Art direction audition · Sculpting Static
The goal of this run
{
"high_level_description": "Landscape 16:9 key art: a solid white lighthouse stands on a rocky point while its beam sweeps left through a dense field of television static that breaks apart into clear, calm sky, all rendered as flat overlapping translucent colour planes on warm off-white paper, with the headline 'Sculpting Static' and a subhead set in the open sky at upper left.",
"style_description": {
"aesthetics": "flat vector digital illustration, geometric and calm, patient and precise with a wistful softness, hard-edged shapes and translucent multiply overlaps, generous negative space, matte and screen-flat",
"lighting": "even, shadowless, directionless studio-flat light with no rendered highlights; luminosity comes only from where translucent planes overlap and deepen or thin out and pale",
"medium": "illustration",
"art_style": "contemporary flat vector poster illustration in the lineage of mid-century Swiss graphic abstraction and 1970s overprinted screen-print colour studies: broad semi-transparent colour fields layered over one another, no outlines, no gradients, no grain, no texture noise, colour built purely by overlap",
"color_palette": ["#EDE9E3", "#F0ECE6", "#6DBEB0", "#3E9E86", "#7EC3DD", "#4A9BC9", "#3B5BAB", "#2F4A8C", "#8E4A87", "#E0498E", "#EFA0A6", "#EE6A2C", "#E23B33", "#3A2E33", "#202124"]
},
"compositional_deconstruction": {
"background": "a warm off-white paper ground filling the full 16:9 frame, left half breathing as open empty sky, right half progressively crowded by layered translucent colour planes; a low horizon sits about four fifths down",
"elements": [
{
"type": "text",
"bbox": [90, 60, 180, 640],
"text": "Sculpting Static",
"desc": "headline in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, single line, flat charcoal with no outline, bevel or glow, sitting in the open off-white sky at upper left",
"color_palette": ["#202124"]
},
{
"type": "text",
"bbox": [200, 62, 248, 580],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead in Figtree Medium (500), friendly humanist geometric sans-serif, normal tracking, sentence case, one line, flat black, left-aligned to the headline's left edge",
"color_palette": ["#000000"]
},
{
"type": "obj",
"bbox": [60, 430, 760, 1000],
"desc": "the field of television static occupying the right of the frame: a dense mosaic of small hard-edged translucent squares and rounded planes in indigo, plum, magenta, vermillion and warm orange, packed edge to edge at the far right where overlaps multiply into near-black, thinning and spacing out as it moves left",
"color_palette": ["#3B5BAB", "#8E4A87", "#E0498E", "#EE6A2C", "#3A2E33"]
},
{
"type": "obj",
"bbox": [60, 0, 700, 440],
"desc": "the clear sky at left where the static has dissolved: a few very large sparse translucent planes of pale teal, sky blue and dusty pink drifting over the off-white ground, overlapping only lightly, most of the area left as bare paper",
"color_palette": ["#EDE9E3", "#6DBEB0", "#7EC3DD", "#EFA0A6"]
},
{
"type": "obj",
"bbox": [300, 120, 560, 620],
"desc": "the beam: a long clean wedge of translucent pale warm light widening from the lantern down and to the left across the frame, its edges perfectly straight and hard, deepening to warm orange where it crosses the static and paling to almost nothing where it reaches clear sky",
"color_palette": ["#EE6A2C", "#EFA0A6", "#F0ECE6"]
},
{
"type": "obj",
"bbox": [260, 600, 790, 700],
"desc": "the lighthouse: a slender tapering tower reading solid and real and fully opaque against everything around it, off-white shaft with two flat vermillion bands, a dark plum gallery rail and a small glowing lantern room at the top, crisp silhouette, no transparency",
"color_palette": ["#F0ECE6", "#E23B33", "#3A2E33", "#EE6A2C"]
},
{
"type": "obj",
"bbox": [700, 470, 910, 880],
"desc": "the rocky point: a low interlocking cluster of angular opaque planes in deep teal, indigo and dark plum forming a wedge of headland that the tower sits on, flat-filled and solid",
"color_palette": ["#3E9E86", "#2F4A8C", "#3A2E33"]
},
{
"type": "obj",
"bbox": [790, 0, 1000, 1000],
"desc": "the sea: three or four wide horizontal translucent bands in sea green, cool blue and indigo running the full width, overlapping into deeper tones at the right where the static meets the water, calm and unbroken",
"color_palette": ["#3E9E86", "#4A9BC9", "#3B5BAB"]
}
]
}
}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: a solid lighthouse on a rocky point, its beam cutting a field of television static that dissolves into clear sky, patient and precise and a little wistful, with the brand headline 'Sculpting Static' and subhead 'Diffusion explained in 120 seconds'. From the [style] reference I took the medium (flat vector digital illustration), the material (broad hard-edged translucent colour planes that multiply where they overlap into plum, oxblood and near-black), the surface (smooth, matte, screen-flat, no grain, no outlines, no gradients), the even shadowless light, the warm off-white paper ground, and the palette: muted teal and sea green, cool sky blue, indigo, plum, magenta, vermillion, warm orange, dusty pink and dark overlap. The lighthouse stays literal and solid; the static and sky are built from the reference's layered translucent planes, which is what lets the noise 'dissolve' without leaving the reference's material. No subject reference was supplied, so the elements come from the brief alone. Type is the K-State 'Side Car' brand: Jost Bold headline, Figtree Medium subhead, charcoal and black on the light off-white ground.
