Art direction audition · Sculpting Static
The goal of this run
{
"high_level_description": "Landscape 16:9 key art: a tall stone lighthouse stands solid and photographic on a wet rocky point at right of centre, its beam sweeping left as a narrow ribbon of spectrum colour through a field of television static that breaks apart into clear sky, the whole scene assembled as an archival photographic collage on a bone-cream paper ground with the headline \"Sculpting Static\" and a subhead set low at the left.",
"style_description": {
"aesthetics": "archival photomontage, patient and precise, quietly wistful, desaturated warm neutrals interrupted by a single saturated spectrum accent, cut-paper edges, matte print grain, generous empty paper",
"lighting": "soft even overcast daylight hazed with pale steam-like mist, no hard shadows, the lantern's beam the only saturated light in the frame",
"medium": "graphic_design",
"art_style": "archival photographic collage on bone-cream paper — clipped documentary photographs assembled with visible die-cut and softly torn edges, thin luminous cyan hairlines and one ribbon of full-spectrum colour, in the lineage of mid-century printed ephemera and scientific plate books",
"color_palette": ["#F2EEE4", "#E4DCCB", "#CFC6B4", "#A9B2AE", "#7E8A86", "#4A5651", "#2B332F", "#1C1E1D", "#7FE3F0", "#3E7FBF", "#7FA83F", "#EDC94A", "#E8912F", "#C4432B", "#C05A9B", "#202124"]
},
"compositional_deconstruction": {
"background": "a flat bone-cream paper field with a scalloped die-cut border; inside it a pale overcast sky opens into clarity around the lighthouse while a low horizon sits near the lower third, the paper visible as untouched ground at the left and top",
"elements": [
{
"type": "obj",
"bbox": [186, 596, 812, 736],
"desc": "a tall tapered stone lighthouse with a dark glazed lantern room and a slim gallery rail, cut from crisp archival photographs of weathered masonry — the most literal, most solidly real object in the frame, its edges cleanly scissored and its courses of stone fully legible",
"color_palette": ["#E4DCCB", "#CFC6B4", "#7E8A86", "#2B332F", "#1C1E1D"]
},
{
"type": "obj",
"bbox": [690, 470, 900, 940],
"desc": "a shelf of wet dark boulders and fractured rock forming the point the lighthouse stands on, collaged from documentary rock photographs with visible torn paper seams",
"color_palette": ["#4A5651", "#2B332F", "#7E8A86", "#1C1E1D", "#A9B2AE"]
},
{
"type": "obj",
"bbox": [190, 70, 470, 606],
"desc": "the lantern's beam sweeping left and slightly upward as a narrow wedge, rendered as a ribbon of saturated spectrum bands laid over the static, cleanly cut at its edges and thinning as it travels",
"color_palette": ["#7FE3F0", "#3E7FBF", "#7FA83F", "#EDC94A", "#C4432B"]
},
{
"type": "obj",
"bbox": [56, 30, 640, 560],
"desc": "a field of television static occupying the left and upper left, built as dense photographic grain and small clipped grey squares that thin and dissolve into bare paper sky as they approach the lighthouse and the beam",
"color_palette": ["#A9B2AE", "#7E8A86", "#CFC6B4", "#E4DCCB", "#1C1E1D"]
},
{
"type": "obj",
"bbox": [812, 430, 1000, 1000],
"desc": "a calm band of sea below the point, a long exposure flattened to soft silver-grey, its upper edge cut straight like a strip of pasted photograph",
"color_palette": ["#A9B2AE", "#7E8A86", "#CFC6B4", "#4A5651"]
},
{
"type": "text",
"bbox": [700, 62, 802, 452],
"text": "Sculpting Static",
"desc": "headline in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, flat and clean on the pale paper ground with no outline or glow",
"color_palette": ["#202124"]
},
{
"type": "text",
"bbox": [826, 64, 872, 400],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead in Figtree Regular (400), friendly humanist geometric sans-serif, normal tracking, sentence case, set flush left beneath the headline, flat and fully legible",
"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.
The brief asks for 16:9 key art for "Sculpting Static": a solid, believable lighthouse on a rocky point, its beam cutting a field of television static that dissolves into clear sky, patient and precise with a wistful edge, plus the exact headline and subhead in the K-State Consulting Side Car type (Jost Bold headline, Figtree subhead). From the style reference I took the medium and material — an archival photographic montage of clipped documentary photographs assembled on a bone-cream paper ground with a scalloped die-cut border, matte print grain and soft torn seams — its lighting (soft, even, overcast, hazed with pale steam and no hard shadows), and its palette: desaturated warm neutrals (ivory, aged paper, dusty slate, iron green-black) held against one saturated ribbon of spectrum colour and thin luminous cyan hairlines. Because the reference's ground is a light cream paper field, the type takes the light-ground pair: Charcoal #202124 headline, Black #000000 subhead, with #202124 carried into the image-level palette. Nothing from the reference's own subject matter was used; the lighthouse, rocks, beam, static and sea come from the brief alone. No subject reference was supplied.
