00 THE METHOD
Letter-Shape Synthesis
01 THE ARTIST
A Claude Opus model composes the work.
No diffusion model touches the artwork. A Claude Opus model — given a strict compositional schema, a Bauhaus aesthetic brief, and your two names — reflects on their phonetic structure and cultural origin, then emits a structured composition spec: canvas proportions, a set of geometric primitives, layout, mood. That spec is the artwork — not a pixel, not a generated image.
The brief carries a house method, in the Bauhaus tradition of Kandinsky's colour-form correspondences. Part of it is a sound-to-shape reading: the hard or soft sounds in your names lean the composition toward angular or rounded forms — drawn from the bouba/kiki effect, applied as a prior, not a law. It is a method, not a measurement; the model still makes the composition.
The model also offers a small set of curated treatments — each a palette plus a type choice. You pick one. That is the only choice the buyer makes; the shapes are fixed from your names and are never editable.
02 THE RENDERER
A deterministic renderer paints the spec.
The renderer is a pure function: spec in, SVG out. Given the same spec, it produces the same vector artwork byte-for-byte, every time, on every machine. There is no random seed, no style interpolation, no sampling — just arithmetic.
The same two names — same caption, same treatment — always produce the same poster. The spec is cached after the first render; subsequent requests take milliseconds and make no model call.
// what the algorithm sees
input = ("Anna", "Bjørn")
// what it composes from the names — fixed
shapes = {
canvas : "1:1.414",
primitives: [ 7 geometric forms ],
layout : "split-bottom",
mood : "nordic dusk",
}
// the one thing you choose: a curated treatment
treatment = pick(["Bone", "Frost", "Crimson", "Forest", "Plum"])
// what gets printed
poster = render(shapes, treatment)
hash = spec_hash(input + shapes + treatment)
03 THE GRAIN
Paper grain is part of the work.
Before the file goes to print, a deterministic noise pass adds a fine paper-grain texture — seeded from your two names, so it is always the same for your poster and reproducible exactly on a reprint. This is not a filter; it is a physical-printing simulation that gives the cotton-rag surface its register in the final image.
Matte cotton-rag holds colour the way a gallery wall does — soft, deep, unlit. Screen-bright tones settle a shade quieter on paper; the fine-art register, not a fault. Your print preview is shown on the paper you choose.
04 DETERMINISM
Same input. Same poster. Always.
Every composition is keyed by a hash of the two names, the optional caption, and the chosen treatment. That hash is the provenance of the work — it lets us reproduce the exact poster at any future point, on any machine, from the stored spec alone. There is no model call on reprints; the arithmetic is fully reproducible.
05 PROVENANCE
A numbered certificate with every order.
Every print bears a sequential edition number — № NNNN — recorded the moment the payment clears. A numbered A5 certificate of authenticity ships in the box for physical prints and is available as a download for digital orders.
The certificate records the two names, the edition number, the palette and treatment, the composition facts, and the spec hash. The spec hash is the provenance: it uniquely identifies this exact poster and lets us reproduce it without any ambiguity. No edition numbering is ever run backwards to make a print feel rarer than it is.