henrygarner/hero-image-prompt.txt

## hero-image-prompt.txt
HERO IMAGE PROMPT: "New vocabulary for an old problem"

STYLE: Risograph print aesthetic. The image should look like it was printed on a Riso duplicator: slightly grainy ink on textured off-white paper, with the characteristic soy-based ink look where colours are vibrant but slightly translucent. Where two colour layers overlap they create a rich third colour. Visible drum texture and slight ink pooling. Bold, confident, graphic. Saul Bass compositional sensibility meets Japanese risograph zine culture. Flat shapes only, no perspective, no shadows, no shading.

FORMAT: Square (1:1 aspect ratio). A thick warm off-white border frames the image. Elements break out of the frame and bleed into the border.

COLOUR PALETTE: Three-colour risograph print. Use three ink colours only, plus the paper showing through as a fourth tone. Suggested combinations (pick one):
- Midnight blue, fluorescent orange, sage green on cream paper
- Burgundy, gold ochre, teal on warm white paper
- Forest green, coral pink, slate blue on ivory paper
Where any two colours overprint, they create darker combined tones. This natural colour mixing from the overprint should be visible and celebrated, not hidden.

COMPOSITION: A single cohesive scene that layers two views of the same landscape on top of each other, as though two transparencies have been laid one over the other on a lightbox.

LAYER ONE — THE SURVEY MAP: Printed in one ink colour. A topographic contour map seen from above: concentric contour lines (fine lines, not fills) describing a range of hills. Dotted paths cross the landscape. Patches of flat colour indicate forest. Small waypoint dots mark features. The map fills the full image and reads as elegant, hand-drawn cartography.

LAYER TWO — THE CROSS-SECTION: Printed in a second ink colour, overlaid on top of the map. A side-on geological cross-section showing the same hills in profile. The hills have soft, rounded, organic silhouettes, not angular or pyramidal. They are rendered as simple bold shapes. Below a ground line, the crustal root extends downward as a large inverted form, lighter in tone. The surrounding material is darker and denser. The root is significantly larger than the hills above, showing the hidden structure is bigger than what's visible.

Where the two layers overlap, the third colour emerges naturally from the overprint. The map's contour lines should be visible through and around the cross-section shapes, creating a sense of two views occupying the same space. The highest hill breaks out of the frame into the border.

DO NOT INCLUDE: Text, labels, numbers, realistic rendering, three-dimensional effects, perspective, shadows, shading, gradients, halftone dots, clean digital edges, more than three ink colours, sharp angular mountain shapes.
	HERO IMAGE PROMPT: "New vocabulary for an old problem"

	STYLE: Risograph print aesthetic. The image should look like it was printed on a Riso duplicator: slightly grainy ink on textured off-white paper, with the characteristic soy-based ink look where colours are vibrant but slightly translucent. Where two colour layers overlap they create a rich third colour. Visible drum texture and slight ink pooling. Bold, confident, graphic. Saul Bass compositional sensibility meets Japanese risograph zine culture. Flat shapes only, no perspective, no shadows, no shading.

	FORMAT: Square (1:1 aspect ratio). A thick warm off-white border frames the image. Elements break out of the frame and bleed into the border.

	COLOUR PALETTE: Three-colour risograph print. Use three ink colours only, plus the paper showing through as a fourth tone. Suggested combinations (pick one):
	- Midnight blue, fluorescent orange, sage green on cream paper
	- Burgundy, gold ochre, teal on warm white paper
	- Forest green, coral pink, slate blue on ivory paper
	Where any two colours overprint, they create darker combined tones. This natural colour mixing from the overprint should be visible and celebrated, not hidden.

	COMPOSITION: A single cohesive scene that layers two views of the same landscape on top of each other, as though two transparencies have been laid one over the other on a lightbox.

	LAYER ONE — THE SURVEY MAP: Printed in one ink colour. A topographic contour map seen from above: concentric contour lines (fine lines, not fills) describing a range of hills. Dotted paths cross the landscape. Patches of flat colour indicate forest. Small waypoint dots mark features. The map fills the full image and reads as elegant, hand-drawn cartography.

	LAYER TWO — THE CROSS-SECTION: Printed in a second ink colour, overlaid on top of the map. A side-on geological cross-section showing the same hills in profile. The hills have soft, rounded, organic silhouettes, not angular or pyramidal. They are rendered as simple bold shapes. Below a ground line, the crustal root extends downward as a large inverted form, lighter in tone. The surrounding material is darker and denser. The root is significantly larger than the hills above, showing the hidden structure is bigger than what's visible.

	Where the two layers overlap, the third colour emerges naturally from the overprint. The map's contour lines should be visible through and around the cross-section shapes, creating a sense of two views occupying the same space. The highest hill breaks out of the frame into the border.

	DO NOT INCLUDE: Text, labels, numbers, realistic rendering, three-dimensional effects, perspective, shadows, shading, gradients, halftone dots, clean digital edges, more than three ink colours, sharp angular mountain shapes.
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