{
"high_level_description": "Landscape 16:9 key art: a tall stone lighthouse stands solid and photographic on a wet rocky point at right of centre, its beam sweeping left as a narrow ribbon of spectrum colour through a field of television static that breaks apart into clear sky, the whole scene assembled as an archival photographic collage on a bone-cream paper ground with the headline \"Sculpting Static\" and a subhead set low at the left.",
"style_description": {
"aesthetics": "archival photomontage, patient and precise, quietly wistful, desaturated warm neutrals interrupted by a single saturated spectrum accent, cut-paper edges, matte print grain, generous empty paper",
"lighting": "soft even overcast daylight hazed with pale steam-like mist, no hard shadows, the lantern's beam the only saturated light in the frame",
"medium": "graphic_design",
"art_style": "archival photographic collage on bone-cream paper — clipped documentary photographs assembled with visible die-cut and softly torn edges, thin luminous cyan hairlines and one ribbon of full-spectrum colour, in the lineage of mid-century printed ephemera and scientific plate books",
"color_palette": ["#F2EEE4", "#E4DCCB", "#CFC6B4", "#A9B2AE", "#7E8A86", "#4A5651", "#2B332F", "#1C1E1D", "#7FE3F0", "#3E7FBF", "#7FA83F", "#EDC94A", "#E8912F", "#C4432B", "#C05A9B", "#202124"]
},
"compositional_deconstruction": {
"background": "a flat bone-cream paper field with a scalloped die-cut border; inside it a pale overcast sky opens into clarity around the lighthouse while a low horizon sits near the lower third, the paper visible as untouched ground at the left and top",
"elements": [
{
"type": "obj",
"bbox": [186, 596, 812, 736],
"desc": "a tall tapered stone lighthouse with a dark glazed lantern room and a slim gallery rail, cut from crisp archival photographs of weathered masonry — the most literal, most solidly real object in the frame, its edges cleanly scissored and its courses of stone fully legible",
"color_palette": ["#E4DCCB", "#CFC6B4", "#7E8A86", "#2B332F", "#1C1E1D"]
},
{
"type": "obj",
"bbox": [690, 470, 900, 940],
"desc": "a shelf of wet dark boulders and fractured rock forming the point the lighthouse stands on, collaged from documentary rock photographs with visible torn paper seams",
"color_palette": ["#4A5651", "#2B332F", "#7E8A86", "#1C1E1D", "#A9B2AE"]
},
{
"type": "obj",
"bbox": [190, 70, 470, 606],
"desc": "the lantern's beam sweeping left and slightly upward as a narrow wedge, rendered as a ribbon of saturated spectrum bands laid over the static, cleanly cut at its edges and thinning as it travels",
"color_palette": ["#7FE3F0", "#3E7FBF", "#7FA83F", "#EDC94A", "#C4432B"]
},
{
"type": "obj",
"bbox": [56, 30, 640, 560],
"desc": "a field of television static occupying the left and upper left, built as dense photographic grain and small clipped grey squares that thin and dissolve into bare paper sky as they approach the lighthouse and the beam",
"color_palette": ["#A9B2AE", "#7E8A86", "#CFC6B4", "#E4DCCB", "#1C1E1D"]
},
{
"type": "obj",
"bbox": [812, 430, 1000, 1000],
"desc": "a calm band of sea below the point, a long exposure flattened to soft silver-grey, its upper edge cut straight like a strip of pasted photograph",
"color_palette": ["#A9B2AE", "#7E8A86", "#CFC6B4", "#4A5651"]
},
{
"type": "text",
"bbox": [700, 62, 802, 452],
"text": "Sculpting Static",
"desc": "headline in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, flat and clean on the pale paper ground with no outline or glow",
"color_palette": ["#202124"]
},
{
"type": "text",
"bbox": [826, 64, 872, 400],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead in Figtree Regular (400), friendly humanist geometric sans-serif, normal tracking, sentence case, set flush left beneath the headline, flat and fully legible",
"color_palette": ["#000000"]
}
]
}
}{
"high_level_description": "Landscape 16:9 key art photographed on a large-format view camera: a tall stone lighthouse stands solid on a wet rocky point at right of centre, its beam sweeping left as a narrow band of spectrum colour through a field of television static that breaks apart into clear sky, with the headline \"Sculpting Static\" and a subhead set low at the left.",
"style_description": {
"aesthetics": "patient and precise large-format photography, quietly wistful, desaturated warm neutrals interrupted by a single saturated spectrum accent, fine film grain, generous empty sky",
"lighting": "soft even overcast daylight hazed with pale sea mist, no hard shadows, the lantern's beam the only saturated light in the frame",
"photo": "large-format 4x5 view camera, 90mm lens at f/16, tripod-mounted long exposure on fine-grain colour negative, warm neutral scan, front standard tilted for edge-to-edge sharpness on the tower",
"medium": "photograph",
"color_palette": ["#F2EEE4", "#E4DCCB", "#CFC6B4", "#A9B2AE", "#7E8A86", "#4A5651", "#2B332F", "#1C1E1D", "#7FE3F0", "#3E7FBF", "#7FA83F", "#EDC94A", "#E8912F", "#C4432B", "#C05A9B", "#202124"]
},
"compositional_deconstruction": {
"background": "a high pale overcast sky washing almost to paper white at the upper left, clearing into smooth open air around the lighthouse, with a low sea horizon near the lower third",
"elements": [
{
"type": "obj",
"bbox": [186, 596, 812, 736],
"desc": "a tall tapered stone lighthouse with a dark glazed lantern room and a slim gallery rail, rendered in unmistakable large-format detail — every weathered course of masonry, every rust streak and salt stain sharp and physically present",
