color_palette": ["#5A5551", "#8E8880", "#C9C2B6", "#F6EBD2", "#2E2A27"]
},
{
"type": "text",
"bbox": [380, 60, 500, 560],
"text": "Sculpting Static",
"desc": "headline set in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, flat solid charcoal with no outline, glow or texture, sitting in the cleared paper sky at left, fully legible",
"color_palette": ["#202124"]
},
{
"type": "text",
"bbox": [520, 60, 572, 470],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead set in Figtree Regular (400), friendly humanist geometric sans-serif, normal tracking, sentence case, flat solid black, left-aligned directly under the headline at roughly one third its cap height",
"color_palette": ["#000000"]
}
]
}
}{
"high_level_description": "Landscape 16:9 key art rendered as a graphite and white-chalk drawing on cool blue-gray sugar paper: a solid, carefully modelled lighthouse stands on a rocky point at right, its beam sweeping left in ruled radiating rays that cut a clean corridor through a field of grainy television static, which dissolves into bare toned paper around the tower. Headline and subhead sit in the cleared sky at left.",
"style_description": {
"aesthetics": "patient, precise, a little wistful; cold, silvery, austere, hand-drawn",
"lighting": "single hard light source at the lantern, drawn as ruled rays and a chalk-white burst; cold overcast ambient elsewhere, graphite darks pooling in the rocks and the tower's shadow side",
"medium": "illustration",
"art_style": "graphite and white chalk on cool blue-gray sugar paper in the tradition of an academic tonal study: hard graphite for line, soft graphite smudged with a stump for mid-tones, chalk for highlights, heavy visible paper grain, torn deckled edge",
"color_palette": ["#D8DEE6", "#C2CBD6", "#A9B4C2", "#EFF2F5", "#F7FAFC", "#7C8794", "#535C68", "#2B313A", "#141821", "#202124", "#000000"]
},
"compositional_deconstruction": {
"background": "Bare cool blue-gray sugar paper standing in for sky and horizon, heavily grained, with a torn deckled edge. A low horizon sits around two-thirds down, drawn as a single soft stumped graphite line.",
"elements": [
{
"type": "obj",
"bbox": [170, 620, 840, 800],
"desc": "the lighthouse: a tapering stone tower with a gallery rail and glazed lantern room, drawn solid and convincing with tight graphite contour hatching, stumped shadow side and chalk-white lit face so it reads as the most real, most resolved object on the sheet",
"color_palette": ["#141821", "#535C68", "#A9B4C2", "#EFF2F5", "#F7FAFC"]
},
{
"type": "obj",
"bbox": [190, 90, 470, 660],
"desc": "the beam: a wedge of ruled radiating rays fanning left and slightly up from the lantern, laid in with sharp graphite lines and chalk-white channels that brighten the toned paper where they pass",
"color_palette": ["#F7FAFC", "#EFF2F5", "#C2CBD6", "#535C68"]
},
{
"type": "obj",
"bbox": [0, 0, 540, 1000],
"desc": "the field of television static: dense graphite stipple and broken horizontal scan-noise filling the upper sky, thinning toward the tower and the beam until only bare blue-gray paper remains, its dissolving edge left unresolved and stumped",
"color_palette": ["#2B313A", "#535C68", "#7C8794", "#A9B4C2", "#D8DEE6"]
},
{
"type": "obj",
"bbox": [660, 460, 960, 1000],
"desc": "the rocky point: blocky wet boulders and a sloping stone shelf in the darkest packed graphite, angular facets with hard edges and a few chalk scratches for spray",
"color_palette": ["#141821", "#2B313A", "#535C68", "#7C8794", "#EFF2F5"]
},
{
"type": "obj",
"bbox": [760, 0, 1000, 620],
"desc": "the sea: low swell drawn as long stumped horizontal graphite drags with chalk crests, quieter and softer than the rocks, fading toward the left margin into open toned paper",
"color_palette": ["#535C68", "#7C8794", "#A9B4C2", "#EFF2F5", "#2B313A"]
},
{
"type": "text",
"bbox": [380, 60, 500, 560],
"text": "Sculpting Static",
"desc": "headline set in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, flat solid charcoal with no outline, glow or texture, sitting in the cleared paper sky at left, fully legible",
"color_palette": ["#202124"]
},
{
"type": "text",
"bbox": [520, 60, 572, 470],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead set in Figtree Regular (400), friendly humanist geometric sans-serif, normal tracking, sentence case, flat solid black, left-aligned directly under the headline at roughly one third its cap height",
"color_palette": ["#000000"]
}
]
}
}{
"high_level_description": "Landscape 16:9 key art as a two-colour risograph print on warm white paper: a solid lighthouse on a rocky point at right, its beam sweeping left in flat orange rays that cut a clean corridor through a coarse halftone field of television static, which dissolves into blank paper around the tower. Headline and subhead sit in the cleared sky at left.",
"style_description": {
"aesthetics": "patient, precise, a little wistful; graphic, grainy, print-shop, deliberately imperfect",
