Frontier-Model Image Prompts

Nine spreads. Three image roles per spread (Poster, Proof, optional Ambient). Three prompt variants per role tuned to Nano Banana Pro, Imagen 4, and Midjourney v7. Files:

PROMPTS.md — human-readable, scannable by spread.
prompts.json — machine-readable, automation-ready.
README.md — this file.

How to feed prompts to each model

Gemini Nano Banana Pro. Paste the full long-form prompt block into Gemini. The model accepts the Aspect ratio: 2:3 portrait declaration inside the prompt body — no separate parameter needed. The Avoid: … line at the end functions as the negative prompt.

Imagen 4. Same approach as Nano Banana Pro. Imagen leans literal — keep the artist + year anchors at the front of the prompt. The aspect ratio declaration works inline.

Midjourney v7. The :: syntax separates concept beats. The --ar, --style raw, and --stylize flags are required. The --no flag at the end runs the negative prompt. v7 is the default — do not add --v 6 or older version flags.

Recommended generation order

Posters first (all nine). They set the typographic identity. If a poster fails verbatim text rendering, retry with the line wrapped in single quotes inside the prompt body.
Proofs second. These slot in adjacent to body copy and are less load-bearing.
Ambient last. Only three needed — one per phase. Generate after Poster + Proof selections are locked.

A/B method

Generate all nine Posters first in Nano Banana Pro. Pick the strongest. Re-render the other eight in the model that produced your winner. Repeat the exercise for Proofs separately — they typically favor a different model than Posters.

Palette swap

To switch the accent from Kruger vermilion (#E63329) to Coca-Cola red (#F40009), find-and-replace the hex in prompts.json. The accent_name field documents the swap. Do not introduce a third color.

Verbatim text check

After each Poster generation, verify the line character-by-character — comma placement, period after the final word, all caps. Models occasionally drop punctuation or merge words. If the text is wrong, regenerate with the line in single-quotes before the rest of the prompt.

End of guide.

Visual identity for Limore Shur’s nine-spread manifesto. Three prompts per spread (Poster, Proof, optional Ambient), each tuned for Gemini Nano Banana Pro, Imagen 4, and Midjourney v7.

Palette (locked across all 9 spreads)

Role	Hex	Notes
Chalk white	`#F5F2EC`	Background / ground
Deep black	`#0A0907`	Type / mass
Accent — Kruger vermilion	`#E63329`	One accent only. Used on every spread.

Use the accent sparingly — one Kruger-bar or one slash per image, never two. Restricted palette is non-negotiable.

Design stance (anchors for every prompt)

Marshall McLuhan / Quentin Fiore, The Medium is the Massage (1967). Barbara Kruger c. 1985. Tibor Kalman / M&Co c. 1990. Saul Bass c. 1958–62. Massimo Vignelli c. 1972. Müller-Brockmann Swiss modernism. Rem Koolhaas / Bruce Mau, S, M, L, XL (1995). John Berger, Ways of Seeing (1972).

Universal negative prompt (append to every model)

Avoid: soft glow, bokeh, decorative flourishes, AI-illustrator polish, 3D rendering,
gradient meshes, fake-photorealism, sans-serif decorative fonts, rainbow palette,
pastels, signature watermarks, modern infographic feel, centered-perfectly-balanced
compositions, drop shadows, lens flare, ornamental serifs, hand-lettered scripts,
texture overlays that read as Instagram filter.

PHASE 1 — THE BOX

Spread 01 — THE BOX IS A FLASHLIGHT. NOT A CAGE.

Poster line (verbatim, set in image): THE BOX IS A FLASHLIGHT. NOT A CAGE. Proof artifact: Saul Bass, Vertigo title sequence and poster (1958)

01-POSTER

Nano Banana Pro

A massive typographic poster in the style of Barbara Kruger c. 1985 crossed with
Saul Bass c. 1958. The text reads exactly: "THE BOX IS A FLASHLIGHT. NOT A CAGE."
Set in Futura Bold Italic, all caps, period-accurate punctuation including the
period after CAGE. The first sentence sits on a horizontal Kruger-style vermilion
bar (#E63329) approximately one-third down the canvas, white type (#F5F2EC) inside
the bar, asymmetric crop, text bleeding off the right edge. The second sentence
"NOT A CAGE." sits below the bar in deep black (#0A0907) on chalk-white ground
(#F5F2EC), oversized, cropped at the baseline. The composition is asymmetric and
slightly off-center, weight pulled to the lower-left. Behind the vermilion bar, a
faint silkscreen halftone texture suggests a beam of light cutting diagonally
across the field — a quiet nod to Saul Bass's geometric reduction. Three-color
palette only: chalk white #F5F2EC, deep black #0A0907, Kruger vermilion #E63329.
Aspect ratio: 2:3 portrait. Print-grade, silkscreen feel, 1960s offset-litho
artifacts.
Avoid: soft glow, bokeh, decorative flourishes, AI-illustrator polish, 3D
rendering, gradient meshes, fake-photorealism, sans-serif decorative fonts,
rainbow palette, pastels, signature watermarks, modern infographic feel,
centered-perfectly-balanced compositions.

Imagen 4

Typographic poster, 1985 Barbara Kruger style, with a Saul Bass 1958 substrate.
Text reads exactly: THE BOX IS A FLASHLIGHT. NOT A CAGE. Futura Bold Italic, all
caps. First sentence on a horizontal vermilion bar #E63329 one-third down the
canvas, white type #F5F2EC inside the bar, text crops off the right edge. Second
sentence NOT A CAGE. set in deep black #0A0907 on chalk white #F5F2EC below the
bar, oversized, asymmetric, weight low-left. A faint diagonal beam of halftone
silkscreen cuts behind the bar, Saul Bass geometric reduction. Restricted palette:
#F5F2EC, #0A0907, #E63329. Print-grade silkscreen, 1960s offset artifacts.
Aspect ratio 2:3 portrait.
Avoid: soft glow, bokeh, 3D, gradients, pastels, decorative fonts, modern
infographic feel, watermarks, balanced symmetric layouts.

Midjourney v7

Barbara Kruger 1985 style typographic poster :: Futura Bold Italic all caps text
reading "THE BOX IS A FLASHLIGHT. NOT A CAGE." :: first sentence on horizontal
vermilion bar #E63329, white type #F5F2EC inside, asymmetric crop right edge ::
second sentence in deep black #0A0907 on chalk white #F5F2EC, oversized below the
bar :: faint diagonal Saul Bass halftone beam behind :: restricted palette only
#F5F2EC #0A0907 #E63329 :: silkscreen offset-litho feel :: --ar 2:3 --style raw
--stylize 350 --no glow, bokeh, gradients, 3D, pastels, watermarks, decorative
fonts, symmetric layouts

01-PROOF

Nano Banana Pro

An in-the-style-of rendering of Saul Bass's Vertigo (1958) poster and title-
sequence aesthetic. A continuous black spiral, drawn with a single uniform line
weight, spirals outward from a precise off-center point on a chalk-white ground
#F5F2EC. The spiral terminates open — never closing back on itself. One small
arc of the spiral is interrupted by a vermilion #E63329 fragment, suggesting the
silhouette of a falling figure. Composition is asymmetric, the spiral's center
sits at the right-third intersection of a Swiss grid. The line work has the dry,
unmodulated quality of 1958 offset lithography — no airbrush, no gradient. Deep
black #0A0907 line on chalk-white field. Restricted three-color palette only.
Medium: silkscreen on heavyweight matte paper, faint paper grain visible.
Aspect ratio: 4:5 portrait.
Avoid: photorealistic spiral, 3D rendering, glow, bokeh, color shifts inside the
line, hand-drawn wobble, decorative serifs, additional figures, watermarks,
balanced centered composition.