"color_palette": ["#E4DCCB", "#CFC6B4", "#7E8A86", "#2B332F", "#1C1E1D"]
},
{
"type": "obj",
"bbox": [690, 470, 900, 940],
"desc": "a shelf of wet dark boulders and fractured rock forming the point the lighthouse stands on, wet surfaces catching a dull sheen from the flat sky",
"color_palette": ["#4A5651", "#2B332F", "#7E8A86", "#1C1E1D", "#A9B2AE"]
},
{
"type": "obj",
"bbox": [190, 70, 470, 606],
"desc": "the lantern's beam sweeping left and slightly upward as a narrow wedge of light, refracted into faint bands of spectrum colour where it passes through the haze, thinning as it travels",
"color_palette": ["#7FE3F0", "#3E7FBF", "#7FA83F", "#EDC94A", "#C4432B"]
},
{
"type": "obj",
"bbox": [56, 30, 640, 560],
"desc": "a field of television static across the left and upper left, captured as a dense drift of photographic grain and speckle suspended in the air, thinning and dissolving into clean sky as it nears the lighthouse and the beam",
"color_palette": ["#A9B2AE", "#7E8A86", "#CFC6B4", "#E4DCCB", "#1C1E1D"]
},
{
"type": "obj",
"bbox": [812, 430, 1000, 1000],
"desc": "a calm band of sea below the point, smoothed by the long exposure into soft silver-grey with the swell reduced to faint horizontal streaks",
"color_palette": ["#A9B2AE", "#7E8A86", "#CFC6B4", "#4A5651"]
},
{
"type": "text",
"bbox": [700, 62, 802, 452],
"text": "Sculpting Static",
"desc": "headline in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, flat and clean over the pale sky with no outline or glow",
"color_palette": ["#202124"]
},
{
"type": "text",
"bbox": [826, 64, 872, 400],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead in Figtree Regular (400), friendly humanist geometric sans-serif, normal tracking, sentence case, set flush left beneath the headline, flat and fully legible",
"color_palette": ["#000000"]
}
]
}
}{
"high_level_description": "Landscape 16:9 key art printed as a two-colour risograph on newsprint: a tall lighthouse stands solid on a rocky point at right of centre, its beam sweeping left in flat teal through a field of television static rendered as coarse halftone dots dissolving into bare paper sky, with the headline \"Sculpting Static\" and a subhead set low at the left.",
"style_description": {
"aesthetics": "two-colour risograph, patient and precise, cool restrained duotone, coarse halftone texture, slight misregistration, bare newsprint breathing through every tone",
"lighting": "soft even flat daylight implied entirely by halftone density rather than modelled shadow, the beam reading as the single cleanest, brightest shape",
"medium": "graphic_design",
"art_style": "risograph print in teal and charcoal ink on uncoated newsprint — coarse dot screens, ink overlap building a third dark tone, roller streaks, hairline misregistration at the plate edges, in the lineage of small-press zine printing",
"color_palette": ["#F4F1E8", "#E6E2D6", "#9DC7CE", "#2E8F9E", "#16565E", "#4A5C60", "#1F2A2E", "#202124", "#000000"]
},
"compositional_deconstruction": {
"background": "an uncoated newsprint field, warm off-white and lightly flecked, with the sky described only by a thinning teal dot screen that clears entirely to bare paper around the lighthouse; a low horizon rule near the lower third",
"elements": [
{
"type": "obj",
"bbox": [186, 596, 812, 736],
"desc": "a tall tapered lighthouse with a dark glazed lantern room and slim gallery rail, printed at the densest charcoal dot screen in the frame so it reads as the one solid, weighted, fully resolved object",
"color_palette": ["#1F2A2E", "#4A5C60", "#E6E2D6", "#16565E"]
},
{
"type": "obj",
"bbox": [690, 470, 900, 940],
"desc": "a shelf of boulders and fractured rock forming the point, built from overlapping charcoal and teal screens that make a dense near-black where the inks stack",
"color_palette": ["#1F2A2E", "#16565E", "#4A5C60", "#9DC7CE"]
},
{
"type": "obj",
"bbox": [190, 70, 470, 606],
"desc": "the lantern's beam sweeping left and slightly upward as a narrow wedge knocked out to bare newsprint and edged in flat teal, the crispest shape on the sheet",
"color_palette": ["#9DC7CE", "#2E8F9E", "#F4F1E8", "#16565E"]
},
{
"type": "obj",
"bbox": [56, 30, 640, 560],
"desc": "a field of television static across the left and upper left, printed as a coarse rattling charcoal dot screen with visible misregistration, the dots opening out and disappearing into clean paper as they near the lighthouse and beam",
"color_palette": ["#1F2A2E", "#4A5C60", "#9DC7CE", "#E6E2D6"]
},
{
"type": "obj",
"bbox": [812, 430, 1000, 1000],
"desc": "a calm band of sea below the point, a flat mid-density teal screen broken by a few knocked-out horizontal streaks of swell",
"color_palette": ["#2E8F9E", "#16565E", "#9DC7CE", "#4A5C60"]
},
{
"type": "text",
"bbox": [700, 62, 802, 452],
"text": "Sculpting Static",
"desc": "headline in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, printed flat and solid on the bare newsprint with no outline or glow",
"color_palette": ["#202124"]
},
{
"type": "text",
"bbox": [826, 64, 872, 400],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead in Figtree Regular (400), friendly humanist geometric sans-serif, normal tracking, sentence case, set flush left beneath the headline, flat and fully legible",
"color_palette": ["#000000"]
}
]
}
}{
"high_level_description": "Landscape 16:9 key art painted in oil at nightfall: a tall lighthouse stands solid on a rocky point at right of centre, its warm beam sweeping left and burning a clear passage through a field of television static that dissolves into deep clear night sky, with the headline \"Sculpting Static\" and a subhead set low at the left.",
