# Different products deserve different worlds

This release has 27 directions, 81 downloadable PNGs and 15 reference brands. Eight new category worlds use original source photography and native HTML/SVG composition, not newly generated scenes. Their complete image-generation briefs are available in the studio and prompt pack, but those prompts have not been executed. Real reference brands are examples for research, not clients. Use authorised product photography for commercial work.

## The eight new photographic worlds

| Reference | Category | Visual world | Why this differs from a flat backdrop |
| --- | --- | --- | --- |
| OLIPOP | Soft drinks | Iced drink, fruit and real can photography | Condensation, glass, ice and daylight carry the mood. A cream reading field makes room for a generous serif headline. |
| Tony’s Chocolonely | Confectionery | Enlarged uneven chocolate geometry and wrapped bars | The product itself becomes a textured landscape; wrappers supply colour. The headline is heavy and compressed. |
| Vacation | Sun care | Resort photography, leisure and film-like warmth | Actual people and a sunlit setting replace the product-on-a-colour-block formula. Lettering stays away from faces. |
| Glossier | Fragrance | Flowers, glass and close-up material photography | A tactile still life is the primary scene, with quiet typography and a macro detail. No invented scent notes. |
| Tracksmith | Running | Country roads and actual runners | The photograph creates distance and anticipation. A literary serif and calm reading field make an outdoor journal. |
| Wild One | Pet accessories | Real dog and walking-gear photography | The product is seen in context. Expressive scale and the source campaign’s lime field supply energy without invented pets. |
| Blueland | Household cleaning | Tablet, water and bubbles, plus real packaging | Macro action communicates a routine. Source copy is excluded from the crop; no performance or environmental claims are invented. |
| Chamberlain Coffee | Coffee | Dark wood, cup, packaging and warm light | A whole photographic vignette conveys the ritual. The type sits in an actual quiet region of the table. |

The Hope & Me wallpaper, progressive fan, folded paper and type-echo families are also present. Three cross-category transfers show how a repeatable composition can change character: OLIPOP can wallpaper, Vacation’s sunscreen fan and Tony’s packaging-inspired paper.

## Choosing the engine for a campaign

Use product repetition when a silhouette, label or print is the story. Use a real context photograph when fit, use, scale or atmosphere matters. Use a macro when surface, texture or a simple physical process is distinctive. Use a diagram when construction is the value; keep factual annotations supplied and verified. Use quiet negative space intentionally; do not make every category a new pastel swatch behind the same cutout.

The most useful prompt contains three separate jobs: a complete art-direction brief, a clean scene-only request, and instructions for placing exact product pixels and exact type afterwards. This protects packaging accuracy and makes the outcome editable. The current previews demonstrate that compositing route using original photographs.

## Further categories to explore next

These are proposed fictional briefs, not additional built previews or researched client engagements.

### Consumer audio — “Sound, in space”

Create a 1600 × 900 launch campaign for a fictional compact-speaker brand. Use the supplied real speaker photograph, preserving grille pattern, controls, ports and logo. Set the object on a low brushed-aluminium shelf crossing a concrete listening room. The camera sits at shelf height with a moderate wide view; a side window creates a hard rectangular pool of light. Include one actual cable only if supplied. A tall, sharply set sans-serif headline reads “make room for sound.” on the quiet concrete wall. Let the speaker overlap the final letter edge, never a control. Add one small detail crop of the real grille in a ruled margin, with no fabricated specifications. Palette: graphite, chalk, brushed silver and one colour drawn from the product. No floating music notes or neon waveform decoration. The scene pass contains only room, shelf and light; place the actual speaker afterwards. Feed crops closer around the shelf; Story keeps the speaker and headline central, not a landscape squeezed into portrait.

### Stationery — “The working surface”

Create a top-down still-life campaign for a fictional notebook brand. A real notebook opens at a believable angle on a warm timber desk. Use original photographed paper, cover, elastic and binding; do not invent printed pages. Arrange two supplied pens diagonally and one actual page edge entering from the lower side. Afternoon light casts a window-grid shadow across the desk, with the headline in a clear, unshadowed corner: “leave room for ideas.” Use a sturdy grotesque rather than a script font. The notebook overlaps a small part of the headline, but a complete sentence remains readable. Let real paper edges and the desk supply texture; no scattered stars, squiggles or generic washi tape. A scene-only pass should contain the empty desk and natural light without text or stationery. Composite the exact products and any authorised page content afterwards. Landscape feels like a workbench; feed becomes a tighter diagonal composition; Story gives the open notebook enough vertical room to read as a real object.