Imagen 4

Saul Bass 1958 Vertigo poster style. Single continuous black spiral, uniform
line weight, spiraling outward from an off-center point on chalk white #F5F2EC.
Open termination, never closing. One arc interrupted by a vermilion #E63329
fragment suggesting a falling silhouette. Asymmetric, center at right-third of a
Swiss grid. Dry 1958 offset-litho line quality, no gradient, no airbrush. Deep
black #0A0907 on chalk white #F5F2EC. Silkscreen on matte paper, faint grain.
Aspect ratio 4:5 portrait.
Avoid: photoreal spiral, 3D, glow, bokeh, color shift, hand-drawn wobble,
decorative type, multiple figures, watermarks.

Midjourney v7

Saul Bass 1958 Vertigo poster homage :: single continuous black spiral uniform
line weight, off-center, open terminus :: one arc interrupted by vermilion
#E63329 figure-fragment :: chalk white #F5F2EC field, deep black #0A0907 line
:: asymmetric Swiss grid, center at right-third :: 1958 offset-litho dry line,
silkscreen matte paper grain :: --ar 4:5 --style raw --stylize 250 --no glow,
3D, bokeh, gradients, photoreal, wobble, watermarks

Spread 02 — WHEN EVERYTHING IS P1, NOTHING IS.

Poster line: WHEN EVERYTHING IS P1, NOTHING IS. Proof artifact: Brian Eno and Peter Schmidt, Oblique Strategies (1975)

02-POSTER

Nano Banana Pro

A massive typographic poster, Tibor Kalman / M&Co c. 1990 with Müller-Brockmann
Swiss modernism underneath. The text reads exactly: "WHEN EVERYTHING IS P1,
NOTHING IS." Set in Akzidenz-Grotesk Bold, all caps, asymmetric. The word
"EVERYTHING" is set huge, occupying the upper two-thirds of the canvas in deep
black #0A0907 on chalk white #F5F2EC, crammed so the letterforms touch the edges
of the field. Below it, on a single horizontal vermilion #E63329 stripe one
character-height tall, the rest of the line "IS P1, NOTHING IS." runs in white
#F5F2EC at a much smaller scale — almost a caption. The disproportion between
"EVERYTHING" and the rest is the entire visual joke. Composition asymmetric,
weight pulled hard to upper-left, generous negative space at lower-right.
Restricted palette only. Medium: silkscreen, 1990s offset-litho.
Aspect ratio: 2:3 portrait.
Avoid: balanced symmetric layout, decorative type, gradients, glow, multiple
colors, modern infographic feel, drop shadows, watermarks, ornamental serifs.

Imagen 4

Tibor Kalman M&Co c. 1990 typographic poster, Swiss Müller-Brockmann substrate.
Text reads exactly: WHEN EVERYTHING IS P1, NOTHING IS. Akzidenz-Grotesk Bold,
all caps. EVERYTHING is set huge across upper two-thirds, deep black #0A0907 on
chalk white #F5F2EC, letterforms touching field edges. Remaining line "IS P1,
NOTHING IS." runs in white #F5F2EC inside a single vermilion #E63329 horizontal
stripe one character-height tall, much smaller, caption-scale. Disproportion is
the joke. Asymmetric, weight upper-left, negative space lower-right. Silkscreen
1990s offset. Restricted palette #F5F2EC #0A0907 #E63329. Aspect ratio 2:3.
Avoid: symmetric balance, decorative fonts, gradients, glow, extra colors,
infographic style, shadows, ornament.

Midjourney v7

Tibor Kalman M&Co 1990 typographic poster :: Akzidenz-Grotesk Bold all caps,
text "WHEN EVERYTHING IS P1, NOTHING IS." :: EVERYTHING huge upper two-thirds
deep black #0A0907 on chalk white #F5F2EC, letterforms touching edges ::
remaining line tiny, white #F5F2EC inside vermilion #E63329 horizontal stripe
:: disproportion as visual joke :: asymmetric, weight upper-left :: 1990s
silkscreen offset :: --ar 2:3 --style raw --stylize 350 --no symmetry,
decorative type, gradients, glow, shadows, infographic

02-PROOF

Nano Banana Pro

An in-the-style-of rendering of Brian Eno and Peter Schmidt's Oblique Strategies
deck (1975). A single matte black card the size and proportion of a playing
card, lying flat, dead-center but pushed off the grid axis by 7 degrees, on a
chalk-white ground #F5F2EC. The card face is plain deep black #0A0907 with one
short imperative line of text set in Helvetica Bold, white #F5F2EC, lower-third
of the card: "HONOR THY ERROR AS A HIDDEN INTENTION." Behind it, two more cards
peek out from underneath at random angles — barely visible edges only. One
single vermilion #E63329 paper marker (a thin straight bar, the width of a card
edge) lies adjacent to the deck, like an axis indicator. Hard top-light, no
shadow softness, sharp paper edges. Restricted three-color palette only.
Medium: photographic still life, 1975 print, no glow.
Aspect ratio: 4:5 portrait.
Avoid: glossy cards, 3D rendering, soft shadows, bokeh, decorative type, color
on card faces, multiple visible text lines, watermarks, photorealistic studio
gloss.

Imagen 4

Brian Eno Peter Schmidt Oblique Strategies 1975 homage. Single matte black
playing-card-proportion card flat on chalk white #F5F2EC ground, rotated 7
degrees off-axis. Face is deep black #0A0907, one line of Helvetica Bold white
#F5F2EC text lower-third: "HONOR THY ERROR AS A HIDDEN INTENTION." Two more
cards peek from underneath at random angles, edges only. One thin vermilion
#E63329 paper bar lies adjacent as axis indicator. Hard top light, sharp paper
edges, no shadow softness. Photographic still life, 1975 print. Restricted
palette. Aspect ratio 4:5.
Avoid: glossy 3D, soft shadows, bokeh, decorative type, color faces, multiple
visible text lines, studio gloss.

Midjourney v7

Brian Eno Oblique Strategies 1975 card homage :: matte black playing card flat
on chalk white #F5F2EC, rotated 7 degrees :: deep black #0A0907 face, single
line Helvetica Bold white #F5F2EC lower-third "HONOR THY ERROR AS A HIDDEN
INTENTION." :: two cards peeking from underneath, edges only :: one thin
vermilion #E63329 paper bar adjacent :: hard top light, sharp edges, no soft
shadow :: 1975 still life print :: --ar 4:5 --style raw --stylize 250 --no
glossy, 3D, soft shadow, bokeh, studio gloss, color faces

Spread 03 — A DEADLINE IS A MAGNIFYING GLASS.

Poster line: A DEADLINE IS A MAGNIFYING GLASS. Proof artifact: Apollo 13 carbon-dioxide scrubber improvisation (1970)

03-POSTER

Nano Banana Pro

A massive typographic poster, John Berger Ways of Seeing 1972 declarative
pairing crossed with Müller-Brockmann Swiss modernism. The text reads exactly:
"A DEADLINE IS A MAGNIFYING GLASS." Set in Akzidenz-Grotesk Bold, all caps, on
chalk white #F5F2EC. The line breaks deliberately: "A DEADLINE / IS A /
MAGNIFYING / GLASS." across four lines, left-flush, ragged right, set at three
different sizes — DEADLINE largest, MAGNIFYING second, GLASS third, the
articles smallest. The size hierarchy compresses toward the bottom-right like a
literal magnification. One small vermilion #E63329 circle, no larger than the
height of GLASS, sits at the visual focal point where the lines converge —
slightly off the right-third grid intersection. Deep black #0A0907 type. Swiss
asymmetric grid. Silkscreen, 1970s offset-litho. Restricted palette only.
Aspect ratio: 2:3 portrait.
Avoid: balanced symmetric layout, decorative type, magnifying-glass icon as
illustration, gradients, glow, drop shadows, ornament, extra colors,
infographic feel.