"style_description": {
"aesthetics": "nocturnal oil painting, patient and precise, deeply wistful, cool blue-black night with a single warm sodium light source, visible brush and palette-knife texture",
"lighting": "night after dusk under a high moonless sky, the lantern the sole warm key light casting a long soft wedge to the left and a faint rim down the tower's leading edge, everything else in cool low-key blue shadow",
"medium": "painting",
"art_style": "oil on linen in the lineage of nineteenth-century northern European marine nocturnes — thin cool glazes for the sky, loaded impasto on the rocks and the lit face of the tower, the weave of the canvas showing through the thinnest passages",
"color_palette": ["#0E141A", "#16202B", "#1B2833", "#2E4356", "#42607A", "#6B7F8C", "#96A6AE", "#C9A96A", "#E8D9A8", "#F0E4C4", "#8C6A3F", "#F7F2F1", "#BABCC2"]
},
"compositional_deconstruction": {
"background": "a deep blue-black night sky, thinly glazed and slightly warmer near the horizon, opening into smooth clear air around the lighthouse; a low sea horizon near the lower third barely separated from the sky",
"elements": [
{
"type": "obj",
"bbox": [186, 596, 812, 736],
"desc": "a tall tapered stone lighthouse with a glowing lantern room and slim gallery rail, its lit face built in thick confident impasto and its shadow side kept cool and simple, so it reads as the one solid, weighted, entirely believable mass in the painting",
"color_palette": ["#E8D9A8", "#C9A96A", "#6B7F8C", "#2E4356", "#16202B"]
},
{
"type": "obj",
"bbox": [690, 470, 900, 940],
"desc": "a shelf of wet boulders and fractured rock forming the point, laid in with a palette knife, cool blue-grey with sharp warm highlights where the lantern catches wet stone",
"color_palette": ["#1B2833", "#2E4356", "#6B7F8C", "#8C6A3F", "#0E141A"]
},
{
"type": "obj",
"bbox": [190, 70, 470, 606],
"desc": "the lantern's beam sweeping left and slightly upward as a soft warm wedge of scumbled sodium light, its edges feathered into the night, burning a clear passage through everything it crosses",
"color_palette": ["#F0E4C4", "#E8D9A8", "#C9A96A", "#8C6A3F", "#42607A"]
},
{
"type": "obj",
"bbox": [56, 30, 640, 560],
"desc": "a field of television static across the left and upper left, painted as a restless stipple of cool grey and blue-white flecks over the dark glaze, thinning and settling into smooth clear night sky as it approaches the lighthouse and the beam",
"color_palette": ["#96A6AE", "#6B7F8C", "#42607A", "#1B2833", "#0E141A"]
},
{
"type": "obj",
"bbox": [812, 430, 1000, 1000],
"desc": "a calm band of sea below the point, long horizontal knife strokes of near-black blue broken by one thin warm reflection running back toward the tower",
"color_palette": ["#0E141A", "#16202B", "#2E4356", "#C9A96A"]
},
{
"type": "text",
"bbox": [700, 62, 802, 452],
"text": "Sculpting Static",
"desc": "headline in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, flat and clean against the dark night sky with no outline, bevel or glow",
"color_palette": ["#F7F2F1"]
},
{
"type": "text",
"bbox": [826, 64, 872, 400],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead in Figtree Regular (400), friendly humanist geometric sans-serif, normal tracking, sentence case, set flush left beneath the headline, flat and fully legible on the dark ground",
"color_palette": ["#BABCC2"]
}
]
}
}{
"high_level_description": "Landscape 16:9 key art as a soft matte 3D render: a tall lighthouse stands solid on a rocky point at right of centre, modelled in fine matte clay, its beam sweeping left as a volumetric wedge through a field of television static built from drifting particles that resolve into clean dove-grey dusk sky, with the headline \"Sculpting Static\" and a subhead set low at the left.",
"style_description": {
"aesthetics": "soft matte 3D render, patient and precise, quietly wistful, chalky pastel neutrals, no gloss anywhere, subtle ambient occlusion in every crevice",
"lighting": "large soft overhead dome light standing in for a pale overcast dusk, wide gentle falloff, deep soft contact shadow under the rocks, the beam the only emissive element",
"medium": "3d_render",
"art_style": "physically based render with matte clay and unfired-ceramic shaders — fine sandy microsurface, slight subsurface warmth in the pale forms, crisp bevelled edges, shallow depth of field, in the lineage of architectural study models and museum diorama maquettes",
"color_palette": ["#EDEAE4", "#DED9D1", "#C6C1BC", "#A8A6AA", "#8A8A92", "#5F6068", "#3B3C42", "#D9C0AE", "#B99C8C", "#9FC3CC", "#6E9BA8", "#202124"]
},
"compositional_deconstruction": {
"background": "a smooth dove-grey gradient dusk sky, clean and matte, clearing to its palest value around the lighthouse; a soft low horizon near the lower third and a wide contact shadow anchoring the point",
"elements": [
{
"type": "obj",
"bbox": [186, 596, 812, 736],
"desc": "a tall tapered lighthouse with a dark glazed lantern room and slim gallery rail, modelled in pale matte clay with every stone course and door frame crisply bevelled, catching the softest subsurface warmth — unmistakably the one solid, physically built object in the scene",
"color_palette": ["#EDEAE4", "#DED9D1", "#B99C8C", "#5F6068", "#3B3C42"]
},
{
"type": "obj",
"bbox": [690, 470, 900, 940],
"desc": "a shelf of boulders and fractured rock forming the point, sculpted as faceted matte clay masses with deep ambient occlusion in the joints and a soft sandy microsurface",