{
"high_level_description": "Landscape 16:9 key art: a solid white lighthouse stands on a rocky point while its beam sweeps left through a dense field of television static that breaks apart into clear, calm sky, all rendered as flat overlapping translucent colour planes on warm off-white paper, with the headline 'Sculpting Static' and a subhead set in the open sky at upper left.",
"style_description": {
"aesthetics": "flat vector digital illustration, geometric and calm, patient and precise with a wistful softness, hard-edged shapes and translucent multiply overlaps, generous negative space, matte and screen-flat",
"lighting": "even, shadowless, directionless studio-flat light with no rendered highlights; luminosity comes only from where translucent planes overlap and deepen or thin out and pale",
"medium": "illustration",
"art_style": "contemporary flat vector poster illustration in the lineage of mid-century Swiss graphic abstraction and 1970s overprinted screen-print colour studies: broad semi-transparent colour fields layered over one another, no outlines, no gradients, no grain, no texture noise, colour built purely by overlap",
"color_palette": ["#EDE9E3", "#F0ECE6", "#6DBEB0", "#3E9E86", "#7EC3DD", "#4A9BC9", "#3B5BAB", "#2F4A8C", "#8E4A87", "#E0498E", "#EFA0A6", "#EE6A2C", "#E23B33", "#3A2E33", "#202124"]
},
"compositional_deconstruction": {
"background": "a warm off-white paper ground filling the full 16:9 frame, left half breathing as open empty sky, right half progressively crowded by layered translucent colour planes; a low horizon sits about four fifths down",
"elements": [
{
"type": "text",
"bbox": [90, 60, 180, 640],
"text": "Sculpting Static",
"desc": "headline in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, single line, flat charcoal with no outline, bevel or glow, sitting in the open off-white sky at upper left",
"color_palette": ["#202124"]
},
{
"type": "text",
"bbox": [200, 62, 248, 580],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead in Figtree Medium (500), friendly humanist geometric sans-serif, normal tracking, sentence case, one line, flat black, left-aligned to the headline's left edge",
"color_palette": ["#000000"]
},
{
"type": "obj",
"bbox": [60, 430, 760, 1000],
"desc": "the field of television static occupying the right of the frame: a dense mosaic of small hard-edged translucent squares and rounded planes in indigo, plum, magenta, vermillion and warm orange, packed edge to edge at the far right where overlaps multiply into near-black, thinning and spacing out as it moves left",
"color_palette": ["#3B5BAB", "#8E4A87", "#E0498E", "#EE6A2C", "#3A2E33"]
},
{
"type": "obj",
"bbox": [60, 0, 700, 440],
"desc": "the clear sky at left where the static has dissolved: a few very large sparse translucent planes of pale teal, sky blue and dusty pink drifting over the off-white ground, overlapping only lightly, most of the area left as bare paper",
"color_palette": ["#EDE9E3", "#6DBEB0", "#7EC3DD", "#EFA0A6"]
},
{
"type": "obj",
"bbox": [300, 120, 560, 620],
"desc": "the beam: a long clean wedge of translucent pale warm light widening from the lantern down and to the left across the frame, its edges perfectly straight and hard, deepening to warm orange where it crosses the static and paling to almost nothing where it reaches clear sky",
"color_palette": ["#EE6A2C", "#EFA0A6", "#F0ECE6"]
},
{
"type": "obj",
"bbox": [260, 600, 790, 700],
"desc": "the lighthouse: a slender tapering tower reading solid and real and fully opaque against everything around it, off-white shaft with two flat vermillion bands, a dark plum gallery rail and a small glowing lantern room at the top, crisp silhouette, no transparency",
"color_palette": ["#F0ECE6", "#E23B33", "#3A2E33", "#EE6A2C"]
},
{
"type": "obj",
"bbox": [700, 470, 910, 880],
"desc": "the rocky point: a low interlocking cluster of angular opaque planes in deep teal, indigo and dark plum forming a wedge of headland that the tower sits on, flat-filled and solid",
"color_palette": ["#3E9E86", "#2F4A8C", "#3A2E33"]
},
{
"type": "obj",
"bbox": [790, 0, 1000, 1000],
"desc": "the sea: three or four wide horizontal translucent bands in sea green, cool blue and indigo running the full width, overlapping into deeper tones at the right where the static meets the water, calm and unbroken",
"color_palette": ["#3E9E86", "#4A9BC9", "#3B5BAB"]
}
]
}
}{
"high_level_description": "Landscape 16:9 key art painted in gouache at dusk: a solid lighthouse on a rocky point sends its beam left through a field of television static that softens and breaks apart into a clearing violet-blue sky, with the headline 'Sculpting Static' and a subhead in the open sky at upper left.",
"style_description": {
"aesthetics": "hand-painted gouache poster, warm and dusky, patient and precise with a wistful hush, visible brush edges and slight pigment mottling, generous negative space",
"lighting": "low warm dusk key from the left horizon, long soft falloff into deep blue shadow, the lantern and beam the only bright warm sources, sky darkening upward",
"medium": "painting",
"art_style": "mid-century travel-poster gouache in the lineage of 1950s national-park and shipping-line poster painting: opaque matte pigment laid in flat-ish shapes with soft brushed edges, subtle tooth of cold-press paper showing, no linework, no digital gradients",
"color_palette": ["#2A2140", "#3B3260", "#5A4A7A", "#8E5B7E", "#C87A6A", "#E0925C", "#F2B471", "#6F8FA8", "#3E5A6E", "#1B1626", "#D9C6B0", "#F7F2F1", "#BABCC2"]
},
"compositional_deconstruction": {
"background": "a deep dusk sky painted in warm-to-cool gouache washes filling the full 16:9 frame, dark violet-blue at the top edge, warming toward the horizon; left half open and quiet, right half crowded with painted noise; a low horizon about four fifths down",
"elements": [
{
"type": "text",
"bbox": [90, 60, 180, 640],
"text": "Sculpting Static",
"desc": "headline in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, single line, flat warm white with no outline, bevel or glow, sitting in the open dusk sky at upper left",
"color_palette": ["#F7F2F1"]
},
{
"type": "text",
"bbox": [200, 62, 248, 580],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead in Figtree Medium (500), friendly humanist geometric sans-serif, normal tracking, sentence case, one line, flat cool gray, left-aligned to the headline's left edge",
"color_palette": ["#BABCC2"]
},
{
"type": "obj",
"bbox": [60, 430, 760, 1000],
"desc": "the field of television static occupying the right of the frame: hundreds of small painted gouache dabs and short flecks in violet, plum, terracotta and warm amber, densely stippled at the far right where they build into near-black, loosening into separate visible brushstrokes as they move left",
"color_palette": ["#3B3260", "#8E5B7E", "#C87A6A", "#E0925C", "#1B1626"]
},
{
"type": "obj",
"bbox": [60, 0, 700, 440],
"desc": "the clear sky at left where the static has dissolved: broad soft gouache washes of violet-blue and dusty rose over warm paper, a few stray flecks still drifting, most of the area left as quiet painted sky",
"color_palette": ["#2A2140", "#5A4A7A", "#C87A6A", "#D9C6B0"]
},
{
"type": "obj",
"bbox": [300, 120, 560, 620],
"desc": "the beam: a long wedge of warm amber light brushed from the lantern down and to the left across the frame, edges softened where wet pigment met sky, strongest and most opaque where it crosses the static, thinning to a whisper over the clear sky",
"color_palette": ["#F2B471", "#E0925C", "#D9C6B0"]
},
{
"type": "obj",
"bbox": [260, 600, 790, 700],