Imagen 4

John Berger Ways of Seeing 1972 declarative poster, Müller-Brockmann Swiss
substrate. Text reads exactly: A DEADLINE IS A MAGNIFYING GLASS. Akzidenz-
Grotesk Bold all caps, broken across four lines left-flush ragged right: "A
DEADLINE / IS A / MAGNIFYING / GLASS." Three sizes — DEADLINE largest,
MAGNIFYING second, GLASS third, articles smallest. Hierarchy compresses
bottom-right like magnification. One small vermilion #E63329 circle, height of
GLASS, at focal point off the right-third grid line. Deep black #0A0907 on
chalk white #F5F2EC. Silkscreen 1970s offset. Restricted palette. Aspect ratio
2:3 portrait.
Avoid: symmetric layout, decorative fonts, illustrated magnifier, gradients,
glow, shadows, ornament, extra colors.

Midjourney v7

Ways of Seeing 1972 declarative typographic poster :: Akzidenz-Grotesk Bold all
caps, text "A DEADLINE IS A MAGNIFYING GLASS." broken four lines left-flush
ragged right :: DEADLINE largest MAGNIFYING second GLASS third articles
smallest :: hierarchy compresses bottom-right :: small vermilion #E63329 circle
at right-third focal point :: deep black #0A0907 on chalk white #F5F2EC ::
silkscreen 1970s offset :: --ar 2:3 --style raw --stylize 350 --no symmetric,
illustrated icon, decorative fonts, gradients, glow, shadows, extra colors

03-PROOF

Nano Banana Pro

A documentary still-life rendering in the style of 1970 NASA Mission Control
field photography, deliberately recomposed as a Swiss modernist tabletop
diagram. Top-down view of an actual collection of objects laid on a chalk-white
surface #F5F2EC: a roll of gray duct tape, one cotton sock, a paperback flight-
manual cover (no readable type), a clear plastic bag, a square cardboard CO2
scrubber cartridge, and a round white plastic adapter port. Objects arranged on
an asymmetric Müller-Brockmann grid, generous negative space lower-left. The
photograph is desaturated to near-monochrome — only one vermilion #E63329
element, a thin chalk arrow drawn on the surface itself pointing from the
square cartridge to the round port. Hard documentary light, no shadow softness,
deep black #0A0907 shadows where they fall. Restricted three-color palette
only.
Aspect ratio: 4:5 portrait.
Avoid: glow, bokeh, color saturation, lens flare, NASA logos, readable
typography on the manual, 3D rendering polish, staged-photoshoot gloss,
multiple colors, watermarks.

Imagen 4

1970 NASA Mission Control field photography style, Swiss modernist tabletop
recomposition. Top-down view, chalk white surface #F5F2EC. Objects: gray duct
tape roll, cotton sock, paperback flight-manual cover (no readable type), clear
plastic bag, square cardboard CO2 scrubber cartridge, round white plastic
adapter port. Asymmetric Müller-Brockmann grid, negative space lower-left.
Near-monochrome desaturated, single vermilion #E63329 element — a thin chalk
arrow on the surface from square cartridge to round port. Hard documentary
light, deep black #0A0907 shadows. Restricted palette. Aspect ratio 4:5.
Avoid: glow, bokeh, saturation, lens flare, logos, readable manual type, 3D
polish, staged gloss, multi-color.

Midjourney v7

1970 NASA Mission Control field still life Swiss modernist tabletop :: top-down
view chalk white #F5F2EC surface :: duct tape roll, cotton sock, paperback
flight manual cover, plastic bag, square CO2 cartridge, round adapter port ::
asymmetric grid negative space lower-left :: near-monochrome, single vermilion
#E63329 chalk arrow from square to round :: hard documentary light, deep black
#0A0907 shadow :: restricted palette :: --ar 4:5 --style raw --stylize 250
--no glow, bokeh, saturation, flare, logos, readable type, 3D polish, gloss

PHASE 2 — THE NEGATIVE SPACE

Spread 04 — WHAT YOU CUT IS THE WORK.

Poster line: WHAT YOU CUT IS THE WORK. Proof artifact: Hemingway, Iceberg Theory, Death in the Afternoon (1932)

04-POSTER

Nano Banana Pro

A typographic poster in the style of Barbara Kruger c. 1985 crossed with John
Berger c. 1972. The text reads exactly: "WHAT YOU CUT IS THE WORK." Set in
Futura Bold Italic, all caps. The line is rendered in deep black #0A0907 on a
chalk-white ground #F5F2EC, but the word "CUT" is physically excised from the
poster — a clean knife-cut rectangle the height of the word, revealing pure
vermilion #E63329 behind it (as if a colored sheet lies beneath). The visible
text reads: "WHAT YOU ███ IS THE WORK." where the slot is the only vermilion in
the image. Composition is asymmetric, text crops off the right edge, weight
pulled to upper-left. The knife-cut has crisp edges, slightly raised paper
shadow on one side, as if cut into card stock. Restricted three-color palette
only. Silkscreen on heavy paper.
Aspect ratio: 2:3 portrait.
Avoid: digital glitch effect, photorealistic torn paper, gradients, glow, color
inside the cut beyond solid vermilion, decorative fonts, symmetric balance,
watermarks, drop shadows beyond the single paper edge.

Imagen 4

Barbara Kruger 1985 / John Berger 1972 typographic poster. Text reads exactly:
WHAT YOU CUT IS THE WORK. Futura Bold Italic all caps, deep black #0A0907 on
chalk white #F5F2EC. The word CUT is physically excised — clean knife-cut
rectangle exposing pure vermilion #E63329 beneath. Visible reads: "WHAT YOU ███
IS THE WORK." Asymmetric, weight upper-left, text crops right edge. Crisp cut
edges, faint paper-raised shadow one side. Silkscreen heavy paper. Restricted
palette. Aspect ratio 2:3 portrait.
Avoid: glitch effect, torn paper photoreal, gradients, glow, decorative fonts,
symmetric balance, extra shadows.

Midjourney v7

Kruger 1985 Berger 1972 typographic poster :: Futura Bold Italic all caps
"WHAT YOU CUT IS THE WORK." :: word CUT physically excised, clean knife-cut
rectangle revealing solid vermilion #E63329 :: visible reads "WHAT YOU ███ IS
THE WORK." :: deep black #0A0907 on chalk white #F5F2EC :: asymmetric upper-
left weight, crops right :: silkscreen heavy paper :: --ar 2:3 --style raw
--stylize 350 --no glitch, torn paper photoreal, gradients, glow, decorative
fonts, symmetric

04-PROOF

Nano Banana Pro

An in-the-style-of rendering of Hemingway's Iceberg Theory as a single
typographic diagram. Chalk-white field #F5F2EC. A horizontal line one-eighth
down from the top, drawn in deep black #0A0907, edge-to-edge — the waterline.
Above the line: the silhouette of an iceberg tip in deep black #0A0907, set as
a triangular shape no taller than one-eighth of the canvas. Below the line:
nothing — pure chalk white #F5F2EC, the dominant seven-eighths of the canvas,
held as visible negative space. The only typography: in Akzidenz-Grotesk light,
small, bottom-right corner, "7/8" in deep black, and beside it, a single
vermilion #E63329 underline the width of the numerals. No iceberg drawn
underwater. The absence is the image. Composition asymmetric, weight pulled
high-left. Restricted three-color palette only. Medium: 1932 letterpress on
heavy uncoated paper, faint impression visible.
Aspect ratio: 4:5 portrait.
Avoid: photoreal iceberg, ocean texture, gradient water, glow, 3D, dramatic
sky, dotted lines suggesting submerged ice, decorative type, balanced
composition.