"color_palette": ["#C6C1BC", "#8A8A92", "#5F6068", "#3B3C42", "#D9C0AE"]
},
{
"type": "obj",
"bbox": [190, 70, 470, 606],
"desc": "the lantern's beam sweeping left and slightly upward as a clean volumetric wedge of pale emissive light, its edges softly scattering into the surrounding particle field",
"color_palette": ["#EDEAE4", "#9FC3CC", "#6E9BA8", "#DED9D1"]
},
{
"type": "obj",
"bbox": [56, 30, 640, 560],
"desc": "a field of television static across the left and upper left, built as millions of tiny matte-clay cubes and grains suspended in the air, densely packed at the frame edge and progressively resolving, spacing out and vanishing into the clean gradient sky as they approach the lighthouse and beam",
"color_palette": ["#A8A6AA", "#8A8A92", "#C6C1BC", "#DED9D1", "#3B3C42"]
},
{
"type": "obj",
"bbox": [812, 430, 1000, 1000],
"desc": "a calm band of sea below the point, modelled as a low-amplitude matte surface with softly rounded swells and no specular highlight at all",
"color_palette": ["#A8A6AA", "#8A8A92", "#5F6068", "#9FC3CC"]
},
{
"type": "text",
"bbox": [700, 62, 802, 452],
"text": "Sculpting Static",
"desc": "headline in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, composited flat over the pale sky with no outline, bevel or glow",
"color_palette": ["#202124"]
},
{
"type": "text",
"bbox": [826, 64, 872, 400],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead in Figtree Regular (400), friendly humanist geometric sans-serif, normal tracking, sentence case, set flush left beneath the headline, flat and fully legible",
"color_palette": ["#000000"]
}
]
}
}{
"high_level_description": "Landscape 16:9 key art as a 1960s Swiss silkscreen travel poster: a tall lighthouse reduced to a clean tapered column stands on a flat rocky wedge at right of centre, its beam a hard-edged triangle of colour sweeping left across a field of television static rendered as a stepped grid of squares that thins into bare paper sky, with the headline \"Sculpting Static\" and a subhead set low at the left.",
"style_description": {
"aesthetics": "flat silkscreen poster, patient and precise, boldly reduced, four flat inks and no gradients, wide calm areas of untouched paper, symbolic rather than literal",
"lighting": "no modelled light at all — illumination implied purely by flat shape and value, the beam a single hard-edged wedge of colour separating dense area from empty area",
"medium": "graphic_design",
"art_style": "mid-century Swiss silkscreen travel poster — flat spot inks with slight overprint where two colours cross, hard geometric edges, a stepped grid standing in for texture, generous margins, in the lineage of 1960s Basel and Zurich tourism printing",
"color_palette": ["#F2EEE4", "#E4DDCB", "#D8CFB8", "#E0522A", "#EDC94A", "#3E7FBF", "#2C6E5A", "#1C2B2E", "#8F9A94", "#202124"]
},
"compositional_deconstruction": {
"background": "a flat cream poster sheet with wide clean margins; the sky is bare uninked paper that opens fully around the lighthouse, and a single straight horizon rule sits near the lower third",
"elements": [
{
"type": "obj",
"bbox": [186, 596, 812, 736],
"desc": "the lighthouse reduced to a clean tapered column of flat deep ink with three bold horizontal bands and a simple dark trapezoid lantern room — the heaviest, most deliberately weighted shape on the sheet, unmistakably solid despite its abstraction",
"color_palette": ["#1C2B2E", "#E4DDCB", "#E0522A", "#2C6E5A"]
},
{
"type": "obj",
"bbox": [690, 470, 900, 940],
"desc": "the rocky point simplified into two overlapping flat angular wedges of deep green-black and mid grey, their edges cut hard against the paper",
"color_palette": ["#1C2B2E", "#2C6E5A", "#8F9A94", "#D8CFB8"]
},
{
"type": "obj",
"bbox": [190, 70, 470, 606],
"desc": "the lantern's beam as one hard-edged triangle of flat warm ink sweeping left and slightly upward, overprinting the static grid it crosses into a darker third colour",
"color_palette": ["#EDC94A", "#E0522A", "#F2EEE4", "#3E7FBF"]
},
{
"type": "obj",
"bbox": [56, 30, 640, 560],
"desc": "the field of television static abstracted into a stepped grid of small flat squares across the left and upper left, densely packed and dark at the frame edge, then dropping square by square to bare paper as it approaches the lighthouse and the beam",
"color_palette": ["#1C2B2E", "#8F9A94", "#3E7FBF", "#D8CFB8", "#E4DDCB"]
},
{
"type": "obj",
"bbox": [812, 430, 1000, 1000],
"desc": "the sea as a single flat blue band below the point, interrupted by two thin knocked-out horizontal rules standing in for swell",
"color_palette": ["#3E7FBF", "#2C6E5A", "#8F9A94", "#F2EEE4"]
},
{
"type": "text",
"bbox": [700, 62, 802, 452],
"text": "Sculpting Static",
"desc": "headline in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, printed as a flat solid ink on bare paper with no outline or glow",
"color_palette": ["#202124"]
},
{
"type": "text",
"bbox": [826, 64, 872, 400],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead in Figtree Regular (400), friendly humanist geometric sans-serif, normal tracking, sentence case, set flush left beneath the headline, flat and fully legible",
"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-colossal-victorian-textile-mill-domina_3EI5ZCj0RcC20a5euwQ1nw_Uh4BrttnSbqSkZNanAq_XQ_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-colossal-victorian-textile-mill-domina_3EI5ZCj0RcC20a5euwQ1nw_Uh4BrttnSbqSkZNanAq_XQ_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.