"lighting": "light implied by flat ink shapes rather than modelling — an orange burst at the lantern and hard-edged orange rays, with black halftone doing all the shadow work",
"medium": "graphic_design",
"art_style": "two-ink risograph poster in the small-press zine tradition: fluorescent orange and black only, coarse dot halftones, visible misregistration of a millimetre or two, ink roller streaks, blown-out overprint where the two inks stack, flat blank paper for every highlight",
"color_palette": ["#FFF6EE", "#F2DCD0", "#FF6234", "#E8552A", "#7A2E17", "#1A1A1A", "#000000", "#202124"]
},
"compositional_deconstruction": {
"background": "Blank warm white paper stock standing in for sky and horizon, with faint roller streaks and a slightly off-register orange edge bleed. A low horizon sits around two-thirds down as a single hard black rule.",
"elements": [
{
"type": "obj",
"bbox": [170, 620, 840, 800],
"desc": "the lighthouse: a tapering tower with gallery rail and glazed lantern room built from flat black shapes and one dense halftone tone on its shadow side, printed sharp and dead-on-register so it reads as the most solid, most resolved object on the sheet",
"color_palette": ["#1A1A1A", "#FF6234", "#FFF6EE", "#7A2E17"]
},
{
"type": "obj",
"bbox": [190, 90, 470, 660],
"desc": "the beam: a wedge of hard-edged flat orange rays fanning left and slightly up from the lantern, knocking the black halftone out to blank paper wherever they pass",
"color_palette": ["#FF6234", "#E8552A", "#FFF6EE", "#F2DCD0"]
},
{
"type": "obj",
"bbox": [0, 0, 540, 1000],
"desc": "the field of television static: coarse black halftone dots at large screen ruling with broken horizontal scan-noise bands, the dot size stepping down toward the tower and the beam until the paper is bare, misregistered orange ghosting along its dissolving edge",
"color_palette": ["#1A1A1A", "#FF6234", "#F2DCD0", "#FFF6EE", "#7A2E17"]
},
{
"type": "obj",
"bbox": [660, 460, 960, 1000],
"desc": "the rocky point: blocky boulders and a sloping shelf as flat solid black silhouettes with a few orange overprint facets, hard cut edges, no modelling",
"color_palette": ["#000000", "#1A1A1A", "#FF6234", "#7A2E17", "#FFF6EE"]
},
{
"type": "obj",
"bbox": [760, 0, 1000, 620],
"desc": "the sea: low swell as stacked flat black bands with halftone gradients between them, quieter than the rocks, fading left into blank paper",
"color_palette": ["#1A1A1A", "#7A2E17", "#FF6234", "#F2DCD0", "#FFF6EE"]
},
{
"type": "text",
"bbox": [380, 60, 500, 560],
"text": "Sculpting Static",
"desc": "headline set in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, printed flat in the orange ink with no outline, glow or texture, sitting in the cleared paper sky at left, fully legible",
"color_palette": ["#FF6234"]
},
{
"type": "text",
"bbox": [520, 60, 572, 470],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead set in Figtree Regular (400), friendly humanist geometric sans-serif, normal tracking, sentence case, printed flat in solid black, left-aligned directly under the headline at roughly one third its cap height",
"color_palette": ["#000000"]
}
]
}
}{
"high_level_description": "Landscape 16:9 key art as a long-exposure night photograph: a real stone lighthouse on a rocky point at right, its beam sweeping left as a hard volumetric shaft through a field of heavy sensor grain and analogue noise that clears into smooth deep-blue sky around the tower. Headline and subhead sit in the cleared sky at left.",
"style_description": {
"aesthetics": "patient, precise, a little wistful; cinematic, desaturated, cold, documentary",
"lighting": "the lantern is the only key — a hard tungsten-warm source throwing a volumetric shaft through sea haze; ambient is deep blue post-sunset skylight, long exposure smoothing the water, deep shadow in the rocks",
"photo": "full-frame camera, 35mm lens at f/4, 20-second exposure on a tripod, ISO pushed so grain is visible, slight vignette, natural lens flare from the lantern, deep focus front to back",
"medium": "photograph",
"color_palette": ["#0B1016", "#131C25", "#1E2C38", "#33485A", "#5E7A90", "#9FB6C6", "#D9E6EE", "#E8C98A", "#F7F2F1", "#BABCC2"]
},
"compositional_deconstruction": {
"background": "Deep blue post-sunset sky graduating from near-black at the top to pale steel at the horizon, sea haze softening the far distance. A low horizon sits around two-thirds down as a soft luminous band.",
"elements": [
{
"type": "obj",
"bbox": [170, 620, 840, 800],
"desc": "the lighthouse: a real tapering stone tower with weathered paint, a steel gallery rail and a glazed lantern room blazing warm, rendered in crisp optical detail with visible mortar joints and rain streaks so it reads as unarguably solid and physically present",
"color_palette": ["#0B1016", "#33485A", "#9FB6C6", "#D9E6EE", "#E8C98A"]
},
{
"type": "obj",
"bbox": [190, 90, 470, 660],
"desc": "the beam: a hard volumetric shaft of warm light fanning left and slightly up from the lantern through sea haze, its edges sharply defined, burning the grain out of the air it crosses",
"color_palette": ["#E8C98A", "#D9E6EE", "#9FB6C6", "#33485A"]