Imagen 4

Hemingway Iceberg Theory as typographic diagram. Chalk white #F5F2EC field. One
horizontal black #0A0907 line one-eighth from top edge-to-edge — the waterline.
Above: triangular iceberg-tip silhouette deep black #0A0907, no taller than one-
eighth of canvas. Below: pure chalk white #F5F2EC, seven-eighths held as
visible negative space, nothing drawn underwater. Typography: Akzidenz-Grotesk
light, small, bottom-right, "7/8" deep black, beside it a vermilion #E63329
underline width of numerals. Restricted palette. 1932 letterpress on uncoated
paper, faint impression. Aspect ratio 4:5.
Avoid: photoreal iceberg, ocean texture, gradient, glow, 3D, sky, dotted
submerged ice, decorative type, balanced symmetric.

Midjourney v7

Hemingway Iceberg Theory typographic diagram :: chalk white #F5F2EC field, one
horizontal deep black #0A0907 waterline one-eighth from top edge-to-edge ::
above, small triangular iceberg-tip silhouette black #0A0907 :: below, pure
chalk white empty seven-eighths held as negative space :: small Akzidenz-
Grotesk "7/8" bottom-right deep black with vermilion #E63329 underline width of
numerals :: 1932 letterpress on uncoated paper :: --ar 4:5 --style raw
--stylize 250 --no photoreal iceberg, ocean, gradient, glow, 3D, decorative
type, symmetric

Spread 05 — WHITE SPACE IS NOT WAITING.

Poster line: WHITE SPACE IS NOT WAITING. Proof artifact: Massimo Vignelli, NYC Subway Diagram (1972)

05-POSTER

Nano Banana Pro

A typographic poster in the style of Massimo Vignelli c. 1972 crossed with
Müller-Brockmann Swiss modernism. The text reads exactly: "WHITE SPACE IS NOT
WAITING." Set in Helvetica Bold, all caps. The line is placed in the lower-
right quadrant of a chalk-white #F5F2EC canvas, occupying less than one-quarter
of the surface area. The remaining three-quarters of the canvas is empty chalk
white, deliberately held as negative space. One vermilion #E63329 horizontal
bar, one character-height tall, sits at the upper-left corner — far from the
type, doing the work of pulling the eye across the empty field to the text.
Deep black #0A0907 type. Composition radically asymmetric. No grid lines
drawn. The empty space is the subject. Medium: 1972 offset-litho subway poster.
Restricted palette only.
Aspect ratio: 2:3 portrait.
Avoid: filling the negative space with decoration, drop shadows, gradients,
glow, decorative fonts, balanced layout, multiple accent elements, watermarks.

Imagen 4

Massimo Vignelli 1972 / Müller-Brockmann Swiss poster. Text reads exactly:
WHITE SPACE IS NOT WAITING. Helvetica Bold all caps, placed lower-right
quadrant of chalk white #F5F2EC canvas, less than one-quarter of surface area.
Remaining three-quarters held as empty chalk white negative space. One
vermilion #E63329 horizontal bar one-character-height tall in upper-left
corner, far from type, pulling the eye across. Deep black #0A0907 type.
Radically asymmetric, no drawn grid. Empty space is the subject. 1972 offset-
litho subway poster. Restricted palette. Aspect ratio 2:3.
Avoid: filling the empty space, shadows, gradients, glow, decorative fonts,
balanced layout, multiple accents.

Midjourney v7

Vignelli 1972 Müller-Brockmann Swiss poster :: Helvetica Bold all caps "WHITE
SPACE IS NOT WAITING." placed lower-right quadrant of chalk white #F5F2EC ::
remaining three-quarters held empty as negative space :: one vermilion #E63329
horizontal bar character-height in upper-left, far from type :: deep black
#0A0907 type, radically asymmetric :: 1972 offset-litho subway :: --ar 2:3
--style raw --stylize 350 --no fill, shadows, gradients, glow, decorative
fonts, balance, multiple accents

05-PROOF

Nano Banana Pro

An in-the-style-of rendering of Massimo Vignelli's NYC Subway Diagram (1972).
Chalk-white field #F5F2EC. Straight transit lines at strict 45 and 90 degree
angles only, drawn in deep black #0A0907 with one single vermilion #E63329 line
crossing the others — a uniform line weight throughout. Small black dots mark
stations at regular intervals. No street names. No park outlines. No water. No
borough boundaries. The geography has been deliberately erased. The empty white
between the routes is dominant — held visibly as the navigation surface.
Composition asymmetric, the line network skewed toward the right side, the
left third held nearly empty. No legend. No compass rose. Typography minimal:
two or three station labels in Akzidenz-Grotesk small caps, deep black.
Medium: 1972 offset-litho diagram, faint paper grain. Restricted palette only.
Aspect ratio: 4:5 portrait.
Avoid: actual geography of Manhattan, Central Park, Hudson curves, water blue,
park green, decorative compass, photorealism, isometric perspective, glow,
gradient lines, balanced centered network.

Imagen 4

Massimo Vignelli NYC Subway Diagram 1972 homage. Chalk white #F5F2EC field.
Transit lines at strict 45 and 90 degree angles only, deep black #0A0907, with
one single vermilion #E63329 line crossing. Uniform line weight. Small black
dots at stations. No geography — no park, no water, no boroughs. Empty white
between routes dominant, held as navigation surface. Asymmetric, network
skewed right, left third nearly empty. Two or three Akzidenz-Grotesk small caps
station labels deep black. 1972 offset-litho. Restricted palette. Aspect ratio
4:5.
Avoid: real geography, Central Park, Hudson, water blue, park green, compass,
photoreal, isometric, glow, gradient, balanced network.

Midjourney v7

Vignelli 1972 NYC Subway Diagram homage :: chalk white #F5F2EC field, transit
lines strict 45/90 degrees only, deep black #0A0907 lines, one single vermilion
#E63329 line crossing :: uniform line weight, small black station dots :: no
geography, no park, no water, no boroughs :: white between routes dominant
held as navigation :: asymmetric, network right, left third empty :: two or
three Akzidenz-Grotesk small-cap station labels :: 1972 offset-litho :: --ar
4:5 --style raw --stylize 250 --no real geography, park green, water blue,
compass, photoreal, isometric, gradient

Spread 06 — THE GAP IS WHERE THE READER ENTERS.

Poster line: THE GAP IS WHERE THE READER ENTERS. Proof artifact: Lucio Fontana, Concetto Spaziale, Tagli (1958–1968)

06-POSTER

Nano Banana Pro

A typographic poster, Barbara Kruger c. 1985 crossed with Lucio Fontana 1958.
The text reads exactly: "THE GAP IS WHERE THE READER ENTERS." Set in Futura
Bold Italic, all caps, deep black #0A0907 on chalk white #F5F2EC. The line
breaks: "THE GAP / IS WHERE / THE READER / ENTERS." across four left-flush
lines. One single physical slash — a clean vertical knife-cut — runs from top
to bottom of the canvas at the right-third grid line, passing through the
words "WHERE" and "READER" and dividing them. The slash reveals pure vermilion
#E63329 beneath, as if a colored sheet lies behind. The cut has crisp edges
with a faint paper-raised shadow on one side. Composition asymmetric, weight
pulled upper-left. Restricted three-color palette only. Silkscreen on heavy
paper.
Aspect ratio: 2:3 portrait.
Avoid: torn-paper photoreal, glitch effect, multiple slashes, gradients, glow,
decorative type, balanced composition, color inside the slash beyond solid
vermilion, watermarks.