The brief asks for 16:9 key art for "Sculpting Static": a solid, believable lighthouse on a rocky point, its beam cutting a field of television static that dissolves into clear sky, patient and precise with a wistful edge, plus the exact headline and subhead in the K-State Consulting Side Car type (Jost Bold headline, Figtree subhead). From the style reference I took the medium and material — an archival photographic montage of clipped documentary photographs assembled on a bone-cream paper ground with a scalloped die-cut border, matte print grain and soft torn seams — its lighting (soft, even, overcast, hazed with pale steam and no hard shadows), and its palette: desaturated warm neutrals (ivory, aged paper, dusty slate, iron green-black) held against one saturated ribbon of spectrum colour and thin luminous cyan hairlines. Because the reference's ground is a light cream paper field, the type takes the light-ground pair: Charcoal #202124 headline, Black #000000 subhead, with #202124 carried into the image-level palette. Nothing from the reference's own subject matter was used; the lighthouse, rocks, beam, static and sea come from the brief alone. No subject reference was supplied.
| # | Direction | Axis | Why it is a plausible neighbour |
|---|---|---|---|
| 00 | canonical | original | The brief asks for 16:9 key art for "Sculpting Static": a solid, believable lighthouse on a rocky point, its beam cutting a field of television static that dissolves into clear sky, patient and precise with a wistful edge, plus the exact headline and subhead in the K-State Consulting Side Car type (Jost Bold headline, Figtree subhead). From the style reference I took the medium and material — an archival photographic montage of clipped documentary photographs assembled on a bone-cream paper ground with a scalloped die-cut border, matte print grain and soft torn seams — its lighting (soft, even, overcast, hazed with pale steam and no hard shadows), and its palette: desaturated warm neutrals (ivory, aged paper, dusty slate, iron green-black) held against one saturated ribbon of spectrum colour and thin luminous cyan hairlines. Because the reference's ground is a light cream paper field, the type takes the light-ground pair: Charcoal #202124 headline, Black #000000 subhead, with #202124 carried into the image-level palette. Nothing from the reference's own subject matter was used; the lighthouse, rocks, beam, static and sea come from the brief alone. No subject reference was supplied. |
| 01 | plate-camera-photograph | medium | The brief insists the lighthouse read as solid and real, so shooting the whole scene straight on a view camera — keeping the reference's overcast light and warm-neutral-plus-spectrum palette — is the nearest possible neighbour. |
| 02 | riso-two-tone-cool | palette + material and texture | Static is literally halftone noise, so a two-colour risograph on newsprint lets the grain itself carry the idea while collapsing the spectrum to a cool teal-and-charcoal duotone. |
| 03 | nocturne-oil-painting | medium + lighting | A lighthouse's true hour is night, and moving the same composition to oil paint after dusk makes the beam do the carving the brief describes — the wistfulness reads strongest in the dark. |
| 04 | matte-clay-render | medium + material and texture | Rendering the same scene as soft matte clay under a pale dusk sky makes the noise-to-form idea physical — you can see the static being modelled into geometry rather than photographed. |
| 05 | swiss-poster-flat | era and reference lineage + level of abstraction | The reference is already a printed-ephemera object, so pulling it back to a 1960s Swiss silkscreen travel poster keeps the medium and the paper but trades photographic literalism for flat symbolic shape. |
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: a tall stone lighthouse stands solid and photographic on a wet rocky point at right of centre, its beam sweeping left as a narrow ribbon of spectrum colour through a field of television static that breaks apart into clear sky, the whole scene assembled as an archival photographic collage on a bone-cream paper ground with the headline \"Sculpting Static\" and a subhead set low at the left.",
"style_description": {
"aesthetics": "archival photomontage, patient and precise, quietly wistful, desaturated warm neutrals interrupted by a single saturated spectrum accent, cut-paper edges, matte print grain, generous empty paper",
"lighting": "soft even overcast daylight hazed with pale steam-like mist, no hard shadows, the lantern's beam the only saturated light in the frame",
"medium": "graphic_design",
"art_style": "archival photographic collage on bone-cream paper — clipped documentary photographs assembled with visible die-cut and softly torn edges, thin luminous cyan hairlines and one ribbon of full-spectrum colour, in the lineage of mid-century printed ephemera and scientific plate books",
"color_palette": ["#F2EEE4", "#E4DCCB", "#CFC6B4", "#A9B2AE", "#7E8A86", "#4A5651", "#2B332F", "#1C1E1D", "#7FE3F0", "#3E7FBF", "#7FA83F", "#EDC94A", "#E8912F", "#C4432B", "#C05A9B", "#202124"]
},
"compositional_deconstruction": {
"background": "a flat bone-cream paper field with a scalloped die-cut border; inside it a pale overcast sky opens into clarity around the lighthouse while a low horizon sits near the lower third, the paper visible as untouched ground at the left and top",
