Punched Through the Page

Punched Through the Page

Produce ONE image: a two-block poster with something breaking out through the surface of the paper. Follow every line. 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 six lines only

• The thing coming through: {what it is, and which end is nearest} e.g. a hand punching forward through the sheet, knuckles nearest, holding a small bright screen
• The title, in dry brush: {two or three words} e.g. Go Build
• The three lines beneath it: {categories · a sentence · a line of English} e.g. PATTERNS / MOTION / PALETTES · Everything you liked, kept where you can find it again. · vibary.ai — the vibe library for people who build with AI
• The mark, and the line down the right: {a name, and a short line} e.g. VIBARY · the vibe library — open season
• The lower block colour: {one deep saturated colour} e.g. deep indigo
• The ghost word: {one word} e.g. LIBRARY

The breakthrough law

Everything else here is layout. This is the poster.

Torn flaps must cross in front of the object. At least two — lying over its base, its side, its wrist, whatever it has. The paper is a surface the thing passed *through*, so the near half of that surface is between the viewer and the thing. If every scrap of paper sits behind the object, the object is a sticker and the hole is a crater it happens to be standing in. This is the single failure this style has, and it is invisible until looked for.

The object must narrow behind its widest point. Flaps can only lie *across* something, so the thing coming through needs a neck, a wrist, a shaft, a stem — a narrower part behind the wide end for the torn paper to rest on. A fist punched straight at the viewer fills its own hole edge to edge and leaves the paper nowhere to fall: the run is well drawn and the law still fails, because the subject made it impossible. The same hand with its wrist showing works immediately. This is decided in the field, not rescued in the drawing.

The hole is the object's shape plus a hand's width. Not a big ragged star with something small in the middle. A hole much wider than what came through it reads as damage rather than as passage — the shape of the tear is the evidence of what made it.

Black in the gap. Where the hole is not filled by the object, what shows is dark and flat, not the background colour. That is what gives the sheet a behind.

Depth

The object is foreshortened. Its nearest part is drawn largest and overlaps the rest of it — knuckles over forearm, nib over barrel, prow over hull. Behind that near end the object narrows back toward the hole. A subject drawn in a neutral three-quarter view with no part reaching forward has nothing coming at anyone, and no amount of debris will supply it.

Fragments

• One origin. Every piece travels outward along a line from the centre of the hole. None drift back inward, none sit still.
• Nearest is largest and simplest. The pieces closest to the viewer are big and drawn with almost no interior detail; the far ones are small and may carry the paper's own markings. Fragments all one size are a decorative ring, not an impact.
• Drawn in the same comic idiom as the object: light grey fill, heavy black outline, a few short speed strokes near the hole only.

The layout

• Upper field, about 55% of the height: white. The mark sits upper left. A short vertical line runs down the right margin in the lower block's colour, set in a serif at small size.
• The seam: a sharp inverted-V, point upward, in two clean grey strokes of different weights. The burst may overlap it; nothing else may.
• Lower block: the field colour, flat and deep.
• The ghost word set enormous and low in opacity, running vertically, once in each field. It is background — if it competes with anything, it is too strong.

The type

Four steps, centred, each clearly smaller than the last:

1. 1The title in dry brush, white, with the stroke breaking up at the ends. Largest thing on the page.
2. 2The category line, small sans, separated by slashes.
3. 3The sentence, smaller.
4. 4The English line, smallest, at reduced opacity.

Never

• ✕ an object with no torn paper in front of it
• ✕ a hole significantly wider than the thing that came through it
• ✕ fragments of equal size, or any pointing back toward the hole
• ✕ a gradient in either field, or a soft-edged seam
• ✕ a drop shadow under the object — the flaps do that job
• ✕ a second saturated colour in the lower block
• ✕ any text inside the upper field except the mark and the vertical line

The result

A poster that reads as an event: a surface with a hole in it the shape of the thing that made it, something reaching out past the paper toward the viewer, and a title heavy enough to land underneath.