},
{
"type": "obj",
"bbox": [0, 0, 540, 1000],
"desc": "the field of television static: heavy luminance and chroma sensor noise plus broken horizontal interference bands filling the upper sky, denoising progressively toward the tower and the beam until the sky is glassy smooth, the transition left soft and unresolved",
"color_palette": ["#131C25", "#1E2C38", "#33485A", "#5E7A90", "#9FB6C6"]
},
{
"type": "obj",
"bbox": [660, 460, 960, 1000],
"desc": "the rocky point: wet blocky granite boulders and a sloping shelf, near-silhouetted with specular highlights where the beam grazes them, hard edges against the smoothed water",
"color_palette": ["#0B1016", "#131C25", "#33485A", "#5E7A90", "#D9E6EE"]
},
{
"type": "obj",
"bbox": [760, 0, 1000, 620],
"desc": "the sea: low swell smoothed by the long exposure into a soft milky sheet with faint drifting crest trails, quieter than the rocks, darkening toward the left margin",
"color_palette": ["#131C25", "#1E2C38", "#33485A", "#5E7A90", "#9FB6C6"]
},
{
"type": "text",
"bbox": [380, 60, 500, 560],
"text": "Sculpting Static",
"desc": "headline set in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, flat solid warm white with no outline, glow or texture, sitting on the cleared dark sky at left, fully legible",
"color_palette": ["#F7F2F1"]
},
{
"type": "text",
"bbox": [520, 60, 572, 470],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead set in Figtree Regular (400), friendly humanist geometric sans-serif, normal tracking, sentence case, flat solid cool gray, left-aligned directly under the headline at roughly one third its cap height",
"color_palette": ["#BABCC2"]
}
]
}
}{
"high_level_description": "Landscape 16:9 key art as a mid-century screenprinted travel poster: a stylised but solidly constructed lighthouse on a rocky point at right, its beam sweeping left as flat stepped wedges of pale ochre that cut a clean corridor through a stepped, halftone-free field of television static, which resolves into flat cream sky around the tower. Headline and subhead sit in the cleared sky at left.",
"style_description": {
"aesthetics": "patient, precise, a little wistful; flat, geometric, optimistic, nostalgic",
"lighting": "light described entirely by flat colour steps rather than modelling — a pale ochre burst at the lantern, hard-edged wedge rays, one deep teal shadow value on every solid form",
"medium": "illustration",
"art_style": "1950s screenprinted travel poster in the mid-century Swiss and British railway-poster lineage: five flat spot colours, hard geometric shape language, simplified forms with no gradients, slight ink texture and paper grain, generous flat ground",
"color_palette": ["#F3E4C8", "#F7EFE0", "#E5B04A", "#C7562F", "#8FA9A0", "#2F4F4F", "#1D2B2B", "#202124", "#000000"]
},
"compositional_deconstruction": {
"background": "A flat cream sky field with faint screenprint grain, meeting a flat teal sea. A low horizon sits around two-thirds down as one hard colour edge, no gradient anywhere.",
"elements": [
{
"type": "obj",
"bbox": [170, 620, 840, 800],
"desc": "the lighthouse: a tapering tower with gallery rail and glazed lantern room reduced to clean geometric solids — a truncated cone, a cylinder, a hexagonal lantern — but given one crisp teal shadow plane down its right side so it still reads as a real, weighty object rather than a symbol",
"color_palette": ["#F7EFE0", "#2F4F4F", "#C7562F", "#E5B04A", "#1D2B2B"]
},
{
"type": "obj",
"bbox": [190, 90, 470, 660],
"desc": "the beam: flat stepped wedges of pale ochre fanning left and slightly up from the lantern, each ray a hard-edged triangle, overprinting the static field to cream where it passes",
"color_palette": ["#E5B04A", "#F7EFE0", "#F3E4C8", "#8FA9A0"]
},
{
"type": "obj",
"bbox": [0, 0, 540, 1000],
"desc": "the field of television static: the upper sky broken into a stepped mosaic of small flat teal and sage rectangles that thin in size and count toward the tower and the beam until only unbroken cream remains, the dissolving edge stated as a ragged staircase of shapes",
"color_palette": ["#2F4F4F", "#8FA9A0", "#F3E4C8", "#E5B04A", "#1D2B2B"]
},
{
"type": "obj",
"bbox": [660, 460, 960, 1000],
"desc": "the rocky point: angular faceted boulders and a sloping shelf as flat interlocking planes in two teal values with hard rust-red edge facets, no texture, strong silhouette",
"color_palette": ["#1D2B2B", "#2F4F4F", "#C7562F", "#8FA9A0", "#F3E4C8"]
},
{
"type": "obj",
"bbox": [760, 0, 1000, 620],
"desc": "the sea: low swell as three or four stacked flat teal bands with simple scalloped crest shapes, quieter than the rocks, running flat to the left margin",
"color_palette": ["#2F4F4F", "#8FA9A0", "#1D2B2B", "#F3E4C8", "#F7EFE0"]
},
{
"type": "text",
"bbox": [380, 60, 500, 560],
"text": "Sculpting Static",
"desc": "headline set in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, all caps, flat solid charcoal with no outline, glow or texture, sitting on the cleared cream sky at left, fully legible",
"color_palette": ["#202124"]
},
{
"type": "text",