"elements": [
{
"type": "obj",
"bbox": [186, 596, 812, 736],
"desc": "a tall tapered stone lighthouse with a dark glazed lantern room and a slim gallery rail, cut from crisp archival photographs of weathered masonry — the most literal, most solidly real object in the frame, its edges cleanly scissored and its courses of stone fully legible",
"color_palette": ["#E4DCCB", "#CFC6B4", "#7E8A86", "#2B332F", "#1C1E1D"]
},
{
"type": "obj",
"bbox": [690, 470, 900, 940],
"desc": "a shelf of wet dark boulders and fractured rock forming the point the lighthouse stands on, collaged from documentary rock photographs with visible torn paper seams",
"color_palette": ["#4A5651", "#2B332F", "#7E8A86", "#1C1E1D", "#A9B2AE"]
},
{
"type": "obj",
"bbox": [190, 70, 470, 606],
"desc": "the lantern's beam sweeping left and slightly upward as a narrow wedge, rendered as a ribbon of saturated spectrum bands laid over the static, cleanly cut at its edges and thinning as it travels",
"color_palette": ["#7FE3F0", "#3E7FBF", "#7FA83F", "#EDC94A", "#C4432B"]
},
{
"type": "obj",
"bbox": [56, 30, 640, 560],
"desc": "a field of television static occupying the left and upper left, built as dense photographic grain and small clipped grey squares that thin and dissolve into bare paper sky as they approach the lighthouse and the beam",
"color_palette": ["#A9B2AE", "#7E8A86", "#CFC6B4", "#E4DCCB", "#1C1E1D"]
},
{
"type": "obj",
"bbox": [812, 430, 1000, 1000],
"desc": "a calm band of sea below the point, a long exposure flattened to soft silver-grey, its upper edge cut straight like a strip of pasted photograph",
"color_palette": ["#A9B2AE", "#7E8A86", "#CFC6B4", "#4A5651"]
},
{
"type": "text",
"bbox": [700, 62, 802, 452],
"text": "Sculpting Static",
"desc": "headline in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, flat and clean on the pale paper ground with no outline or glow",
"color_palette": ["#202124"]
},
{
"type": "text",
"bbox": [826, 64, 872, 400],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead in Figtree Regular (400), friendly humanist geometric sans-serif, normal tracking, sentence case, set flush left beneath the headline, flat and fully legible",
"color_palette": ["#000000"]
}
]
}
}{
"1": {
"class_type": "UNETLoader",
"inputs": {
"unet_name": "ideogram4_fp8_scaled.safetensors",
"weight_dtype": "default"
}
},
"2": {
"class_type": "UNETLoader",
"inputs": {
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"weight_dtype": "default"
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"inputs": {
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0
],
"cfg": 3.0,
"start_percent": 0.7,
"end_percent": 1.0
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"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\": \"Landscape 16:9 key art: a tall stone lighthouse stands solid and photographic on a wet rocky point at right of centre, its beam sweeping left as a narrow ribbon of spectrum colour through a field of television static that breaks apart into clear sky, the whole scene assembled as an archival photographic collage on a bone-cream paper ground with the headline \\\"Sculpting Static\\\" and a subhead set low at the left.\",\n \"style_description\": {\n \"aesthetics\": \"archival photomontage, patient and precise, quietly wistful, desaturated warm neutrals interrupted by a single saturated spectrum accent, cut-paper edges, matte print grain, generous empty paper\",\n \"lighting\": \"soft even overcast daylight hazed with pale steam-like mist, no hard shadows, the lantern's beam the only saturated light in the frame\",\n \"medium\": \"graphic_design\",\n \"art_style\": \"archival photographic collage on bone-cream paper — clipped documentary photographs assembled with visible die-cut and softly torn edges, thin luminous cyan hairlines and one ribbon of full-spectrum colour, in the lineage of mid-century printed ephemera and scientific plate books\",\n \"color_palette\": [\"#F2EEE4\", \"#E4DCCB\", \"#CFC6B4\", \"#A9B2AE\", \"#7E8A86\", \"#4A5651\", \"#2B332F\", \"#1C1E1D\", \"#7FE3F0\", \"#3E7FBF\", \"#7FA83F\", \"#EDC94A\", \"#E8912F\", \"#C4432B\", \"#C05A9B\", \"#202124\"]\n },\n \"compositional_deconstruction\": {\n \"background\": \"a flat bone-cream paper field with a scalloped die-cut border; inside it a pale overcast sky opens into clarity around the lighthouse while a low horizon sits near the lower third, the paper visible as untouched ground at the left and top. The lower 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\": [186, 596, 812, 736],\n \"desc\": \"a tall tapered stone lighthouse with a dark glazed lantern room and a slim gallery rail, cut from crisp archival photographs of weathered masonry — the most literal, most solidly real object in the frame, its edges cleanly scissored and its courses of stone fully legible\",\n \"color_palette\": [\"#E4DCCB\", \"#CFC6B4\", \"#7E8A86\", \"#2B332F\", \"#1C1E1D\"]\n },\n {\n \"type\": \"obj\",\n \"bbox\": [690, 470, 900, 940],\n \"desc\": \"a shelf of wet dark boulders and fractured rock forming the point the lighthouse stands on, collaged from documentary rock photographs with visible torn paper seams\",\n \"color_palette\": [\"#4A5651\", \"#2B332F\", \"#7E8A86\", \"#1C1E1D\", \"#A9B2AE\"]\n },\n {\n \"type\": \"obj\",\n \"bbox\": [190, 70, 470, 606],\n \"desc\": \"the lantern's beam sweeping left and slightly upward as a narrow wedge, rendered