"desc": "the lighthouse: a slender tapering tower painted solid and real in opaque body colour, warm cream shaft catching the dusk light on its left side with a cool shadow edge at right, two terracotta bands, dark gallery rail and a small amber lantern room at the top",
"color_palette": ["#D9C6B0", "#C87A6A", "#1B1626", "#F2B471"]
},
{
"type": "obj",
"bbox": [700, 470, 910, 880],
"desc": "the rocky point: a low interlocking mass of angular rock painted in deep slate blue and cool plum with dry-brushed edges catching a rim of warm dusk light, wholly opaque, the tower sitting solidly on it",
"color_palette": ["#3E5A6E", "#3B3260", "#1B1626"]
},
{
"type": "obj",
"bbox": [790, 0, 1000, 1000],
"desc": "the sea: wide horizontal gouache bands in slate blue and cool grey-green running the full width, a broken warm reflection under the lantern, brushstroke direction horizontal and calm",
"color_palette": ["#3E5A6E", "#6F8FA8", "#2A2140"]
}
]
}
}{
"high_level_description": "Landscape 16:9 key art as a soft matte 3D render in cool desaturated tones: a physically solid model lighthouse on a rocky point casts its beam left through a volumetric field of television static cubes that thin out into clear pale sky, with the headline 'Sculpting Static' and a subhead in the open sky at upper left.",
"style_description": {
"aesthetics": "clean matte 3D render, cool and desaturated, patient and precise, minimal and slightly wistful, chalky clay surfaces, generous negative space, subtle depth of field",
"lighting": "soft even overcast dome light with a faint cool key from upper left, gentle contact shadows, no speculars, a single pale warm glow at the lantern",
"medium": "3d_render",
"art_style": "contemporary matte clay-render product illustration in the lineage of physically-based miniature dioramas: smooth low-roughness-free chalky surfaces, soft ambient occlusion, no reflections, no grain, no outlines",
"color_palette": ["#E8EAEC", "#D3D8DC", "#B4BEC6", "#8E9CA8", "#6B7C8A", "#4C5C6B", "#33414E", "#9AB0AE", "#7E8FA6", "#C2C7CF", "#5A6472", "#F2F4F5", "#202124"]
},
"compositional_deconstruction": {
"background": "a pale cool grey studio gradient filling the full 16:9 frame, lightest at the left where the air is clear and slightly denser toward the right, a low horizon about four fifths down",
"elements": [
{
"type": "text",
"bbox": [90, 60, 180, 640],
"text": "Sculpting Static",
"desc": "headline in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, single line, flat charcoal with no outline, bevel or glow, composited cleanly over the pale sky at upper left",
"color_palette": ["#202124"]
},
{
"type": "text",
"bbox": [200, 62, 248, 580],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead in Figtree Regular (400), friendly humanist geometric sans-serif, normal tracking, sentence case, one line, flat black, left-aligned to the headline's left edge",
"color_palette": ["#000000"]
},
{
"type": "obj",
"bbox": [60, 430, 760, 1000],
"desc": "the field of television static occupying the right of the frame: thousands of small matte cubes floating in space in cool slate, steel blue and pale grey, packed into a dense volumetric cloud at the far right with soft occlusion between them, dispersing and drifting apart toward the left",
"color_palette": ["#4C5C6B", "#6B7C8A", "#B4BEC6", "#33414E"]
},
{
"type": "obj",
"bbox": [60, 0, 700, 440],
"desc": "the clear sky at left where the static has dissolved: near-empty pale grey air with a handful of stray cubes far apart and slightly out of focus, soft haze, mostly open space",
"color_palette": ["#E8EAEC", "#D3D8DC", "#C2C7CF"]
},
{
"type": "obj",
"bbox": [300, 120, 560, 620],
"desc": "the beam: a soft volumetric cone of pale light spreading from the lantern down and to the left, faintly catching the suspended cubes it passes through, dissipating into the clear air at the left",
"color_palette": ["#F2F4F5", "#D3D8DC", "#B4BEC6"]
},
{
"type": "obj",
"bbox": [260, 600, 790, 700],
"desc": "the lighthouse: a slender tapering tower modelled as a solid chalky matte object with real thickness, soft contact shadow, off-white shaft with two mid-grey bands, a dark gallery rail and a small softly glowing lantern room at the top, unmistakably physical",
"color_palette": ["#F2F4F5", "#8E9CA8", "#33414E", "#E8EAEC"]
},
{
"type": "obj",
"bbox": [700, 470, 910, 880],
"desc": "the rocky point: a low faceted mass of matte clay rock in cool slate and grey-green, gentle ambient occlusion in the crevices, wholly solid, the tower planted on its highest facet",
"color_palette": ["#5A6472", "#9AB0AE", "#33414E"]
},
{
"type": "obj",
"bbox": [790, 0, 1000, 1000],
"desc": "the sea: a wide matte non-reflective surface in cool steel blue running the full width, gently undulating low-poly swells, no specular highlights, calm",
"color_palette": ["#6B7C8A", "#7E8FA6", "#4C5C6B"]
}
]
}
}{
"high_level_description": "Landscape 16:9 key art shot as a photograph on a long lens in flat overcast weather: a real lighthouse on a rocky point throws its beam left across a bank of heavy analogue interference and grain that thins into clear pale sky, with the headline 'Sculpting Static' and a subhead in the empty sky at upper left.",
"style_description": {
"aesthetics": "restrained documentary landscape photography, muted and slightly desaturated, patient and precise, quietly wistful, heavy 35mm grain and analogue video interference as a physical texture",
"lighting": "flat diffuse overcast daylight, no visible sun, soft wraparound modelling on the tower, low contrast with lifted shadows, the lantern a faint warm point",
"photo": "shot on a 200mm telephoto at f/8, 1/250s, ISO 400 push-processed colour negative film, compressed perspective, slight vignette, focus locked on the tower with the far static bank falling gently soft",
"medium": "photograph",
"color_palette": ["#D9DCDA", "#C3C8C6", "#A3ABAA", "#7F8987", "#5C6664", "#3A4241", "#8C9AA3", "#B0A79E", "#6E6257", "#EDEFEE", "#202124"]
},
"compositional_deconstruction": {
"background": "a flat overcast sky filling the full 16:9 frame in soft pale grey, clean and open at the left, thickening into visible grain and horizontal interference toward the right, a low sea horizon about four fifths down",
"elements": [
{
"type": "text",
"bbox": [90, 60, 180, 640],
"text": "Sculpting Static",
"desc": "headline in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, single line, flat charcoal with no outline, bevel or glow, laid cleanly over the empty overcast sky at upper left",
"color_palette": ["#202124"]
},
{
"type": "text",
"bbox": [200, 62, 248, 580],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead in Figtree Regular (400), friendly humanist geometric sans-serif, normal tracking, sentence case, one line, flat black, left-aligned to the headline's left edge",
"color_palette": ["#000000"]
},
{
"type": "obj",
"bbox": [60, 430, 760, 1000],
"desc": "the field of television static occupying the right of the frame: dense monochrome analogue noise, torn horizontal scan-line interference and coarse silver grain sitting physically in the air like weather, opaque at the far right edge, breaking into loose drifting speckle as it moves left",
"color_palette": ["#3A4241", "#7F8987", "#A3ABAA", "#C3C8C6"]
},
{
"type": "obj",
"bbox": [60, 0, 700, 440],
"desc": "the clear sky at left where the static has dissolved: clean smooth overcast grey with only the faintest residual film grain, empty and calm, a large area of quiet tone",
"color_palette": ["#EDEFEE", "#D9DCDA", "#C3C8C6"]
},
{
"type": "obj",
"bbox": [300, 120, 560, 620],