"bbox": [520, 60, 572, 470],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead set in Figtree Medium (500), friendly humanist geometric sans-serif, normal tracking, sentence case, flat solid black, left-aligned directly under the headline at roughly one third its cap height",
"color_palette": ["#000000"]
}
]
}
}{
"high_level_description": "Landscape 16:9 key art as a soft matte clay and paper-model diorama photographed in gentle studio light: a hand-sculpted clay lighthouse on a rocky clay point at right, its beam a translucent milky-white wedge sweeping left through a field of crumpled paper static that smooths into flat clean board around the tower. Headline and subhead sit in the cleared sky at left.",
"style_description": {
"aesthetics": "patient, precise, a little wistful; tactile, soft, handmade, quietly modern",
"lighting": "broad soft studio key from the upper left with a large diffuser, gentle wraparound falloff, no hard shadows, plus a faint internal glow inside the lantern reading as frosted acrylic",
"medium": "3d_render",
"art_style": "soft matte clay and paper-craft diorama render in the stop-motion model-shop tradition: plasticine and paper surfaces with visible thumbprints, fibre and fold creases, subtle subsurface scattering, no gloss anywhere, shallow tabletop depth of field, everything sitting on a seamless board",
"color_palette": ["#FDFBF8", "#F2EDE6", "#E2D9CE", "#C8BCAE", "#A79A8B", "#7E7367", "#4E463D", "#DCE6EA", "#202124", "#000000"]
},
"compositional_deconstruction": {
"background": "A seamless off-white paper board standing in for sky and horizon, softly graded by the studio light with a faint fold crease. A low horizon sits around two-thirds down where the board curves into the tabletop.",
"elements": [
{
"type": "obj",
"bbox": [170, 620, 840, 800],
"desc": "the lighthouse: a tapering tower with gallery rail and glazed lantern room hand-sculpted in matte cream plasticine, thumbprints and tool marks visible in its surface, a frosted acrylic lantern glowing from within, rendered with enough weight, shadow contact and material honesty to read as a real physical object on a real table",
"color_palette": ["#FDFBF8", "#E2D9CE", "#A79A8B", "#4E463D", "#DCE6EA"]
},
{
"type": "obj",
"bbox": [190, 90, 470, 660],
"desc": "the beam: a translucent milky-white acrylic wedge fanning left and slightly up from the lantern, faintly frosted and softly lit, physically pressing the crumpled paper flat where it passes",
"color_palette": ["#FDFBF8", "#F2EDE6", "#DCE6EA", "#C8BCAE"]
},
{
"type": "obj",
"bbox": [0, 0, 540, 1000],
"desc": "the field of television static: the upper board crumpled into thousands of tiny paper creases and torn confetti flecks casting soft micro-shadows, progressively smoothing toward the tower and the beam until the board is flawlessly flat, the transition left soft and unresolved",
"color_palette": ["#E2D9CE", "#C8BCAE", "#A79A8B", "#F2EDE6", "#7E7367"]
},
{
"type": "obj",
"bbox": [660, 460, 960, 1000],
"desc": "the rocky point: blocky faceted clay boulders and a sloping shelf pressed by hand, matte and slightly dusty, the darkest values in the scene with soft contact shadows pooling beneath them",
"color_palette": ["#4E463D", "#7E7367", "#A79A8B", "#C8BCAE", "#F2EDE6"]
},
{
"type": "obj",
"bbox": [760, 0, 1000, 620],
"desc": "the sea: low swell modelled in pale gray-blue clay with gently rolled ridges and softly rounded crests, quieter and smoother than the rocks, falling out of focus toward the left margin",
"color_palette": ["#DCE6EA", "#C8BCAE", "#A79A8B", "#F2EDE6", "#7E7367"]
},
{
"type": "text",
"bbox": [380, 60, 500, 560],
"text": "Sculpting Static",
"desc": "headline set in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, flat solid charcoal overlaid cleanly on the smoothed board at left with no outline, glow, texture or material simulation, fully legible",
"color_palette": ["#202124"]
},
{
"type": "text",
"bbox": [520, 60, 572, 470],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead set in Figtree Regular (400), friendly humanist geometric sans-serif, normal tracking, sentence case, flat solid black, left-aligned directly under the headline at roughly one third its cap height",
"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-charcoal-drawing-on-yellowing-newsprin_Lcf03NvTQ5uKsRLwS_F5Qw_bvx5RbWuQMWTx4SlPRZACg.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-charcoal-drawing-on-yellowing-newsprin_Lcf03NvTQ5uKsRLwS_F5Qw_bvx5RbWuQMWTx4SlPRZACg.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 asks for 16:9 key art: a solid, real lighthouse on a rocky point, its beam cutting through a field of TV static that dissolves into clear sky, mood patient and precise and a little wistful, with the headline 'Sculpting Static' and subhead 'Diffusion explained in 120 seconds'. From the [style] reference I took the medium (charcoal drawing, vine and compressed stick), the support (yellowing newsprint with visible pulp tooth and a ragged hand-drawn stroke border), the palette (warm tan/cream paper, velvety blacks, thumb-smudged mid-grays, chalky lifted whites, no chroma beyond the paper's warmth), the texture (dry scratchy stroke ends, grainy hatching, eraser-lifted highlights) and the light motif (hand-drawn radiating rays bursting from a single lamp). No subject content was taken from the reference — its town, lamppost and cobblestones are irrelevant to this brief. Ground is the light tan paper, so the brand type runs Charcoal #202124 headline / Black #000000 subhead, and #202124 is carried in the image-level palette.