as a ribbon of saturated spectrum bands laid over the static, cleanly cut at its edges and thinning as it travels\",\n \"color_palette\": [\"#7FE3F0\", \"#3E7FBF\", \"#7FA83F\", \"#EDC94A\", \"#C4432B\"]\n },\n {\n \"type\": \"obj\",\n \"bbox\": [56, 30, 640, 560],\n \"desc\": \"a field of television static occupying the left and upper left, built as dense photographic grain and small clipped grey squares that thin and dissolve into bare paper sky as they approach the lighthouse and the beam\",\n \"color_palette\": [\"#A9B2AE\", \"#7E8A86\", \"#CFC6B4\", \"#E4DCCB\", \"#1C1E1D\"]\n },\n {\n \"type\": \"obj\",\n \"bbox\": [812, 430, 1000, 1000],\n \"desc\": \"a calm band of sea below the point, a long exposure flattened to soft silver-grey, its upper edge cut straight like a strip of pasted photograph\",\n \"color_palette\": [\"#A9B2AE\", \"#7E8A86\", \"#CFC6B4\", \"#4A5651\"]\n }\n ]\n }\n}"
}
},
"6": {
"class_type": "ConditioningZeroOut",
"inputs": {
"conditioning": [
"5",
0
]
}
},
"7": {
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},
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"inputs": {
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"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",
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"guider": [
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"sampler": [
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"sigmas": [
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}
},
"13": {
"class_type": "VAELoader",
"inputs": {
"vae_name": "flux2-vae.safetensors"
}
},
"14": {
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},
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"filename_prefix": "art-direction/art-directions-01--06-a-colossal-victorian-textile-mill-domina/00-canonical"
}
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"8",
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}
},
"13": {
"class_type": "VAELoader",
"inputs": {
"vae_name": "flux2-vae.safetensors"
}
},
"14": {
"class_type": "VAEDecode",
"inputs": {
"samples": [
"12",
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],
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"13",
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}
},
"15": {
"class_type": "SaveImage",
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"images": [
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"filename_prefix": "art-direction/art-directions-01--06-a-colossal-victorian-textile-mill-domina/05-swiss-poster-flat"
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}
}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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}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--06-a-colossal-victorian-textile-mill-domina NN --preset quality --mp 2.
| # | Direction | Axis | Rationale | Verdict | Risk |
|---|---|---|---|---|---|
| 00 | canonical | original | The brief asks for 16:9 key art for "Sculpting Static": a solid, believable lighthouse on a rocky point, its beam cutting a field of television static that dissolves into clear sky, patient and precise with a wistful edge, plus the exact headline and subhead in the K-State Consulting Side Car type (Jost Bold headline, Figtree subhead). From the style reference I took the medium and material — an archival photographic montage of clipped documentary photographs assembled on a bone-cream paper ground with a scalloped die-cut border, matte print grain and soft torn seams — its lighting (soft, even, overcast, hazed with pale steam and no hard shadows), and its palette: desaturated warm neutrals (ivory, aged paper, dusty slate, iron green-black) held against one saturated ribbon of spectrum colour and thin luminous cyan hairlines. Because the reference's ground is a light cream paper field, the type takes the light-ground pair: Charcoal #202124 headline, Black #000000 subhead, with #202124 carried into the image-level palette. Nothing from the reference's own subject matter was used; the lighthouse, rocks, beam, static and sea come from the brief alone. No subject reference was supplied. | ||
| 01 | plate-camera-photograph | medium | The brief insists the lighthouse read as solid and real, so shooting the whole scene straight on a view camera — keeping the reference's overcast light and warm-neutral-plus-spectrum palette — is the nearest possible neighbour. | ||
| 02 | riso-two-tone-cool | palette + material and texture | Static is literally halftone noise, so a two-colour risograph on newsprint lets the grain itself carry the idea while collapsing the spectrum to a cool teal-and-charcoal duotone. | ||
| 03 | nocturne-oil-painting | medium + lighting | A lighthouse's true hour is night, and moving the same composition to oil paint after dusk makes the beam do the carving the brief describes — the wistfulness reads strongest in the dark. | ||
| 04 | matte-clay-render | medium + material and texture | Rendering the same scene as soft matte clay under a pale dusk sky makes the noise-to-form idea physical — you can see the static being modelled into geometry rather than photographed. | ||
| 05 | swiss-poster-flat | era and reference lineage + level of abstraction | The reference is already a printed-ephemera object, so pulling it back to a 1960s Swiss silkscreen travel poster keeps the medium and the paper but trades photographic literalism for flat symbolic shape. |