One Curve to the Product

One Curve to the Product

Produce ONE image: a warm vertical lifestyle poster. 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 eight lines only

• The subject and scene: {who, doing what, where, in what light} e.g. a young designer mid-stride on a sunlit studio street, laptop open in one hand, the other arm swinging out, autumn light and long shadows
• The product: {the thing being sold, described to be photographed} e.g. a Vibary sticker pack in a kraft sleeve, the play wedge printed on the front, standing beside an open laptop
• The title couplet: {two balanced halves} e.g. Describe it in the morning / ship it by the afternoon
• The two motif words: {one word per half, and what sits in it} e.g. "describe" carries a small cursor arrow in its stroke, "ship" carries a small play wedge
• The subtitle: {a short line for beside the product} e.g. vibe coding, in your pocket
• The brand mark: {the name, upper right} e.g. VIBARY, upper right
• The footer: {hashtags · issue number} e.g. left: #vibecoding #designedbydescribing — right: Vol.07
• The doodles: {three or four small drawn things} e.g. a cursor arrow trailing sparks, a tiny easing curve, one small cat peeking from behind the product

The page

• Vertical 2:3. Bright and airy throughout: soft diffused daylight, no hard shadows, nothing dim.
• Two materials, held apart: the scene and the product are photographic, with real light and real depth; every decoration is hand-drawn in a rounded line at 30–50% opacity. Neither imitates the other.
• The scene occupies roughly the upper two thirds; the background falls gently out of focus behind the figure.

The path law

This is the rule the poster lives by.

One cream-coloured curve, drawn in a single smooth stroke, carries the eye from the subject to the product:

• It starts at the gesture — the swinging hand, the trailing foot, the reach — never at a random corner.
• It ends at the product, and stops there. The product is the terminus.
• It never closes. No loop, no circle, no return to the start. A closed path sends the eye around again and it never lands, which for a poster selling something is the one failure that matters.
• It never crosses itself, never passes behind the figure, and nothing is laid on top of it.

Read the finished poster by following the curve with a finger. If the finger arrives at the product and has nowhere further to go, the poster works.

The title

• The couplet across the upper area, its two halves stacked and balanced, set in a soft rounded handwritten face — generous, warm, no sharp corners anywhere.
• Exactly two words carry a motif, one in each half: a small drawn object living inside a stroke of the letterform, coloured, sized to sit within the stroke rather than beside it.
• Both motifs come from the product's own world. A motif borrowed from a general decoration set — a heart, a star, a sparkle with no relation to the thing — breaks the poster's only claim to being about this product.

The product

• Lower area, photographed in the same light as the scene, at a size that reads without squinting.
• Its subtitle sits beside it in the same handwritten face, clearly smaller than the title.
• The brand mark sits in the upper right, small and quiet — the poster's least important text, because the picture is doing the work.

The doodles

• Three or four, no more. Rounded line drawings, white or pale filled, at 30–50% opacity.
• Every one of them belongs to the product's world or the season's.
• None of them may touch the curve or overlap the product, the face, or the title's letterforms.

The footer

Across the base: the hashtags at the left, the issue number at the right, both in the smallest size on the page. The size ladder is title, then subtitle, then footer — clearly stepped, never adjacent.

Never

• ✕ a closed or looping guide curve, or more than one curve
• ✕ hard shadows, harsh contrast, a dim or moody grade
• ✕ decoration drawn to look photographic, or a product illustrated rather than photographed
• ✕ a doodle sitting on the curve, the product or a face
• ✕ a third text block, a price, a QR code, a starburst
• ✕ more than two motif words, or a motif from outside the product's world

The result

A poster that feels like an afternoon and works like an advertisement: the eye enters at a person, travels one drawn line, and stops on the thing you are selling — with a number in the corner so the next one belongs beside it.