| # | Direction | Axis | Why it is a plausible neighbour |
|---|---|---|---|
| 00 | canonical | original | Brief asks for 16:9 key art: a solid, real lighthouse on a rocky point, its beam cutting through a field of TV static that dissolves into clear sky, mood patient and precise and a little wistful, with the headline 'Sculpting Static' and subhead 'Diffusion explained in 120 seconds'. From the [style] reference I took the medium (charcoal drawing, vine and compressed stick), the support (yellowing newsprint with visible pulp tooth and a ragged hand-drawn stroke border), the palette (warm tan/cream paper, velvety blacks, thumb-smudged mid-grays, chalky lifted whites, no chroma beyond the paper's warmth), the texture (dry scratchy stroke ends, grainy hatching, eraser-lifted highlights) and the light motif (hand-drawn radiating rays bursting from a single lamp). No subject content was taken from the reference — its town, lamppost and cobblestones are irrelevant to this brief. Ground is the light tan paper, so the brand type runs Charcoal #202124 headline / Black #000000 subhead, and #202124 is carried in the image-level palette. |
| 01 | graphite-cool-blue | palette + material and texture | Same hand-drawn tonal study and same composition, but moved off warm newsprint onto cold blue-gray sugar paper with white chalk — keeps the wistful drawn quality while flipping the whole image from warm and dusty to cold and coastal. |
| 02 | risograph-two-tone | medium + palette | The brief's core idea is noise resolving into signal, which two-ink riso says natively through halftone grain and misregistration — and the warm paper stock lets the brand Orange carry the headline. |
| 03 | night-photograph-cool | medium + lighting | The most literal way to make the lighthouse read as solid and real is to photograph it; a long-exposure night shot turns the static field into sensor grain, which is the brief's own metaphor made physical. |
| 04 | mid-century-travel-poster | era or reference lineage + level of abstraction | Still a drawn illustration and still the same lighthouse and beam, but pushed back to 1950s screenprinted travel-poster logic where the static becomes a flat stepped shape — the wistful register the brief wants, said in geometry. |
| 05 | matte-clay-diorama | medium + material and texture | Building the scene as a soft matte clay and paper model makes the lighthouse literally a sculpted object — the brief's verb, taken at its word — while the static becomes crumpled paper being smoothed flat. |
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": "Landscape 16:9 key art rendered as a charcoal drawing on yellowing newsprint: a solid, carefully modelled lighthouse stands on a rocky point at right, its beam sweeping left in hand-drawn radiating rays that cut a clean corridor through a field of grainy television static, which dissolves into bare, untouched paper sky around the tower. Headline and subhead sit in the cleared sky at left.",
"style_description": {
"aesthetics": "patient, precise, a little wistful; hand-drawn, tonal, analogue, quiet",
"lighting": "single hard light source at the lantern, drawn as radiating rays and eraser-lifted white burst; soft ambient overcast tone elsewhere, deepest blacks in the rocks and the tower's shadow side",
"medium": "illustration",
"art_style": "charcoal drawing on yellowing newsprint in the tradition of a working sketchbook study: vine charcoal for smudged mid-tones, compressed charcoal for velvety blacks, kneaded-eraser lifts for highlights, dry scratchy stroke ends, visible paper tooth and foxing, framed by a ragged border of loose black strokes",
"color_palette": ["#EFD8AE", "#E3C08A", "#D2A96F", "#F6EBD2", "#FFF8E7", "#C9C2B6", "#8E8880", "#5A5551", "#2E2A27", "#141210", "#202124", "#000000"]
},
"compositional_deconstruction": {
"background": "Bare yellowing newsprint standing in for sky and horizon, warm tan with visible pulp fibre and faint foxing; the sheet's edges break into loose scribbled charcoal strokes. A low horizon sits around two-thirds down, drawn as a single soft smudged line.",
"elements": [
{
"type": "obj",
"bbox": [170, 620, 840, 800],
"desc": "the lighthouse: a tapering stone tower with a gallery rail and glazed lantern room, drawn solid and convincing with careful contour hatching, cross-hatched shadow side, crisp compressed-charcoal edges and eraser-lifted sunlit face so it reads as the most real, most resolved object on the page",
"color_palette": ["#141210", "#5A5551", "#8E8880", "#F6EBD2", "#FFF8E7"]