"desc": "the beam: a real shaft of light from the lantern raking down and to the left through the damp air, visible only where it strikes the noise bank as a pale luminous wedge, dissolving to nothing in the clear air at the left",
"color_palette": ["#EDEFEE", "#D9DCDA", "#B0A79E"]
},
{
"type": "obj",
"bbox": [260, 600, 790, 700],
"desc": "the lighthouse: a real weathered stone-and-render tower, sharply focused, off-white paint with rust streaks and two faded bands, black iron gallery rail, glass lantern room with a faint warm lamp, unmistakably solid and physically present",
"color_palette": ["#EDEFEE", "#B0A79E", "#3A4241", "#6E6257"]
},
{
"type": "obj",
"bbox": [700, 470, 910, 880],
"desc": "the rocky point: wet dark granite ledges and boulders with real texture and lichen, gently modelled by the flat light, the tower's base sitting solidly among them",
"color_palette": ["#5C6664", "#3A4241", "#6E6257"]
},
{
"type": "obj",
"bbox": [790, 0, 1000, 1000],
"desc": "the sea: a long lens compression of low grey-green swells running the full width, surface detail softened by distance, calm and unbroken",
"color_palette": ["#7F8987", "#8C9AA3", "#5C6664"]
}
]
}
}{
"high_level_description": "Landscape 16:9 key art printed as a two-colour risograph: a solid lighthouse on a rocky point sends its beam left through a field of misregistered halftone television static that clears into open paper sky, with the headline 'Sculpting Static' and a subhead in the empty sky at upper left.",
"style_description": {
"aesthetics": "two-ink risograph print, warm and tactile, patient and precise with a wistful lo-fi softness, visible halftone dots, slight misregistration, generous bare paper",
"lighting": "even, shadowless, directionless flat print light; value is carried entirely by halftone dot density and where the two inks overprint into a deep brick tone",
"medium": "illustration",
"art_style": "two-colour risograph poster in the lineage of 1970s community-press and zine printing: fluorescent orange and federal blue inks on uncoated warm off-white stock, coarse 40-line halftone screens, ink mottling and roller streaks, one or two millimetres of plate misregistration, no gradients, no third ink",
"color_palette": ["#F3EFE6", "#FF6234", "#F08A66", "#FBC0A8", "#2A4B8D", "#7189BC", "#B4C0DC", "#8A3E4A", "#4A2B3C", "#202124"]
},
"compositional_deconstruction": {
"background": "warm uncoated off-white paper stock filling the full 16:9 frame, left half almost entirely bare, right half progressively covered by halftone ink, a low horizon about four fifths down",
"elements": [
{
"type": "text",
"bbox": [90, 60, 180, 640],
"text": "Sculpting Static",
"desc": "headline in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, single line, printed as flat solid charcoal ink with clean edges, no outline, bevel or glow, sitting on bare paper at upper left",
"color_palette": ["#202124"]
},
{
"type": "text",
"bbox": [200, 62, 248, 580],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead in Figtree Medium (500), friendly humanist geometric sans-serif, normal tracking, sentence case, one line, flat black ink, left-aligned to the headline's left edge",
"color_palette": ["#000000"]
},
{
"type": "obj",
"bbox": [60, 430, 760, 1000],
"desc": "the field of television static occupying the right of the frame: a coarse 100 percent halftone of both inks, orange and blue plates offset from one another so the dots fringe and overprint into brick and bruise tones, near-solid at the far right, opening into scattered visible dots as it moves left",
"color_palette": ["#FF6234", "#2A4B8D", "#8A3E4A", "#4A2B3C"]
},
{
"type": "obj",
"bbox": [60, 0, 700, 440],
"desc": "the clear sky at left where the static has dissolved: a very light 10 percent blue halftone over bare paper, dots widely spaced and cleanly registered, most of the area left unprinted",
"color_palette": ["#F3EFE6", "#B4C0DC", "#7189BC"]
},
{
"type": "obj",
"bbox": [300, 120, 560, 620],
"desc": "the beam: a hard-edged wedge knocked out of the static plate and filled with a mid orange halftone, widening from the lantern down and to the left, densest where it crosses the noise and fading to bare paper at the left edge",
"color_palette": ["#FF6234", "#F08A66", "#FBC0A8"]
},
{
"type": "obj",
"bbox": [260, 600, 790, 700],
"desc": "the lighthouse: a slender tapering tower knocked out to clean bare paper so it reads solid and real against everything around it, two flat 100 percent orange bands, a solid blue gallery rail and a small solid orange lantern room at the top, edges crisp with only a hair of plate shift",
"color_palette": ["#F3EFE6", "#FF6234", "#2A4B8D"]
},
{
"type": "obj",
"bbox": [700, 470, 910, 880],
"desc": "the rocky point: a low interlocking wedge of solid 100 percent blue ink with a fringe of orange where the plates misalign, wholly opaque, the tower planted on its crest",
"color_palette": ["#2A4B8D", "#4A2B3C", "#FF6234"]
},
{
"type": "obj",
"bbox": [790, 0, 1000, 1000],
"desc": "the sea: three wide horizontal blue halftone bands at 30, 50 and 70 percent running the full width, dot texture clearly visible, roller streaking across the darkest band",
"color_palette": ["#2A4B8D", "#7189BC", "#B4C0DC"]
}
]
}
}{
"high_level_description": "Landscape 16:9 key art as a strict Swiss-grid graphic composition: the lighthouse reduced to a solid tapering column on a hard geometric point, its beam a precise wedge across a grid of squares that decays from dense black to empty white toward the left, with the headline 'Sculpting Static' and a subhead in the open field at upper left.",
"style_description": {
"aesthetics": "systematic, reductive, symbolic; patient and precise, wistful only in its emptiness; strict modular grid, absolute flat colour, enormous negative space",
"lighting": "no depicted light at all; the beam and the lantern are described as pure geometry and value contrast, the flat unlit logic of a printed diagram",
"medium": "graphic_design",
"art_style": "mid-century Swiss poster and international typographic style in the lineage of 1960s Basel and Zurich design education: mathematical modular grid, hard-edged geometric forms, one accent hue against neutrals, no illusionistic depth, no texture, no gradients",
"color_palette": ["#F4F2ED", "#E4E1DA", "#C9C5BC", "#8E8C86", "#4E4C48", "#1C1B1A", "#E2513A", "#F09A5B", "#2F5D8C", "#202124"]
},
"compositional_deconstruction": {
"background": "a flat warm white field filling the full 16:9 frame, underpinned by an invisible modular grid; the left is deliberately empty, the right is filled by the grid made visible, a hard horizontal rule about four fifths down stands in for the horizon",
"elements": [
{
"type": "text",
"bbox": [90, 60, 180, 640],
"text": "Sculpting Static",
"desc": "headline in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, very tight tracking, all caps, single line snapped hard to the grid's left column, flat charcoal with no outline, bevel or glow",
"color_palette": ["#202124"]
},
{
"type": "text",
"bbox": [200, 62, 248, 580],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead in Figtree Regular (400), friendly humanist geometric sans-serif, normal tracking, sentence case, one line, flat black, left edge aligned exactly to the headline on the same grid column",
"color_palette": ["#000000"]
},
{
"type": "obj",
"bbox": [60, 430, 760, 1000],
"desc": "the field of television static occupying the right of the frame: a strict modular grid of equal squares filled at 100 percent black at the far right edge and stepping down in fixed increments of value column by column toward the left, squares dropping out of the grid entirely as the sequence thins, purely systematic",
