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Photo Type Overlay Poster

A photograph with type laid over it — held to one typeface, three sizes fixed by ratio, and one accent, so the poster reads as designed rather than assembled. Five fields.

graphicspostertypographyimage-promptminutes
ExamplesOne face · three sizes · one accent · nothing in the busy part
Vibary
Harbour Row

We made two examples: a street scene, and a harbour with a boat pulled up on the slip. In the harbour poster the rule holds: one type family, three sizes, yellow only on the tag line, and the headline placed in the pale sky. One thing to watch: the boat carries the registration PZ 682 on its bow, which was not in the fields. A photograph brings its own text whether you ask for it or not, so check for it.

One grotesque typeface across the whole poster. The headline goes in the quietest part of the photo, here the dark empty paving, and the four small lines align in pairs at the top and bottom. The size ratio is not always exact: here the tag line came out near half the headline's size instead of a quarter, so there are three sizes but not at 8 : 2 : 1.

Generated for this library

Input
  Photo    a narrow old shopping street at golden hour, seen
           down its length - trees left, lit shopfronts
           right, walkers small in the distance
  Headline CITY WALK
  Support  top left URBAN WALK SERIES · top right 2026.08 /
           NO.03 · under the headline STREET · LIGHT · MEMORY
           · bottom left WANDER. OBSERVE. REMEMBER. · bottom
           right CITY VISUAL PROJECT
  Family   a neutral grotesque - bold headline, regular rest
  Colour   white type - one line in signal orange

Returned   1 poster · 2:3 · full-bleed photograph

faces     one, throughout - no script, no serif, no second
          display face anywhere on the sheet
sizes     three - the headline, the tag line, and everything
          else, at 8 : 2 : 1
accent    orange on the tag line only; all other type white
placed    headline across the pale sky between the trees and
          the rooflines, where the photograph is quietest
edges     the small lines held on one margin, aligned to each
          other across the sheet
SKILL.mdthe whole thing, as you would paste it© vibary.ai

You fill in 5 fields — the braced lines at the top. Everything below them is fixed.

  1. 1The photograph
  2. 2The headline
  3. 3The supporting lines, and where each goes
  4. 4The family, and the two weights
  5. 5The neutral, and the one accent

Photo Type Overlay Poster

What this makes

A photograph with type laid over it — held to one typeface, three sizes fixed by ratio, and one accent, so the poster reads as designed rather than assembled. Five fields.

The whole template, in one piece. The steps below are the entire workflow.

How to use it

  1. Copy the whole template with the button above.
  2. Replace the five FIELDS lines. Keep the supporting lines to five or fewer, and say where each goes.
  3. Paste it into any image-capable agent or model, in one message. One run returns the poster.
  4. Count the typefaces before shipping. If a script or a serif has appeared alongside the sans, the system broke.

What you swap

The photograph
a narrow old shopping street at golden hour, seen down its length — trees on the left, awnings and lit shopfronts on the right, walkers small in the distance
The headline
CITY WALK
The supporting lines, and where each goes
top left URBAN WALK SERIES · top right 2026.08 / NO.03 · under the headline STREET · LIGHT · MEMORY · bottom left WANDER. OBSERVE. REMEMBER. · bottom right CITY VISUAL PROJECT
The family, and the two weights
a neutral grotesque — bold for the headline, regular for everything else
The neutral, and the one accent
white for all type — one line in signal orange, the tag line under the headline

Before it runs

  • A photograph with somewhere quiet in it. Type needs a low-detail region to sit in, and a photo that is busy edge to edge gives it nowhere.
  • Fewer lines than you think. Six pieces of information at three sizes is a system; ten is a noticeboard.
  • One family with a real weight range. A face with only one weight cannot build a hierarchy without changing size, and size is already spoken for.

When to reach for it

Exhibitions, city campaigns, festival programmes, editorial covers — anywhere a good photograph has to carry information. Templates in this style return six typefaces on one sheet: a heavy gothic headline, a condensed subhead, capsules in a light sans, a high-contrast italic script, and a footer in something else again.

What changes

  • One full-bleed photograph with a complete type system laid over it.
  • Every word from one family, varying only by weight and width — no script, no second display face.
  • Exactly three sizes, set by ratio rather than by eye, so the hierarchy is decided rather than negotiated.
  • One accent colour on one line, with everything else in a single neutral.
  • Type placed in the photograph's quiet regions, and never over its busiest passage.

Pairs with