},
{
"type": "obj",
"bbox": [190, 90, 470, 660],
"desc": "the beam: a wedge of hand-drawn radiating rays fanning left and slightly up from the lantern, made of ruled charcoal lines and eraser-lifted white channels that scrub the paper clean where they pass",
"color_palette": ["#FFF8E7", "#F6EBD2", "#C9C2B6", "#5A5551"]
},
{
"type": "obj",
"bbox": [0, 0, 540, 1000],
"desc": "the field of television static: dense stippled charcoal speckle and broken horizontal scan-noise filling the upper sky, thinning as it approaches the tower and the beam until it becomes bare newsprint, its dissolving edge left deliberately unresolved and smudged",
"color_palette": ["#2E2A27", "#5A5551", "#8E8880", "#C9C2B6", "#EFD8AE"]
},
{
"type": "obj",
"bbox": [660, 460, 960, 1000],
"desc": "the rocky point: blocky wet boulders and a sloping shelf of stone in the heaviest compressed-charcoal blacks, angular facets with dry broken stroke edges and a few white eraser scratches for spray",
"color_palette": ["#141210", "#2E2A27", "#5A5551", "#8E8880", "#F6EBD2"]
},
{
"type": "obj",
"bbox": [760, 0, 1000, 620],
"desc": "the sea: low swell drawn as long smudged horizontal charcoal drags with lifted white crests, quieter and softer than the rocks, fading toward the left margin into open paper",
"color_palette": ["#5A5551", "#8E8880", "#C9C2B6", "#F6EBD2", "#2E2A27"]
},
{
"type": "text",
"bbox": [380, 60, 500, 560],
"text": "Sculpting Static",
"desc": "headline set in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, flat solid charcoal with no outline, glow or texture, sitting in the cleared paper sky at left, fully legible",
"color_palette": ["#202124"]
},
{
"type": "text",
"bbox": [520, 60, 572, 470],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead set in Figtree Regular (400), friendly humanist geometric sans-serif, normal tracking, sentence case, flat solid black, left-aligned directly under the headline at roughly one third its cap height",
"color_palette": ["#000000"]
}
]
}
}{
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"class_type": "UNETLoader",
"inputs": {
"unet_name": "ideogram4_fp8_scaled.safetensors",
"weight_dtype": "default"
}
},
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}
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"class_type": "CFGOverride",
"inputs": {
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],
"cfg": 3.0,
"start_percent": 0.7,
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"type": "ideogram4",
"device": "default"
}
},
"5": {
"class_type": "CLIPTextEncode",
"inputs": {
"clip": [
"4",
0
],
"text": "{\n \"high_level_description\": \"Landscape 16:9 key art rendered as a charcoal drawing on yellowing newsprint: a solid, carefully modelled lighthouse stands on a rocky point at right, its beam sweeping left in hand-drawn radiating rays that cut a clean corridor through a field of grainy television static, which dissolves into bare, untouched paper sky around the tower.\",\n \"style_description\": {\n \"aesthetics\": \"patient, precise, a little wistful; hand-drawn, tonal, analogue, quiet\",\n \"lighting\": \"single hard light source at the lantern, drawn as radiating rays and eraser-lifted white burst; soft ambient overcast tone elsewhere, deepest blacks in the rocks and the tower's shadow side\",\n \"medium\": \"illustration\",\n \"art_style\": \"charcoal drawing on yellowing newsprint in the tradition of a working sketchbook study: vine charcoal for smudged mid-tones, compressed charcoal for velvety blacks, kneaded-eraser lifts for highlights, dry scratchy stroke ends, visible paper tooth and foxing, framed by a ragged border of loose black strokes\",\n \"color_palette\": [\"#EFD8AE\", \"#E3C08A\", \"#D2A96F\", \"#F6EBD2\", \"#FFF8E7\", \"#C9C2B6\", \"#8E8880\", \"#5A5551\", \"#2E2A27\", \"#141210\", \"#202124\", \"#000000\"]\n },\n \"compositional_deconstruction\": {\n \"background\": \"Bare yellowing newsprint standing in for sky and horizon, warm tan with visible pulp fibre and faint foxing; the sheet's edges break into loose scribbled charcoal strokes. A low horizon sits around two-thirds down, drawn as a single soft smudged line. The left 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\": [170, 620, 840, 800],\n \"desc\": \"the lighthouse: a tapering stone tower with a gallery rail and glazed lantern room, drawn solid and convincing with careful contour hatching, cross-hatched shadow side, crisp compressed-charcoal edges and eraser-lifted sunlit face so it reads as the most real, most resolved object on the page\",\n \"color_palette\": [\"#141210\", \"#5A5551\", \"#8E8880\", \"#F6EBD2\", \"#FFF8E7\"]\n },\n {\n \"type\": \"obj\",\n \"bbox\": [190, 90, 470, 660],\n \"desc\": \"the beam: a wedge of hand-drawn radiating rays fanning left and slightly up from the lantern, made of ruled charcoal lines and eraser-lifted white channels that scrub the paper clean where they pass\",\n \"color_palette\": [\"#FFF8E7\", \"#F6EBD2\", \"#C9C2B6\", \"#5A5551\"]\n },\n {\n \"type\": \"obj\",\n \"bbox\": [0, 0, 540, 1000],\n \"desc\": \"the field of television static: dense stippled charcoal speckle and broken horizontal scan-noise filling the upper sky, thinning as it approaches the tower and the beam until it becomes bare newsprint, its dissolving edge left deliberately unresolved and smudged\",\n \"color_palette\": [\"#2E2A27\", \"#5A5551\", \"#8E8880\", \"#C9C2B6\", \"#EFD8AE\"]\n },\n {\n \"type\": \"obj\",\n \"bbox\": [660, 460, 960, 1000],\n \"desc\": \"the rocky point: blocky wet boulders and a sloping shelf of stone in the heaviest compressed-charcoal blacks, angular facets with dry broken stroke edges and a few white eraser scratches for spray\",\n \"color_palette\": [\"#141210\", \"#2E2A27\", \"#5A5551\", \"#8E8880\", \"#F6EBD2\"]\n },\n {\n \"type\": \"obj\",\n \"bbox\": [760, 0, 1000, 620],\n \"desc\": \"the sea: low swell drawn as long smudged horizontal charcoal drags with lifted white crests, quieter and softer than the rocks, fading toward the left margin into open paper\",\n \"color_palette\": [\"#5A5551\", \"#8E8880\", \"#C9C2B6\", \"#F6EBD2\", \"#2E2A27\"]\n }\n ]\n }\n}"
}
},
"6": {
"class_type": "ConditioningZeroOut",
"inputs": {
"conditioning": [
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0
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}
},
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"inputs": {
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"positive": [
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},
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"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": {
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"guider": [
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"sampler": [
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"sigmas": [
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"latent_image": [
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}
},
"13": {
"class_type": "VAELoader",
"inputs": {
"vae_name": "flux2-vae.safetensors"
}
},
"14": {
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"inputs": {
"samples": [
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}
},
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"filename_prefix": "art-direction/art-directions-01--05-a-charcoal-drawing-on-yellowing-newsprin/00-canonical"
}
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}{
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0
],
"sigmas": [
"9",
0
],
"latent_image": [
"8",
0
]
}
},
"13": {
"class_type": "VAELoader",
"inputs": {
"vae_name": "flux2-vae.safetensors"
}
},
"14": {
"class_type": "VAEDecode",
"inputs": {
"samples": [
"12",
0
],
"vae": [
"13",
0
]
}
},
"15": {
"class_type": "SaveImage",
"inputs": {
"images": [
"14",
0
],
"filename_prefix": "art-direction/art-directions-01--05-a-charcoal-drawing-on-yellowing-newsprin/05-matte-clay-diorama"
}
}
}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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"class_type": "VAELoader",
"inputs": {
"vae_name": "qwen_image_vae.safetensors"
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},
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"class_type": "LoadImage",
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"image": "art-directions-01--05-a-charcoal-drawing-on-yellowing-newsprin--00-canonical.clean.png"
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"class_type": "LoadImage",
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"image": "art-directions-01--05-a-charcoal-drawing-on-yellowing-newsprin--ref-a-charcoal-drawing-on-yellowing-newsprin_Lcf03NvTQ5uKsRLwS_F5Qw_bvx5RbWuQMWTx4SlPRZACg.png"
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"class_type": "TextEncodeQwenImageEditPlus",
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"prompt": "Transform image 1 into a charcoal drawing on yellowing newsprint: warm tan pulp paper with visible fibre tooth and faint foxing, worked in vine and compressed charcoal — velvety blacks, thumb-smudged mid-greys, chalky whites lifted with a kneaded eraser, dry scratchy stroke ends, grainy hatching, and a ragged hand-drawn border of loose black strokes around the sheet. The lighthouse, the rocks, the beam, the static field, the sea and the sky all become marks on that paper: monochrome tone over cream, hand-ruled radiating light rays, no colour beyond the paper's warmth. The subject and scene remain those of image 1: Landscape 16:9 key art rendered as a charcoal drawing on yellowing newsprint: a solid, carefully modelled lighthouse stands on a rocky point at right, its beam sweeping left in hand-drawn radiating rays that cut a clean corridor through a field of grainy television static, which dissolves into bare, untouched paper sky around the tower. Do not copy any object, person, figure or setting from image 2; take only its surface qualities. Keep the layout of image 1. There is no text in this image: the plain, soft, empty area of image 1 stays empty and unlettered, with no words, letters, numbers, captions or logos anywhere in the picture.",