Imagen 4

Kruger 1985 / Fontana 1958 typographic poster. Text reads exactly: THE GAP IS
WHERE THE READER ENTERS. Futura Bold Italic all caps, four left-flush lines:
"THE GAP / IS WHERE / THE READER / ENTERS." Deep black #0A0907 on chalk white
#F5F2EC. One physical vertical knife-cut top to bottom at right-third grid,
passing through WHERE and READER. Cut reveals solid vermilion #E63329. Crisp
edges, faint paper-raised shadow. Asymmetric, weight upper-left. Silkscreen
heavy paper. Restricted palette. Aspect ratio 2:3.
Avoid: torn paper photoreal, glitch, multiple slashes, gradients, glow,
decorative type, balanced layout.

Midjourney v7

Kruger 1985 Fontana 1958 typographic poster :: Futura Bold Italic all caps
"THE GAP IS WHERE THE READER ENTERS." four left-flush lines :: deep black
#0A0907 on chalk white #F5F2EC :: one vertical knife-cut top to bottom at
right-third grid, through WHERE and READER, revealing solid vermilion #E63329
beneath :: crisp edges, faint paper-raised shadow :: asymmetric upper-left
weight :: silkscreen heavy paper :: --ar 2:3 --style raw --stylize 350 --no
torn paper, glitch, multiple slashes, gradients, glow, decorative type

06-PROOF

Nano Banana Pro

An in-the-style-of rendering of Lucio Fontana's Concetto Spaziale, Tagli series
(1958–1968). A single rectangular monochrome canvas, chalk white #F5F2EC,
filling the frame edge-to-edge, no border, no frame. One vertical knife slash
runs through the canvas from one-quarter from the top to three-quarters down —
not edge to edge. The slash is clean, slightly curved at the edges where the
canvas pulls away from itself, revealing a deep black #0A0907 void behind. The
inside of the slash glows the slightest vermilion #E63329 — as if the room
behind the canvas is lit red. The canvas itself shows fine weave texture,
subtle paper or linen grain. No signature, no date, no typography. Composition
asymmetric, slash slightly off-center to the right. Hard gallery light from
upper-left, sharp shadow inside the cut. Restricted three-color palette only.
Medium: photographic documentation of a painted canvas, 1960s.
Aspect ratio: 4:5 portrait.
Avoid: multiple slashes, ornate frame, signature, gallery wall, ambient room,
photorealistic studio gloss, gradient inside the cut, glow effects beyond the
single vermilion reveal, decorative type, balanced symmetric placement.

Imagen 4

Lucio Fontana Concetto Spaziale Tagli 1958–1968 homage. Single rectangular
monochrome canvas chalk white #F5F2EC, edge-to-edge, no frame. One vertical
knife slash from one-quarter top to three-quarters down, not edge to edge.
Clean slash, slightly curved edges where canvas pulls, deep black #0A0907 void
behind. Inside slash glows slightest vermilion #E63329 — as if room behind is
lit red. Fine linen weave texture. No signature. Asymmetric, slash off-center
right. Hard gallery light upper-left, sharp shadow inside cut. Restricted
palette. 1960s canvas photo documentation. Aspect ratio 4:5.
Avoid: multiple slashes, frame, signature, gallery wall context, studio gloss,
gradient inside, glow beyond vermilion reveal, decorative type, symmetric.

Midjourney v7

Lucio Fontana Concetto Spaziale Tagli 1958-68 homage :: single rectangular
chalk white #F5F2EC canvas edge-to-edge no frame :: one vertical knife slash
one-quarter from top to three-quarters down, not edge to edge :: clean cut
slightly curved edges, deep black #0A0907 void behind :: inside slash glows
slightest vermilion #E63329 :: fine linen weave texture :: asymmetric off-
center right :: hard gallery light upper-left, sharp interior shadow ::
1960s canvas documentation :: --ar 4:5 --style raw --stylize 250 --no multiple
slashes, frame, signature, gallery context, gloss, gradient interior, symmetric

PHASE 3 — THE THUMBNAIL

Spread 07 — IF IT DIES ON A POST-IT, IT WAS DEAD.

Poster line: IF IT DIES ON A POST-IT, IT WAS DEAD. Proof artifact: Saul Bass, Psycho shower-scene storyboards (1960)

07-POSTER

Nano Banana Pro

A typographic poster in the style of Tibor Kalman c. 1990 crossed with Saul
Bass c. 1960. The text reads exactly: "IF IT DIES ON A POST-IT, IT WAS DEAD."
Set in Akzidenz-Grotesk Bold, all caps. The line is set inside the outline of
a single square — the shape and proportion of a Post-it note — drawn with a
thin deep black #0A0907 stroke on chalk white #F5F2EC. The square occupies
about 60 percent of the canvas, pushed off-center to the upper-left. The text
is crammed inside the square, line-broken: "IF IT DIES / ON A POST-IT, / IT
WAS DEAD." in deep black #0A0907, just barely fitting. Outside the square,
the chalk-white field is empty except for one single vermilion #E63329
horizontal bar in the lower-right, one character-height tall, like an obituary
rule. Composition asymmetric. Silkscreen, 1960s offset feel. Restricted
palette only.
Aspect ratio: 2:3 portrait.
Avoid: photoreal Post-it with yellow color (the square must be chalk white,
not yellow), shadow under the note, peel curl, decorative fonts, gradients,
glow, balanced composition, multiple Post-its.

Imagen 4

Tibor Kalman 1990 / Saul Bass 1960 typographic poster. Text reads exactly: IF
IT DIES ON A POST-IT, IT WAS DEAD. Akzidenz-Grotesk Bold all caps, inside the
outline of a single square (Post-it proportion) drawn with thin deep black
#0A0907 stroke on chalk white #F5F2EC. Square occupies 60% of canvas, pushed
upper-left. Text crammed inside, line-broken: "IF IT DIES / ON A POST-IT, /
IT WAS DEAD." deep black #0A0907, barely fitting. Outside square: empty chalk
white, one vermilion #E63329 horizontal bar lower-right, character-height tall,
like obituary rule. Asymmetric. Silkscreen 1960s. Restricted palette. Aspect
ratio 2:3.
Avoid: yellow Post-it, shadow under note, peel curl, decorative fonts,
gradients, glow, balanced, multiple notes.

