The Pulled Folder

The Pulled Folder

Produce ONE image: a layered paper collage built on a kraft folder. 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 six lines only

• The subject: {what this cover is for} e.g. Vibary's homepage first screen
• The folder label: {a name, a date range, a short description} e.g. VIBARY · 2024–2026 · interface motion, collected
• The bracketed line: {a short slogan, in brackets} e.g. (FROM PROMPT TO MOTION)
• The main copy: {one or two sentences, in caps} e.g. HERE YOU'LL FIND WORKING MOTION AND THE REASONING BEHIND EVERY SINGLE PATTERN
• The photos: {two or three illustrations, described flatly} e.g. one polaroid of a flat hand-drawn easing curve on graph paper, one of a play wedge mid-flight leaving a dotted trail
• The corner prompt: {a short call to action} e.g. explore →

The composition

• Portrait 4:5, with the stack sitting centred and low in the frame, layered front to back.
• Soft diffuse light from above and slightly to one side. Every layer casts a shallow, soft shadow onto the layer beneath it — this is what sells the whole thing as physical.
• All materials are photographic paper stock, not illustration.

The folder

• A worn kraft-board document folder occupying about sixty percent of the frame, in the lower portion.
• Drawn half-pulled-open, so its upper section is offset from its lower and the inner sheets are partly visible.
• Rough, frayed board edges with visible pulp grain, natural crease lines, and light wear at the corners.
• Low-saturation brown.

The label

• Upper left of the folder: a cream sticker with stamp-perforated edges.
• It carries the label text in small sans, with a slight typewriter-style misregistration so the impression looks mechanical rather than digital.

The card

• One horizontal white card lies across the folder, higher in the stack.
• The paper is genuinely creased: wrinkle texture, visible fibre, and at least one naturally curled edge.
• The main copy sits on it, large, bold sans, right-aligned, in pure black.
• The bracketed line sits centred above the copy in a small light weight, also black.

The photos

• Two or three square polaroid-style prints tipped across the card and the folder at loose, uneven angles.
• Each has a thin white border, visible print thickness, and its own soft shadow.
• Inside each is a flat hand-drawn illustration in soft, low-saturation colour — quiet enough that it never competes with the copy.

The corner prompt

• Lower right of the frame: the prompt text in a small handwritten script, with a simple arrow beside it.

Every part must

• ✓ read as real paper with real thickness
• ✓ cast a soft shadow onto whatever is beneath it
• ✓ sit at its own loose angle — nothing squared up
• ✓ keep the illustrations flat and quiet
• ✓ leave the copy as the most readable thing in the frame

Never

• ✕ flat vector paper with no texture or shadow
• ✕ photographs inside the polaroids instead of drawings
• ✕ everything aligned neatly or laid out on a grid
• ✕ saturated colour, neon, or a coloured background
• ✕ a fourth photo or a second card
• ✕ text beyond the label, bracket, copy and corner prompt

The result

An opening screen that looks like someone pulled a folder out of a drawer, laid a card on top of it and scattered a couple of prints across — with the copy set big enough that you read it before you notice how carefully the mess was arranged.