Cut From the Picture
Three stacked words knocked out of a photograph, filled with the picture's own colour, above the strip of image they were cut from. Three fields.
Two runs of the same template. A photograph with words cut from it beside a dawn bridge packed with runners, RUN / THE / BRIDGE knocked out where the sunrise breaks — the cut is the constant, the picture underneath is not.
Generated from this template with the fields shown above — every letter is filled with the picture's own light trails, indigo through the upper line and coral across the lower, edges razor sharp with no stroke or glow, and the photograph continues in the strip beneath. Run-to-run quirks: the split runs closer to sixty-forty than seventy-thirty, and the fill can repeat rather than continue the image exactly. The knockout fill, the sharp edges and the type-above-picture-below structure hold every time.
Generated for this library
Input
Subject Vibary's launch poster
Picture a long-exposure night shot of a screen mid-render,
indigo and coral light trails smearing across dark
glass, sharpest streaks just below centre
Words MAKE / IT / MOVE
Returned 1 poster · 2:3 · type above, picture below
split the upper seventy percent is the type block, the lower
thirty percent is the photograph itself
words MAKE over IT over MOVE, enormous heavy caps, centred,
tracking tightened, lines packed close
fill every letter filled with the picture's own light
trails - indigo through the M, coral across the O,
dark glass in the counters
edges razor sharp, no stroke, no glow, no blur; only the
fill separates letter from ground
strip the photograph's brightest streaks sitting directly
beneath the type, continuing where the letters end
nothing no logo, no date, no rule, no extra textYou fill in 3 fields — the braced lines at the top. Everything below them is fixed.
- 1The subject
- 2The picture
- 3The three words
Cut From the Picture
Produce ONE image: a poster where three stacked words are knocked out of a photograph. Follow every line below. Replace only the FIELDS block; everything after it is fixed.
First — do you have the fields?
If any field below still has braces around it, stop and ask. Put all the questions in one short message, and show the example under each one so they can see the shape of a useful answer. Wait for the replies, then draw. Never fill a brace yourself: a value you invented is a value nobody asked for, and it will look exactly as considered as the ones they did give you.
Ask in whatever language they are writing to you in. Translate the questions and the examples; do not make someone read English to tell you what they want.
The examples are only examples. If someone answers a question, use their answer; never fall back to the example because you prefer it.
If the fields are already filled in, ignore this and carry on.
Fields — replace these three lines only
- The subject: {what this poster is for} e.g. Vibary's launch poster
- The picture: {the photograph or illustration, its colours, and where its most colourful area sits} e.g. a long-exposure night shot of a screen mid-render, indigo and coral light trails smearing across dark glass, the sharpest streaks gathered just below centre
- The three words: {three short words, one per line} e.g. MAKE / IT / MOVE
The split
- Portrait 2:3.
- The upper seventy percent is the type block. The lower thirty percent shows the picture itself.
- The picture is composed so its strongest, most colourful, most textured region sits in that lower strip — directly beneath the type.
The words
- Three lines, one word each, centred and stacked tightly.
- Very large, very heavy sans, all caps, with tightened letterspacing and close line spacing, so the three lines read as one solid block of mass.
The fill — the whole point
- The letters are not a solid colour. They are filled with the picture's own colours and textures, taken from the corresponding region of the same image, as though the words had been cut straight out of the photograph.
- The fill must vary across the block: different letters catch different parts of the image, so colour and texture shift as the eye moves across a word.
- Letter edges are razor sharp. No stroke, no outline, no glow, no shadow, no blur. The boundary between letter and ground is created only by the difference in fill.
The picture
- Photographic or richly illustrated, with real tonal and colour variation.
- Visually strong enough to carry a poster on its own.
- Its lower strip continues seamlessly from where the letters end, so the type reads as having been lifted out of the image directly above it.
Every part must
- ✓ take its fill from the picture, never from a flat colour
- ✓ hold the seventy-thirty split
- ✓ stay sharp-edged
- ✓ read instantly despite the busy fill
- ✓ keep the picture's focus beneath the type
Never
- ✕ solid-coloured, outlined or glowing letters
- ✕ a blur, a soft edge or a drop shadow on the type
- ✕ a fill unrelated to the picture below
- ✕ a flat, dark or low-contrast image that gives the letters nothing to show
- ✕ a logo, a date, a rule or any fourth line of text
The result
A poster where the title and the photograph are the same object: three words carrying the image inside them, sitting directly above the strip they were cut from.
The whole template, in one piece. The steps below are the entire workflow.
How to use it
- Copy the whole template with the button above.
- Replace the three FIELDS lines. Say where the picture's most colourful region sits; that is what the letters will be cut from.
- Paste it into any image-capable agent or model, in one message. One run returns the poster.
- Swap only the picture to reskin the whole thing — the same three words look completely different cut from a different photograph.
What you swap
- The subject
- Vibary's launch poster
- The picture
- a long-exposure night shot of a screen mid-render, indigo and coral light trails smearing across dark glass, the sharpest streaks gathered just below centre
- The three words
- MAKE / IT / MOVE
Before it runs
- A picture with real colour variation. Filling letters from a flat or dark image gives you three grey blocks.
- Three short words. They stack tight and set enormous, so anything long breaks the block.
- A described focal area low in the frame — the letters need the busiest part of the picture sitting underneath them.
When to reach for it
Gig posters, exhibition announcements, anything where a strong image and a short title need to become one object instead of a picture with a caption on it.
What changes
- A finished 2:3 poster split seventy-thirty: type above, the photograph itself below.
- The three words are filled with the picture's own colours and textures, as though sliced straight out of it.
- Letter edges stay razor sharp with no stroke, glow or blur — only the fill tells you where a letter ends.
- The image below is composed so its most colourful area sits directly under the type, giving the letters something worth showing.
- Nothing else appears: no logo, no date, no rule. The image and the word are one thing.
Pairs with
- Every Letter a ThingOne word where no two letters are made of the same stuff — one is glass, one is a shell, one is a fish — floating over a road that runs to the horizon. Five fields.
- Four Cards, One PersonOne person sits in a bare studio while four frosted-glass cards hover around them — intro, skills, contact, link — with their title set enormous behind their shoulders. Six fields.
- Four Quarters, One CrossOne flat colour, two hairlines crossing, a bright square at the intersection, and four corners each doing exactly one job. Six fields.