Midjourney v7

Tibor Kalman 1990 Saul Bass 1960 typographic poster :: Akzidenz-Grotesk Bold
all caps "IF IT DIES ON A POST-IT, IT WAS DEAD." inside thin-stroke square
(Post-it proportion) chalk white #F5F2EC NOT yellow, deep black #0A0907 outline
:: text crammed three lines barely fitting :: square 60% canvas upper-left ::
one vermilion #E63329 character-height bar lower-right as obituary rule ::
silkscreen 1960s :: --ar 2:3 --style raw --stylize 350 --no yellow Post-it,
shadow under note, peel curl, decorative fonts, gradients, glow

07-PROOF

Nano Banana Pro

An in-the-style-of rendering of Saul Bass's Psycho shower-scene storyboards
(1960). A precise three-by-four grid of small hand-drawn storyboard panels on
chalk white #F5F2EC ground. Each panel is the size of an index card, deep
black #0A0907 frame outline, drawn with a single stroke weight. Inside each
panel, a stark Saul Bass geometric abstraction of a shower-scene shot — a
silhouette of a showerhead, a foot, a hand raised, a curtain shape, an angled
slash, a tile geometry — never figurative, always reduced to geometric forms.
Drawn in deep black #0A0907 line work, dry 1960 offset-litho line quality, no
gradient. One single panel, near the center of the grid, contains a vermilion
#E63329 vertical slash — the only color in the field. Beneath each panel, a
thin handwritten frame number in Helvetica small caps, deep black. Generous
chalk-white margins around the grid. Composition asymmetric — the grid pushed
slightly upper-left. Restricted three-color palette only. Medium: storyboard
card stack, 1960 production.
Aspect ratio: 4:5 portrait.
Avoid: photorealistic figures, color other than the single vermilion panel,
soft pencil shading, glow, gradient, sketch wobble, modern storyboard
software feel, balanced symmetric grid placement.

Imagen 4

Saul Bass Psycho shower storyboards 1960 homage. Three-by-four grid of small
hand-drawn storyboard panels on chalk white #F5F2EC. Each panel index-card
size, deep black #0A0907 frame, single stroke weight. Inside: Saul Bass
geometric abstractions — showerhead silhouette, foot, raised hand, curtain
shape, angled slash, tile geometry — always reduced. Deep black line work,
dry 1960 offset-litho, no gradient. One panel near center has a vermilion
#E63329 vertical slash, only color in field. Thin Helvetica small-cap frame
numbers beneath each panel, deep black. Generous chalk-white margins. Grid
pushed upper-left. Restricted palette. 1960 storyboard card stack. Aspect
ratio 4:5.
Avoid: photoreal figures, extra color, pencil shading, glow, gradient,
sketch wobble, modern software feel, symmetric.

Midjourney v7

Saul Bass Psycho shower storyboards 1960 homage :: 3x4 grid hand-drawn
storyboard panels on chalk white #F5F2EC :: each panel index-card size, deep
black #0A0907 frame single stroke :: inside, Saul Bass geometric abstractions
showerhead foot hand curtain slash tile :: deep black line, dry 1960 offset-
litho :: one center panel has vermilion #E63329 vertical slash, only color ::
Helvetica small-cap frame numbers beneath each :: chalk white margins ::
grid pushed upper-left :: --ar 4:5 --style raw --stylize 250 --no photoreal
figures, extra color, pencil shading, glow, gradient, wobble, software feel

Spread 08 — A BRAND THAT BREAKS AT 16 PIXELS IS BROKEN.

Poster line: A BRAND THAT BREAKS AT 16 PIXELS IS BROKEN. Proof artifact: Susan Kare, original Macintosh system icons (1983)

08-POSTER

Nano Banana Pro

A typographic poster, Susan Kare 1983 bitmap aesthetic crossed with Müller-
Brockmann Swiss modernism. The text reads exactly: "A BRAND THAT BREAKS AT 16
PIXELS IS BROKEN." Set in deep black #0A0907 on chalk white #F5F2EC. The
phrase appears twice in the composition. First, large, in clean Akzidenz-
Grotesk Bold all caps, upper half of the canvas — the legible version. Second,
directly beneath, the same phrase rendered in a 16-pixel-high bitmap font with
visible pixel grid, severely chunked and barely readable, occupying the lower
half. The two versions are stacked, left-flush, ragged-right. One single
vermilion #E63329 pixel block sits at the corner of one letter in the bitmap
version — a single square of color, like a defect or a marker. No grid lines
drawn. Asymmetric, weight upper-left. Medium: 1983 dot-matrix print on
fanfold paper, but Swiss-poster proportioned. Restricted palette.
Aspect ratio: 2:3 portrait.
Avoid: smooth anti-aliased pixels (the bitmap version must have hard square
edges, no blur), decorative type, gradients, glow, Apple logos, retro chrome,
balanced symmetric layout.

Imagen 4

Susan Kare 1983 bitmap + Müller-Brockmann Swiss poster. Text reads exactly:
A BRAND THAT BREAKS AT 16 PIXELS IS BROKEN. Deep black #0A0907 on chalk white
#F5F2EC. Phrase appears twice: upper half, large Akzidenz-Grotesk Bold all
caps, clean. Lower half, same phrase in 16-pixel-high bitmap font, visible
pixel grid, chunked, barely readable. Stacked left-flush ragged right. One
vermilion #E63329 pixel-block square at corner of one letter in bitmap version.
Asymmetric upper-left weight. 1983 dot-matrix fanfold print, Swiss-poster
proportions. Restricted palette. Aspect ratio 2:3.
Avoid: anti-aliased pixels (must be hard square edges, no blur), decorative
type, gradients, glow, Apple logos, retro chrome, symmetric balance.

Midjourney v7

Susan Kare 1983 bitmap + Müller-Brockmann Swiss poster :: text "A BRAND THAT
BREAKS AT 16 PIXELS IS BROKEN." appears twice :: upper half large Akzidenz-
Grotesk Bold all caps clean :: lower half same phrase in 16-pixel bitmap font,
visible pixel grid hard square edges chunky barely readable :: deep black
#0A0907 on chalk white #F5F2EC :: one vermilion #E63329 pixel block at corner
of one bitmap letter :: asymmetric upper-left :: 1983 dot-matrix fanfold ::
--ar 2:3 --style raw --stylize 350 --no anti-aliasing, blur, decorative
type, gradients, glow, Apple logos, chrome, symmetric

08-PROOF

Nano Banana Pro

An in-the-style-of rendering of Susan Kare's original Macintosh system icons
on graph paper (1983). Top-down view of a sheet of fine-grain blue-line graph
paper — but in this restricted-palette rendering, the graph grid is rendered
in deep black #0A0907 at 25 percent opacity on chalk white #F5F2EC. A precise
32-by-32 pixel grid is drawn in the center of the paper, and inside it, a
single hand-drawn Susan Kare icon — the original trash-can silhouette — has
been pencilled in square-by-square. Each filled pixel is a solid deep black
#0A0907 square exactly one grid unit. Beside the 32-by-32, a smaller 16-by-16
version of the same icon has been drawn, its silhouette barely surviving the
compression. A vermilion #E63329 pencil lies diagonally across the upper-
right corner of the sheet, the only color. Hard top-light, no shadow softness.
Composition asymmetric, paper pushed lower-left. Restricted three-color
palette only. Medium: 1983 graph paper photograph, dry pencil.
Aspect ratio: 4:5 portrait.
Avoid: blue grid lines (graph must be deep-black-on-white per palette), color
icons, photorealistic gloss, soft pencil shading inside the pixels (each
filled square must be solid hard-edged black), glow, multiple pencils,
balanced symmetric placement.

Imagen 4

Susan Kare 1983 Macintosh icons on graph paper homage. Top-down sheet of fine-
grain graph paper, grid rendered in deep black #0A0907 at 25% opacity on
chalk white #F5F2EC. 32×32 pixel grid center, hand-drawn trash-can silhouette
inside, pencilled square-by-square, each filled pixel solid hard-edged deep
black #0A0907 one grid unit. Beside it, 16×16 version of same icon, silhouette
barely surviving compression. Vermilion #E63329 pencil diagonal upper-right
corner, only color. Hard top light. Asymmetric, paper lower-left. Restricted
palette. 1983 graph paper photograph dry pencil. Aspect ratio 4:5.
Avoid: blue grid, color icons, gloss, soft pencil shading inside pixels (must
be hard-edged), glow, multiple pencils, symmetric.