"color_palette": ["#1C1B1A", "#4E4C48", "#8E8C86", "#C9C5BC"]
},
{
"type": "obj",
"bbox": [60, 0, 700, 440],
"desc": "the clear sky at left where the static has dissolved: the same grid with almost every cell removed, three or four pale grey squares left as isolated survivors on the flat warm white field",
"color_palette": ["#F4F2ED", "#E4E1DA", "#C9C5BC"]
},
{
"type": "obj",
"bbox": [300, 120, 560, 620],
"desc": "the beam: an exact isosceles wedge of flat vermillion projected from the lantern down and to the left, edges mathematically straight, drawn over the grid so that every square it crosses is knocked out to warm white, a clean cut rather than a glow",
"color_palette": ["#E2513A", "#F09A5B", "#F4F2ED"]
},
{
"type": "obj",
"bbox": [260, 600, 790, 700],
"desc": "the lighthouse: reduced to a solid tapering rectangular column in flat near-black, the single most opaque and unbroken shape in the composition so it still reads as the one real, solid thing, two vermillion bands, a thin horizontal rail and a small vermillion square for the lantern",
"color_palette": ["#1C1B1A", "#E2513A", "#F4F2ED"]
},
{
"type": "obj",
"bbox": [700, 470, 910, 880],
"desc": "the rocky point: a single hard-edged flat trapezoid in mid grey, no interior detail, meeting the horizon rule exactly, the column set on its upper edge",
"color_palette": ["#8E8C86", "#4E4C48", "#1C1B1A"]
},
{
"type": "obj",
"bbox": [790, 0, 1000, 1000],
"desc": "the sea: three flat horizontal bars of graduated grey-blue running the full width at fixed grid heights, no modulation, no texture, absolutely still",
"color_palette": ["#2F5D8C", "#8E8C86", "#4E4C48"]
}
]
}
}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-digital-art-pattern-featuring-overlapp_LdHkJevlQfuZpfaoyfwljA_pPrCIZg6SiuMUa3WVLpAEg_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-digital-art-pattern-featuring-overlapp_LdHkJevlQfuZpfaoyfwljA_pPrCIZg6SiuMUa3WVLpAEg_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: a solid lighthouse on a rocky point, its beam cutting a field of television static that dissolves into clear sky, patient and precise and a little wistful, with the brand headline 'Sculpting Static' and subhead 'Diffusion explained in 120 seconds'. From the [style] reference I took the medium (flat vector digital illustration), the material (broad hard-edged translucent colour planes that multiply where they overlap into plum, oxblood and near-black), the surface (smooth, matte, screen-flat, no grain, no outlines, no gradients), the even shadowless light, the warm off-white paper ground, and the palette: muted teal and sea green, cool sky blue, indigo, plum, magenta, vermillion, warm orange, dusty pink and dark overlap. The lighthouse stays literal and solid; the static and sky are built from the reference's layered translucent planes, which is what lets the noise 'dissolve' without leaving the reference's material. No subject reference was supplied, so the elements come from the brief alone. Type is the K-State 'Side Car' brand: Jost Bold headline, Figtree Medium subhead, charcoal and black on the light off-white ground.
| # | Direction | Axis | Why it is a plausible neighbour |
|---|---|---|---|
| 00 | canonical | original | The brief asks for 16:9 key art: a solid lighthouse on a rocky point, its beam cutting a field of television static that dissolves into clear sky, patient and precise and a little wistful, with the brand headline 'Sculpting Static' and subhead 'Diffusion explained in 120 seconds'. From the [style] reference I took the medium (flat vector digital illustration), the material (broad hard-edged translucent colour planes that multiply where they overlap into plum, oxblood and near-black), the surface (smooth, matte, screen-flat, no grain, no outlines, no gradients), the even shadowless light, the warm off-white paper ground, and the palette: muted teal and sea green, cool sky blue, indigo, plum, magenta, vermillion, warm orange, dusty pink and dark overlap. The lighthouse stays literal and solid; the static and sky are built from the reference's layered translucent planes, which is what lets the noise 'dissolve' without leaving the reference's material. No subject reference was supplied, so the elements come from the brief alone. Type is the K-State 'Side Car' brand: Jost Bold headline, Figtree Medium subhead, charcoal and black on the light off-white ground. |
| 01 | gouache-dusk-warm | medium + lighting | Painting the same scene at dusk in gouache keeps the patient, wistful mood the brief asks for while trading the reference's screen-flat planes for brushed opaque pigment and a warm low sun, which makes the lighthouse read solid in a different way. |
| 02 | render-matte-cool | medium + palette | A soft matte 3D render of the identical staging keeps the lighthouse emphatically solid and real, and a cool desaturated palette pushes the wistfulness toward quiet rather than warmth without touching the concept. |
| 03 | photo-overcast-longlens | medium + material and texture | Shooting the same staging on a long lens in flat overcast weather is the most literal way to satisfy the brief's demand that the lighthouse read solid and real, with the static becoming physical film grain and analogue interference instead of drawn shapes. |
| 04 | riso-two-tone-warm | palette + material and texture | Reducing the reference's many overlapping colour planes to two riso inks on uncoated stock is the same layering logic pushed to its cheapest, most tactile end, and misregistered ink is a very literal way to draw noise resolving into clarity. |
| 05 | swiss-grid-symbolic | level of abstraction + era or reference lineage | The reference already descends from Swiss geometric abstraction, so pushing the same scene from literal toward symbolic diagram — the lighthouse as a pure column, the static as a decaying grid — is its nearest neighbour in the other direction. |
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 solid white lighthouse stands on a rocky point while its beam sweeps left through a dense field of television static that breaks apart into clear, calm sky, all rendered as flat overlapping translucent colour planes on warm off-white paper, with the headline 'Sculpting Static' and a subhead set in the open sky at upper left.",
"style_description": {
"aesthetics": "flat vector digital illustration, geometric and calm, patient and precise with a wistful softness, hard-edged shapes and translucent multiply overlaps, generous negative space, matte and screen-flat",
"lighting": "even, shadowless, directionless studio-flat light with no rendered highlights; luminosity comes only from where translucent planes overlap and deepen or thin out and pale",
"medium": "illustration",
"art_style": "contemporary flat vector poster illustration in the lineage of mid-century Swiss graphic abstraction and 1970s overprinted screen-print colour studies: broad semi-transparent colour fields layered over one another, no outlines, no gradients, no grain, no texture noise, colour built purely by overlap",
"color_palette": ["#EDE9E3", "#F0ECE6", "#6DBEB0", "#3E9E86", "#7EC3DD", "#4A9BC9", "#3B5BAB", "#2F4A8C", "#8E4A87", "#E0498E", "#EFA0A6", "#EE6A2C", "#E23B33", "#3A2E33", "#202124"]
},
"compositional_deconstruction": {
"background": "a warm off-white paper ground filling the full 16:9 frame, left half breathing as open empty sky, right half progressively crowded by layered translucent colour planes; a low horizon sits about four fifths down",
"elements": [
{
"type": "text",