### Outdoor equipment — “Packed for the long way”

Create an outdoor-equipment campaign from the supplied real backpack and a genuine trail photograph. Use a low viewpoint where the foreground rock is tactile and the distant ridge becomes soft. Place the exact pack on the foreground rock with its straps and pockets intact. Use the original outdoor photo if accurate compositing cannot preserve a believable camera angle. Headline: “take the long way.” in a large compressed sans-serif, split across the open sky. The pack can cross one baseline at an edge, while the words stay legible. Palette comes from granite, moss, warm sky and the actual product. Do not invent waterproof ratings, litre capacity, weight or route statistics. Include no false map coordinates. The scene pass is a product-free rock and ridge with a clear landing surface. Portrait crops preserve a sense of distance and keep the pack away from interface zones. A companion detail frame can feature an original zipper or fabric macro rather than another full-product cutout.

### Oral care — “An ordinary little ritual”

Create a personal-care campaign with the actual brush, paste and packaging supplied by the client. Show a ceramic sink ledge, a simple mirror edge and morning window light. Camera angle is slightly above the counter, close enough to read the real tube. One genuine water bead or reflection from the source is enough; do not add theatrical liquid arcs. Use a bold, compact headline “a fresh start.” over a quiet warm tiled wall, with the brush just grazing its lower edge. Keep facial and clinical claims out unless the client supplies approved wording. Palette: glazed cream, chrome, warm pink or a colour already in the packaging. A second frame uses a true product-detail photograph of the brush head. For the clean scene prompt, omit the product and all lettering, leaving an exact clear area on the ledge. Composite source pixels afterwards; never generate a new bristle pattern or certification mark.

### Toys and games — “Mid-play”

Create a playful game campaign from the supplied actual pieces and packaging. Use an overhead photograph of a real table with the game partially underway; never invent playable symbols or change the board. Pieces can overlap oversized type along one edge, with all game information and the full headline “one more round.” readable. Use a single warm table surface and shadows for energy instead of unrelated geometric confetti. A second composition can magnify a genuine piece into a foreground hero with the rest stepping backward in a progressive fan. Keep the exact count, rules and age suitability out of the artwork unless supplied. A scene-only pass is an empty tabletop with directional light and no pieces; final layout uses the original game photographs. Feed centres the game moment; Story can use a vertical trail of actual pieces around a short central headline. No fabricated child endorsements or altered artwork on the box.

### Apparel — “The garment as the grid”

Create a fashion campaign from a real full-body on-model photograph and a true garment-detail image. Preserve the model, face, garment fit, seams and fabric. Use a tall architectural doorway or the original street setting, with one deliberate crop and a narrow detail strip showing the real stitching or weave. Headline “made for your everyday.” uses a bold editorial sans-serif, not automatic luxury serif. Put type in the quiet wall area; a sleeve can lightly overlap a letter edge, while the face and body remain clear. Let the garment’s actual colour and the architecture establish the palette. Avoid fake material percentages, sustainability badges, sale stickers and impossible folds. If a new setting is generated, keep the authorised person and garment photograph intact as a separate foreground layer and verify the perspective before compositing. Recompose each format around the model’s whole gesture, rather than repeatedly cutting off hands, shoes or the head.

## What a usable campaign system needs

A brand kit should retain typography, tone, product integrity and approved copy while allowing multiple layout families. One campaign can mix a photographic cover, macro detail, product fan, material story and a quiet closing frame. Those are separate composed slides, not five colour swaps. Choose only the families that suit that brand; maximal repetition is an option, not the default renderer.

Current exports: website hero 1600 × 900, feed 1080 × 1350 and Story 1080 × 1920. Dedicated Pinterest, email and carousel sequences are described as adaptations; this release does not claim new exported sequences or a connected publishing service.