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"class_type": "VAEEncode",
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"class_type": "SaveImage",
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"filename_prefix": "art-direction/art-directions-01--05-a-charcoal-drawing-on-yellowing-newsprin/restyle-a-charcoal-drawing-on-00-canonical"
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}{
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"class_type": "TextEncodeQwenImageEditPlus",
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"class_type": "VAEEncode",
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},
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"class_type": "SaveImage",
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}
}{
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"class_type": "TextEncodeQwenImageEditPlus",
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"prompt": "Transform image 1 into a charcoal drawing on yellowing newsprint: warm tan pulp paper with visible fibre tooth and faint foxing, worked in vine and compressed charcoal — velvety blacks, thumb-smudged mid-greys, chalky whites lifted with a kneaded eraser, dry scratchy stroke ends, grainy hatching, and a ragged hand-drawn border of loose black strokes around the sheet. The lighthouse, the rocks, the beam, the static field, the sea and the sky all become marks on that paper: monochrome tone over cream, hand-ruled radiating light rays, no colour beyond the paper's warmth. The subject and scene remain those of image 1: Landscape 16:9 key art rendered as a charcoal drawing on yellowing newsprint: a solid, carefully modelled lighthouse stands on a rocky point at right, its beam sweeping left in hand-drawn radiating rays that cut a clean corridor through a field of grainy television static, which dissolves into bare, untouched paper sky around the tower. Do not copy any object, person, figure or setting from image 2; take only its surface qualities. Keep the layout of image 1. There is no text in this image: the plain, soft, empty area of image 1 stays empty and unlettered, with no words, letters, numbers, captions or logos anywhere in the picture.",
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"class_type": "VAEEncode",
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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--05-a-charcoal-drawing-on-yellowing-newsprin NN --preset quality --mp 2.
| # | Direction | Axis | Rationale | Verdict | Risk |
|---|---|---|---|---|---|
| 00 | canonical | original | Brief asks for 16:9 key art: a solid, real lighthouse on a rocky point, its beam cutting through a field of TV static that dissolves into clear sky, mood patient and precise and a little wistful, with the headline 'Sculpting Static' and subhead 'Diffusion explained in 120 seconds'. From the [style] reference I took the medium (charcoal drawing, vine and compressed stick), the support (yellowing newsprint with visible pulp tooth and a ragged hand-drawn stroke border), the palette (warm tan/cream paper, velvety blacks, thumb-smudged mid-grays, chalky lifted whites, no chroma beyond the paper's warmth), the texture (dry scratchy stroke ends, grainy hatching, eraser-lifted highlights) and the light motif (hand-drawn radiating rays bursting from a single lamp). No subject content was taken from the reference — its town, lamppost and cobblestones are irrelevant to this brief. Ground is the light tan paper, so the brand type runs Charcoal #202124 headline / Black #000000 subhead, and #202124 is carried in the image-level palette. | ||
| 01 | graphite-cool-blue | palette + material and texture | Same hand-drawn tonal study and same composition, but moved off warm newsprint onto cold blue-gray sugar paper with white chalk — keeps the wistful drawn quality while flipping the whole image from warm and dusty to cold and coastal. | ||
| 02 | risograph-two-tone | medium + palette | The brief's core idea is noise resolving into signal, which two-ink riso says natively through halftone grain and misregistration — and the warm paper stock lets the brand Orange carry the headline. | ||
| 03 | night-photograph-cool | medium + lighting | The most literal way to make the lighthouse read as solid and real is to photograph it; a long-exposure night shot turns the static field into sensor grain, which is the brief's own metaphor made physical. | ||
| 04 | mid-century-travel-poster | era or reference lineage + level of abstraction | Still a drawn illustration and still the same lighthouse and beam, but pushed back to 1950s screenprinted travel-poster logic where the static becomes a flat stepped shape — the wistful register the brief wants, said in geometry. | ||
| 05 | matte-clay-diorama | medium + material and texture | Building the scene as a soft matte clay and paper model makes the lighthouse literally a sculpted object — the brief's verb, taken at its word — while the static becomes crumpled paper being smoothed flat. |