"bbox": [90, 60, 180, 640],
"text": "Sculpting Static",
"desc": "headline in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, tight tracking, sentence case, single line, flat charcoal with no outline, bevel or glow, sitting in the open off-white sky at upper left",
"color_palette": ["#202124"]
},
{
"type": "text",
"bbox": [200, 62, 248, 580],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead in Figtree Medium (500), friendly humanist geometric sans-serif, normal tracking, sentence case, one line, flat black, left-aligned to the headline's left edge",
"color_palette": ["#000000"]
},
{
"type": "obj",
"bbox": [60, 430, 760, 1000],
"desc": "the field of television static occupying the right of the frame: a dense mosaic of small hard-edged translucent squares and rounded planes in indigo, plum, magenta, vermillion and warm orange, packed edge to edge at the far right where overlaps multiply into near-black, thinning and spacing out as it moves left",
"color_palette": ["#3B5BAB", "#8E4A87", "#E0498E", "#EE6A2C", "#3A2E33"]
},
{
"type": "obj",
"bbox": [60, 0, 700, 440],
"desc": "the clear sky at left where the static has dissolved: a few very large sparse translucent planes of pale teal, sky blue and dusty pink drifting over the off-white ground, overlapping only lightly, most of the area left as bare paper",
"color_palette": ["#EDE9E3", "#6DBEB0", "#7EC3DD", "#EFA0A6"]
},
{
"type": "obj",
"bbox": [300, 120, 560, 620],
"desc": "the beam: a long clean wedge of translucent pale warm light widening from the lantern down and to the left across the frame, its edges perfectly straight and hard, deepening to warm orange where it crosses the static and paling to almost nothing where it reaches clear sky",
"color_palette": ["#EE6A2C", "#EFA0A6", "#F0ECE6"]
},
{
"type": "obj",
"bbox": [260, 600, 790, 700],
"desc": "the lighthouse: a slender tapering tower reading solid and real and fully opaque against everything around it, off-white shaft with two flat vermillion bands, a dark plum gallery rail and a small glowing lantern room at the top, crisp silhouette, no transparency",
"color_palette": ["#F0ECE6", "#E23B33", "#3A2E33", "#EE6A2C"]
},
{
"type": "obj",
"bbox": [700, 470, 910, 880],
"desc": "the rocky point: a low interlocking cluster of angular opaque planes in deep teal, indigo and dark plum forming a wedge of headland that the tower sits on, flat-filled and solid",
"color_palette": ["#3E9E86", "#2F4A8C", "#3A2E33"]
},
{
"type": "obj",
"bbox": [790, 0, 1000, 1000],
"desc": "the sea: three or four wide horizontal translucent bands in sea green, cool blue and indigo running the full width, overlapping into deeper tones at the right where the static meets the water, calm and unbroken",
"color_palette": ["#3E9E86", "#4A9BC9", "#3B5BAB"]
}
]
}
}{
"1": {
"class_type": "UNETLoader",
"inputs": {
"unet_name": "ideogram4_fp8_scaled.safetensors",
"weight_dtype": "default"
}
},
"2": {
"class_type": "UNETLoader",
"inputs": {
"unet_name": "ideogram4_unconditional_fp8_scaled.safetensors",
"weight_dtype": "default"
}
},
"3": {
"class_type": "CFGOverride",
"inputs": {
"model": [
"1",
0
],
"cfg": 3.0,
"start_percent": 0.7,
"end_percent": 1.0
}
},
"4": {
"class_type": "CLIPLoader",
"inputs": {
"clip_name": "qwen3vl_8b_fp8_scaled.safetensors",
"type": "ideogram4",
"device": "default"
}
},
"5": {
"class_type": "CLIPTextEncode",
"inputs": {
"clip": [
"4",
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},
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},
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},
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"class_type": "KSamplerSelect",
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"sampler_name": "euler"
}
},
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"class_type": "RandomNoise",
"inputs": {
"noise_seed": 314159
}
},
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"class_type": "SamplerCustomAdvanced",
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}
},
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"class_type": "VAELoader",
"inputs": {
"vae_name": "flux2-vae.safetensors"
}
},
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"class_type": "VAEDecode",
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}
},
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"class_type": "SaveImage",
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"images": [
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"filename_prefix": "art-direction/art-directions-01--10-a-digital-art-pattern-featuring-overlapp/04-riso-two-tone-warm"
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}{
"high_level_description": "Landscape 16:9 key art as a strict Swiss-grid graphic composition: the lighthouse reduced to a solid tapering column on a hard geometric point, its beam a precise wedge across a grid of squares that decays from dense black to empty white toward the left, with the headline 'Sculpting Static' and a subhead in the open field at upper left.",
"style_description": {
"aesthetics": "systematic, reductive, symbolic; patient and precise, wistful only in its emptiness; strict modular grid, absolute flat colour, enormous negative space",
"lighting": "no depicted light at all; the beam and the lantern are described as pure geometry and value contrast, the flat unlit logic of a printed diagram",
"medium": "graphic_design",
"art_style": "mid-century Swiss poster and international typographic style in the lineage of 1960s Basel and Zurich design education: mathematical modular grid, hard-edged geometric forms, one accent hue against neutrals, no illusionistic depth, no texture, no gradients",
"color_palette": ["#F4F2ED", "#E4E1DA", "#C9C5BC", "#8E8C86", "#4E4C48", "#1C1B1A", "#E2513A", "#F09A5B", "#2F5D8C", "#202124"]
},
"compositional_deconstruction": {
"background": "a flat warm white field filling the full 16:9 frame, underpinned by an invisible modular grid; the left is deliberately empty, the right is filled by the grid made visible, a hard horizontal rule about four fifths down stands in for the horizon",
"elements": [
{
"type": "text",
"bbox": [90, 60, 180, 640],
"text": "Sculpting Static",
"desc": "headline in Jost Bold (700), geometric sans-serif with round Futura-like letterforms, very tight tracking, all caps, single line snapped hard to the grid's left column, flat charcoal with no outline, bevel or glow",
"color_palette": ["#202124"]
},
{
"type": "text",
"bbox": [200, 62, 248, 580],
"text": "Diffusion explained in 120 seconds",
"desc": "subhead in Figtree Regular (400), friendly humanist geometric sans-serif, normal tracking, sentence case, one line, flat black, left edge aligned exactly to the headline on the same grid column",
"color_palette": ["#000000"]
},
{
"type": "obj",
"bbox": [60, 430, 760, 1000],
"desc": "the field of television static occupying the right of the frame: a strict modular grid of equal squares filled at 100 percent black at the far right edge and stepping down in fixed increments of value column by column toward the left, squares dropping out of the grid entirely as the sequence thins, purely systematic",
"color_palette": ["#1C1B1A", "#4E4C48", "#8E8C86", "#C9C5BC"]
},
{
"type": "obj",
"bbox": [60, 0, 700, 440],
"desc": "the clear sky at left where the static has dissolved: the same grid with almost every cell removed, three or four pale grey squares left as isolated survivors on the flat warm white field",
"color_palette": ["#F4F2ED", "#E4E1DA", "#C9C5BC"]
},
{
"type": "obj",
"bbox": [300, 120, 560, 620],