Midjourney v7

Susan Kare 1983 Macintosh icons on graph paper :: top-down graph paper sheet,
grid deep black #0A0907 at 25% opacity on chalk white #F5F2EC :: center 32x32
pixel grid, hand-pencilled trash-can silhouette, each filled pixel solid hard-
edged deep black square :: beside it, 16x16 version of same icon barely
surviving :: one vermilion #E63329 pencil diagonal upper-right corner ::
hard top light, no soft shadow :: asymmetric paper lower-left :: 1983 graph
paper dry pencil :: --ar 4:5 --style raw --stylize 250 --no blue grid, color
icons, gloss, soft pencil shading, glow, symmetric

Spread 09 — COMPRESSION IS THE STRUCTURAL TEST.

Poster line: COMPRESSION IS THE STRUCTURAL TEST. Proof artifact: Marshall McLuhan with Quentin Fiore, The Medium is the Massage (1967)

09-POSTER

Nano Banana Pro

A typographic poster directly in the style of Quentin Fiore / Marshall McLuhan
The Medium is the Massage 1967, with the disruptive-scale typography of that
book. The text reads exactly: "COMPRESSION IS THE STRUCTURAL TEST." Set in
Futura Bold, all caps. The word "COMPRESSION" is set massive — occupying the
entire width of the canvas, bleeding off both left and right edges, deep
black #0A0907 on chalk white #F5F2EC. The remaining words "IS THE STRUCTURAL
TEST." are set tiny beneath, no larger than 8% of the height of COMPRESSION,
left-flush directly under the C of COMPRESSION. The massive word physically
compresses the small line beneath it. One vermilion #E63329 horizontal bar
sits between the two type sizes — one pixel-thin, edge-to-edge across the
canvas. Composition deeply asymmetric, weight is the COMPRESSION word itself.
Medium: 1967 paperback offset, type-as-image. Restricted palette only.
Aspect ratio: 2:3 portrait.
Avoid: book mockup, hands holding pages, decorative fonts, gradients, glow,
balanced composition, multiple bars, photoreal book, drop shadows.

Imagen 4

Quentin Fiore / McLuhan The Medium is the Massage 1967 poster. Text reads
exactly: COMPRESSION IS THE STRUCTURAL TEST. Futura Bold all caps. Word
COMPRESSION set massive, full width, bleeding both edges, deep black #0A0907
on chalk white #F5F2EC. Remaining IS THE STRUCTURAL TEST. set tiny beneath,
no larger than 8% of COMPRESSION height, left-flush under the C. Massive word
compresses the small line. One vermilion #E63329 pixel-thin horizontal bar
between the two sizes, edge-to-edge. Deeply asymmetric, weight in the
COMPRESSION word. 1967 paperback offset, type-as-image. Restricted palette.
Aspect ratio 2:3.
Avoid: book mockup, hands holding pages, decorative fonts, gradients, glow,
balanced, multiple bars, photoreal book, shadows.

Midjourney v7

Quentin Fiore McLuhan Medium is the Massage 1967 poster :: Futura Bold all
caps, text "COMPRESSION IS THE STRUCTURAL TEST." :: COMPRESSION massive full
width bleeding both edges deep black #0A0907 on chalk white #F5F2EC ::
remaining "IS THE STRUCTURAL TEST." tiny beneath, 8% of COMPRESSION height,
left-flush under C :: one vermilion #E63329 pixel-thin horizontal bar between
sizes edge-to-edge :: deeply asymmetric, weight in COMPRESSION :: 1967
paperback offset type-as-image :: --ar 2:3 --style raw --stylize 350 --no
book mockup, hands, decorative fonts, gradients, glow, balanced, photoreal,
shadows

09-PROOF

Nano Banana Pro

An in-the-style-of rendering of Marshall McLuhan with Quentin Fiore's
The Medium is the Massage (1967) interior-spread aesthetic. A double-page
spread shown flat, top-down, on chalk white #F5F2EC field. Left page: a
single high-contrast deep black #0A0907 photograph (silkscreen halftone
treatment, no grayscale) of a human eye looking sideways, cropped at the
brow and cheek, bleeding off the top of the page. Right page: the type-as-
image treatment of Fiore — the word "MASSAGE" set in massive Futura Bold
all caps, deep black #0A0907, the M of MASSAGE bleeding off the bottom
edge. Between the two pages: a thin vermilion #E63329 vertical gutter line,
the only color in the spread. The pages have visible 1967 paperback grain.
Composition asymmetric, the gutter slightly off-center to the right.
Restricted three-color palette only. Medium: 1967 paperback offset.
Aspect ratio: 4:5 portrait.
Avoid: full grayscale photograph (must be hard halftone black-and-white only),
decorative type, gradient, glow, book-cover mockup, hands holding, modern
ebook feel, balanced symmetric layout, multiple accent colors.

Imagen 4

Marshall McLuhan Quentin Fiore Medium is the Massage 1967 interior spread.
Double-page spread flat top-down on chalk white #F5F2EC. Left page: high-
contrast deep black #0A0907 silkscreen-halftone photograph (no grayscale) of
a human eye sideways, cropped brow and cheek, bleeding off top. Right page:
word MASSAGE in massive Futura Bold all caps deep black, M bleeding off
bottom. Between pages: thin vermilion #E63329 vertical gutter line, only
color. 1967 paperback grain. Asymmetric, gutter off-center right. Restricted
palette. 1967 paperback offset. Aspect ratio 4:5.
Avoid: grayscale photograph (must be hard halftone), decorative type,
gradient, glow, cover mockup, hands, modern ebook, symmetric, extra colors.

Midjourney v7

McLuhan Fiore Medium is the Massage 1967 interior spread :: double page flat
top-down on chalk white #F5F2EC :: left page high-contrast deep black #0A0907
silkscreen halftone photograph of human eye sideways cropped brow and cheek
bleeding top :: right page massive Futura Bold "MASSAGE" all caps deep black,
M bleeding bottom :: thin vermilion #E63329 vertical gutter line between
pages, only color :: 1967 paperback grain :: asymmetric gutter off-center
right :: --ar 4:5 --style raw --stylize 250 --no grayscale photo, decorative
type, gradient, glow, cover mockup, hands, ebook feel, symmetric

AMBIENT / TEXTURE — one per phase (3 total)

These are subtle, low-contrast background surfaces. Use as section-opener pages, transition pages, or muted backdrops behind body copy. Restricted palette, accent used only as a faint signal.

AMBIENT A — Phase 1: THE BOX

Concept: Concrete-wall surface with a single beam of light cutting diagonally — the flashlight metaphor as texture.

Nano Banana Pro

A brutalist concrete-wall surface, photographed flat and head-on, in the style
of Rem Koolhaas / Bruce Mau S, M, L, XL 1995 endpapers. The concrete is
rendered in chalk white #F5F2EC with fine pores, hairline cracks, and visible
form-tie marks (small recessed circles) on an asymmetric Swiss grid. Across
the surface, a single diagonal beam of slightly brighter chalk white runs
from upper-left to lower-right at 30 degrees off horizontal — not a glow, just
a flat lighter rectangle as if light is hitting one band of wall. Deep black
#0A0907 used only for the deepest shadow areas in the form-tie recesses. One
single vermilion #E63329 chalk mark — a small X — sits in the lower-left
corner, the only color, almost ignorable. Composition asymmetric.
Restricted palette. Low contrast overall — this is a backdrop.
Aspect ratio: 16:9 landscape.
Avoid: dramatic lighting, lens flare, photorealistic depth-of-field, painterly
texture, color saturation, multiple chalk marks, decorative type, balanced
composition.