"desc": "the beam: an exact isosceles wedge of flat vermillion projected from the lantern down and to the left, edges mathematically straight, drawn over the grid so that every square it crosses is knocked out to warm white, a clean cut rather than a glow",
"color_palette": ["#E2513A", "#F09A5B", "#F4F2ED"]
},
{
"type": "obj",
"bbox": [260, 600, 790, 700],
"desc": "the lighthouse: reduced to a solid tapering rectangular column in flat near-black, the single most opaque and unbroken shape in the composition so it still reads as the one real, solid thing, two vermillion bands, a thin horizontal rail and a small vermillion square for the lantern",
"color_palette": ["#1C1B1A", "#E2513A", "#F4F2ED"]
},
{
"type": "obj",
"bbox": [700, 470, 910, 880],
"desc": "the rocky point: a single hard-edged flat trapezoid in mid grey, no interior detail, meeting the horizon rule exactly, the column set on its upper edge",
"color_palette": ["#8E8C86", "#4E4C48", "#1C1B1A"]
},
{
"type": "obj",
"bbox": [790, 0, 1000, 1000],
"desc": "the sea: three flat horizontal bars of graduated grey-blue running the full width at fixed grid heights, no modulation, no texture, absolutely still",
"color_palette": ["#2F5D8C", "#8E8C86", "#4E4C48"]
}
]
}
}{
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"class_type": "UNETLoader",
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"unet_name": "ideogram4_fp8_scaled.safetensors",
"weight_dtype": "default"
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},
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"unet_name": "ideogram4_unconditional_fp8_scaled.safetensors",
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"text": "{\n \"high_level_description\": \"Landscape 16:9 key art as a strict Swiss-grid graphic composition: the lighthouse reduced to a solid tapering column on a hard geometric point, its beam a precise wedge across a grid of squares that decays from dense black to empty white toward the left, with the headline 'Sculpting Static' and a subhead in the open field at upper left.\",\n \"style_description\": {\n \"aesthetics\": \"systematic, reductive, symbolic; patient and precise, wistful only in its emptiness; strict modular grid, absolute flat colour, enormous negative space\",\n \"lighting\": \"no depicted light at all; the beam and the lantern are described as pure geometry and value contrast, the flat unlit logic of a printed diagram\",\n \"medium\": \"graphic_design\",\n \"art_style\": \"mid-century Swiss poster and international typographic style in the lineage of 1960s Basel and Zurich design education: mathematical modular grid, hard-edged geometric forms, one accent hue against neutrals, no illusionistic depth, no texture, no gradients\",\n \"color_palette\": [\"#F4F2ED\", \"#E4E1DA\", \"#C9C5BC\", \"#8E8C86\", \"#4E4C48\", \"#1C1B1A\", \"#E2513A\", \"#F09A5B\", \"#2F5D8C\", \"#202124\"]\n },\n \"compositional_deconstruction\": {\n \"background\": \"a flat warm white field filling the full 16:9 frame, underpinned by an invisible modular grid; the left is deliberately empty, the right is filled by the grid made visible, a hard horizontal rule about four fifths down stands in for the horizon. The upper 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\": [60, 430, 760, 1000],\n \"desc\": \"the field of television static occupying the right of the frame: a strict modular grid of equal squares filled at 100 percent black at the far right edge and stepping down in fixed increments of value column by column toward the left, squares dropping out of the grid entirely as the sequence thins, purely systematic\",\n \"color_palette\": [\"#1C1B1A\", \"#4E4C48\", \"#8E8C86\", \"#C9C5BC\"]\n },\n {\n \"type\": \"obj\",\n \"bbox\": [60, 0, 700, 440],\n \"desc\": \"the clear sky at left where the static has dissolved: the same grid with almost every cell removed, three or four pale grey squares left as isolated survivors on the flat warm white field\",\n \"color_palette\": [\"#F4F2ED\", \"#E4E1DA\", \"#C9C5BC\"]\n },\n {\n \"type\": \"obj\",\n \"bbox\": [300, 120, 560, 620],\n \"desc\": \"the beam: an exact isosceles wedge of flat vermillion projected from the lantern down and to the left, edges mathematically straight, drawn over the grid so that every square it crosses is knocked out to warm white, a clean cut rather than a glow\",\n \"color_palette\": [\"#E2513A\", \"#F09A5B\", \"#F4F2ED\"]\n },\n {\n \"type\": \"obj\",\n \"bbox\": [260, 600, 790, 700],\n \"desc\": \"the lighthouse: reduced to a solid tapering rectangular column in flat near-black, the single most opaque and unbroken shape in the composition so it still reads as the one real, solid thing, two vermillion bands, a thin horizontal rail and a small vermillion square for the lantern\",\n \"color_palette\": [\"#1C1B1A\", \"#E2513A\", \"#F4F2ED\"]\n },\n {\n \"type\": \"obj\",\n \"bbox\": [700, 470, 910, 880],\n \"desc\": \"the rocky point: a single hard-edged flat trapezoid in mid grey, no interior detail, meeting the horizon rule exactly, the column set on its upper edge\",\n \"color_palette\": [\"#8E8C86\", \"#4E4C48\", \"#1C1B1A\"]\n },\n {\n \"type\": \"obj\",\n \"bbox\": [790, 0, 1000, 1000],\n \"desc\": \"the sea: three flat horizontal bars of graduated grey-blue running the full width at fixed grid heights, no modulation, no texture, absolutely still\",\n \"color_palette\": [\"#2F5D8C\", \"#8E8C86\", \"#4E4C48\"]\n }\n ]\n }\n}"
}
},
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"class_type": "ConditioningZeroOut",
"inputs": {
"conditioning": [
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}
},
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},
"8": {
"class_type": "EmptyFlux2LatentImage",
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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": {
"noise": [
"11",
0
],
"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": {
"class_type": "VAEDecode",
"inputs": {
"samples": [
"12",
0
],
"vae": [
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]
}
},
"15": {
"class_type": "SaveImage",
"inputs": {
"images": [
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"filename_prefix": "art-direction/art-directions-01--10-a-digital-art-pattern-featuring-overlapp/05-swiss-grid-symbolic"
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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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"inputs": {
"unet_name": "qwen_image_edit_2511_fp8mixed.safetensors",
"weight_dtype": "default"
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},
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"inputs": {
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"lora_name": "Qwen-Image-Edit-2511-Lightning-4steps-V1.0-bf16.safetensors",
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},
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"inputs": {
"model": [
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"shift": 3.1
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},
"4": {
"class_type": "CFGNorm",
"inputs": {
"model": [
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"strength": 1.0
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},
"5": {
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"inputs": {
"clip_name": "qwen_2.5_vl_7b_fp8_scaled.safetensors",
"type": "qwen_image",
"device": "default"
}
},
"6": {
"class_type": "VAELoader",
"inputs": {
"vae_name": "qwen_image_vae.safetensors"
}
},
"7": {
"class_type": "LoadImage",
"inputs": {
"image": "art-directions-01--10-a-digital-art-pattern-featuring-overlapp--00-canonical.clean.png"
},
"is_changed": [