Imagen 4

Brutalist concrete wall, flat head-on, Koolhaas / Mau S,M,L,XL 1995 endpaper
style. Chalk white #F5F2EC concrete, fine pores, hairline cracks, form-tie
mark recesses on asymmetric Swiss grid. Single diagonal lighter band upper-
left to lower-right at 30 degrees — flat rectangle, no glow, suggesting
light hitting a band. Deep black #0A0907 only in deepest form-tie shadow.
One vermilion #E63329 small chalk X lower-left corner, only color, almost
ignorable. Low contrast, backdrop register. Restricted palette. Aspect
ratio 16:9.
Avoid: dramatic lighting, flare, DoF, painterly, saturation, multiple marks,
type, balanced.

Midjourney v7

Koolhaas Mau S,M,L,XL 1995 endpaper :: brutalist concrete wall flat head-on
:: chalk white #F5F2EC, fine pores hairline cracks form-tie recesses
asymmetric Swiss grid :: single diagonal lighter band 30 degrees upper-left
to lower-right, flat rectangle no glow :: deep black #0A0907 only in deepest
recesses :: one vermilion #E63329 small chalk X lower-left, almost ignorable
:: low contrast backdrop :: --ar 16:9 --style raw --stylize 200 --no dramatic
light, flare, DoF, painterly, saturation, balanced

AMBIENT B — Phase 2: THE NEGATIVE SPACE

Concept: Mostly empty chalk-white field with one Fontana slash and a small obituary rule — silence as surface.

Nano Banana Pro

An ambient texture surface: a chalk-white #F5F2EC field, photographed flat,
showing faint cold-press paper grain and a single horizontal silkscreen
halftone band running across the lower fifth of the canvas — the band is a
graded halftone of deep black #0A0907 dots, fading from upper-edge dense to
lower-edge sparse, occupying only a thin horizontal strip. Above the band,
pure chalk white, deliberately held empty as 80 percent of the surface. One
vermilion #E63329 short horizontal bar, no longer than 8 percent of the
canvas width, sits at the right-third grid intersection, mid-canvas — far
from the halftone band — as a quiet eye-anchor. Low contrast. Composition
asymmetric, weight low-right via the halftone. Restricted palette.
Medium: 1972 offset-litho on uncoated paper. Aspect ratio: 16:9 landscape.
Avoid: filling the empty space, decorative texture, multiple bars,
saturation, gradients beyond the halftone strip, glow, balanced composition,
type, photorealistic paper close-up.

Imagen 4

Ambient backdrop. Chalk white #F5F2EC field flat, faint cold-press paper
grain. One horizontal silkscreen halftone band across lower fifth — graded
halftone deep black #0A0907 dots, dense upper-edge fading to sparse lower-
edge, thin horizontal strip only. Above: pure chalk white, 80% surface held
empty. One vermilion #E63329 short horizontal bar at right-third grid mid-
canvas, 8% canvas width, far from halftone. Low contrast. Asymmetric, weight
low-right. Restricted palette. 1972 offset-litho uncoated paper. Aspect
ratio 16:9.
Avoid: filling empty space, decorative texture, multiple bars, saturation,
gradient beyond strip, glow, balanced, type, paper close-up.

Midjourney v7

Ambient backdrop chalk white #F5F2EC field flat, faint cold-press paper grain
:: one horizontal silkscreen halftone band lower fifth, graded deep black
#0A0907 dots dense fading to sparse, thin strip only :: 80% surface empty
above :: one vermilion #E63329 short horizontal bar right-third grid mid-
canvas 8% width, far from band :: low contrast, asymmetric low-right weight
:: 1972 offset-litho uncoated paper :: --ar 16:9 --style raw --stylize 200
--no fill empty, decorative texture, multiple bars, saturation, gradient,
glow, balanced, type

AMBIENT C — Phase 3: THE THUMBNAIL

Concept: Pixel-grain backdrop — fine bitmap texture, the screen that’s still legible at 16 pixels.

Nano Banana Pro

An ambient texture surface in the style of Susan Kare 1983 bitmap aesthetic.
Fine pixel-grid texture covering the entire canvas — a 96-by-54 grid (matching
16:9 proportion), each cell either pure chalk white #F5F2EC or pure deep
black #0A0907, with about 12 percent of cells filled black in a deliberately
non-random pattern that suggests a low-resolution photograph of a face or an
icon-silhouette, but never resolves into an actual image. The pattern is hard-
edged, no anti-aliasing, no blur. One single vermilion #E63329 pixel block —
exactly one cell of the grid — sits at the right-third grid intersection. Low
overall contrast (most cells are chalk white). Composition asymmetric. Medium:
1983 CRT screen photograph, hard pixels. Restricted palette.
Aspect ratio: 16:9 landscape.
Avoid: anti-aliased pixels, blur, scan-line glow, CRT phosphor color cast,
gradient, decorative type, recognizable image content, balanced symmetric
distribution, multiple accent pixels.

Imagen 4

Ambient backdrop. Susan Kare 1983 bitmap aesthetic. Fine pixel grid full
canvas, 96×54 cells matching 16:9. Each cell pure chalk white #F5F2EC or
pure deep black #0A0907, 12% cells filled black in non-random pattern
suggesting low-res face or icon silhouette but never resolving. Hard edges,
no anti-aliasing, no blur. One vermilion #E63329 pixel block, one cell only,
at right-third grid intersection. Low contrast (mostly white). Asymmetric.
1983 CRT screen photo hard pixels. Restricted palette. Aspect ratio 16:9.
Avoid: anti-aliasing, blur, scanline glow, CRT phosphor cast, gradient, type,
recognizable image, symmetric distribution, multiple accents.

Midjourney v7

Susan Kare 1983 bitmap ambient :: fine pixel grid full canvas 96x54 cells
16:9 :: each cell pure chalk white #F5F2EC or pure deep black #0A0907 ::
12% cells filled black non-random pattern suggesting low-res face or icon
silhouette never resolving :: hard edges no anti-aliasing :: one vermilion
#E63329 pixel block single cell at right-third grid :: low contrast mostly
white :: asymmetric :: 1983 CRT screen hard pixels :: --ar 16:9 --style raw
--stylize 200 --no anti-aliasing, blur, scanline, phosphor, gradient, type,
recognizable image, symmetric, multiple accents

Usage notes (operational)

Generation order: Posters first (they set the typographic identity), then Proofs (which slot in adjacent), then Ambient (which only needs three files total).
A/B method: Generate all 9 Posters in Nano Banana Pro first. Pick the one that lands strongest. Re-render the other 8 in whichever model produced the best one. Do the same exercise for Proofs separately.
Palette swap: If you want to try Coca-Cola Red (#F40009) instead of Kruger vermilion (#E63329), do a global find-and-replace on the hex codes in prompts.json and regenerate. The accent name field in prompts.json is the swap-toggle.
Verbatim text check: After generation, verify the Poster line text in each image character-by-character. If a model drops a comma or changes a word, retry with the line wrapped in single-quotes inside the prompt.
Aspect ratios: Posters at 2:3 portrait. Proofs at 4:5 portrait. Ambient at 16:9 landscape. Do not change without re-balancing the composition language inside the prompt.

End of prompts. v0.1.