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},
"8": {
"class_type": "FluxKontextImageScale",
"inputs": {
"image": [
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0
]
}
},
"9": {
"class_type": "LoadImage",
"inputs": {
"image": "art-directions-01--10-a-digital-art-pattern-featuring-overlapp--ref-a-digital-art-pattern-featuring-overlapp_LdHkJevlQfuZpfaoyfwljA_pPrCIZg6SiuMUa3WVLpAEg_cover.png"
},
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},
"10": {
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"inputs": {
"image": [
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},
"11": {
"class_type": "TextEncodeQwenImageEditPlus",
"inputs": {
"clip": [
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],
"prompt": "Transform image 1 into a flat vector digital illustration: crisp hard-edged shapes filled with broad semi-transparent colour washes that multiply where they overlap into deeper plum, oxblood and near-black, with no outlines, no gradients, no grain and no visible brushwork — a smooth, matte, screen-flat finish throughout. Every surface of image 1's own scene adopts this treatment: the lighthouse tower, the rocks, the beam, the static field, the sea and the sky all become layered translucent colour planes in muted sea green, cool sky blue, indigo, plum, magenta, vermillion, warm orange and dusty pink, set on a warm off-white paper backdrop under even, shadowless, directionless light. The subject and scene remain those of image 1: 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.",
"vae": [
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],
"image1": [
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],
"image2": [
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}
},
"12": {
"class_type": "TextEncodeQwenImageEditPlus",
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"clip": [
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"prompt": "",
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},
"13": {
"class_type": "VAEEncode",
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}
},
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"seed": 314159,
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"sampler_name": "euler",
"scheduler": "simple",
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},
"15": {
"class_type": "VAEDecode",
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},
"16": {
"class_type": "SaveImage",
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"images": [
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"filename_prefix": "art-direction/art-directions-01--10-a-digital-art-pattern-featuring-overlapp/restyle-a-digital-art-pattern-00-canonical"
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}
}{
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"prompt": "Transform image 1 into a flat vector digital illustration: crisp hard-edged shapes filled with broad semi-transparent colour washes that multiply where they overlap into deeper plum, oxblood and near-black, with no outlines, no gradients, no grain and no visible brushwork — a smooth, matte, screen-flat finish throughout. Every surface of image 1's own scene adopts this treatment: the lighthouse tower, the rocks, the beam, the static field, the sea and the sky all become layered translucent colour planes in muted sea green, cool sky blue, indigo, plum, magenta, vermillion, warm orange and dusty pink, set on a warm off-white paper backdrop under even, shadowless, directionless light. The subject and scene remain those of image 1: 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.",
"vae": [
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},
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},
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}{
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}Text-last mode: back on the Mac, the brand text is typeset onto every finished picture, both approaches alike, with the real font files: Jost[wght].ttf at weight 700 for the headline and Figtree[wght].ttf at weight 500 for the subhead, placed where Claude's recipe reserved the text area. The colour is chosen per picture by measuring the ground under the text: Warm White #F7F2F1 on dark, Charcoal #202124 / Black on light. If the ground is busy or mid-tone, a soft scrim is laid under the text first; the letters stay flat. Then the K mark is applied. Clean, text-free renders are kept in raw/ as NN.clean.png, and every PNG keeps the ComfyUI workflow in its metadata.
Record a verdict per direction and one honest risk for the winner in verdict.md, then promote the winner to the project's ART-DIRECTION.md. Re-render a winner at full quality with audition.py rerender art-directions-01--10-a-digital-art-pattern-featuring-overlapp NN --preset quality --mp 2.
| # | Direction | Axis | Rationale | Verdict | Risk |
|---|---|---|---|---|---|
| 00 | canonical | original | The brief asks for 16:9 key art: a solid lighthouse on a rocky point, its beam cutting a field of television static that dissolves into clear sky, patient and precise and a little wistful, with the brand headline 'Sculpting Static' and subhead 'Diffusion explained in 120 seconds'. From the [style] reference I took the medium (flat vector digital illustration), the material (broad hard-edged translucent colour planes that multiply where they overlap into plum, oxblood and near-black), the surface (smooth, matte, screen-flat, no grain, no outlines, no gradients), the even shadowless light, the warm off-white paper ground, and the palette: muted teal and sea green, cool sky blue, indigo, plum, magenta, vermillion, warm orange, dusty pink and dark overlap. The lighthouse stays literal and solid; the static and sky are built from the reference's layered translucent planes, which is what lets the noise 'dissolve' without leaving the reference's material. No subject reference was supplied, so the elements come from the brief alone. Type is the K-State 'Side Car' brand: Jost Bold headline, Figtree Medium subhead, charcoal and black on the light off-white ground. | ||
| 01 | gouache-dusk-warm | medium + lighting | Painting the same scene at dusk in gouache keeps the patient, wistful mood the brief asks for while trading the reference's screen-flat planes for brushed opaque pigment and a warm low sun, which makes the lighthouse read solid in a different way. | ||
| 02 | render-matte-cool | medium + palette | A soft matte 3D render of the identical staging keeps the lighthouse emphatically solid and real, and a cool desaturated palette pushes the wistfulness toward quiet rather than warmth without touching the concept. | ||
| 03 | photo-overcast-longlens | medium + material and texture | Shooting the same staging on a long lens in flat overcast weather is the most literal way to satisfy the brief's demand that the lighthouse read solid and real, with the static becoming physical film grain and analogue interference instead of drawn shapes. | ||
| 04 | riso-two-tone-warm | palette + material and texture | Reducing the reference's many overlapping colour planes to two riso inks on uncoated stock is the same layering logic pushed to its cheapest, most tactile end, and misregistered ink is a very literal way to draw noise resolving into clarity. | ||
| 05 | swiss-grid-symbolic | level of abstraction + era or reference lineage | The reference already descends from Swiss geometric abstraction, so pushing the same scene from literal toward symbolic diagram — the lighthouse as a pure column, the static as a decaying grid — is its nearest neighbour in the other direction. |