/antibes-holiday

name: antibes-holiday
description: Create original relaxed black-pen graphics from concepts or visual references, including sparse illustrations, narrative scenes, animals, objects, abstract relationships, icons, and logo marks. Use when the user wants quick hand-drawn line energy, causal story staging, non-equilibrium proportion, shorthand forms, open contours, structural line drift, misregistered junctions, selective retracing, physical pen texture, or a transferable illustration system that must not collapse into clean vector minimalism or polished period-sketch drawing.
license: PolyForm-Noncommercial-1.0.0

Antibes Holiday

Create original graphics that feel drawn in one alert but lightly unsteady sitting with a real black pen. Prioritize stroke life, tempo, shorthand, structural instability, and the courage to stop. Semantic compression remains useful, but a clean concept never compensates for lines that look professionally controlled.

Start With Evidence

When references are supplied:

1. Define the target style cluster from stroke material, tempo, omission, density, and composition. 2. Exclude unrelated style clusters from the same reference body. 3. Record dates inside the cluster and weight recent mature work most heavily. 4. Inspect at least three high-weight images at actual size. 5. Separate stroke behavior from recurring subjects and accessories. 6. Use references for line material and gesture only. Never reuse their subject, pose, composition, or signature motif.

Default evidence weighting:

• newest mature same-cluster works: `60%`;
• recent supporting same-cluster works: `30%`;
• early same-cluster works: `10%`;
• different styles or experiments: `0%`.

Read [style-system.md](references/style-system.md) before drawing. Read [prompt-recipes.md](references/prompt-recipes.md) before using an image-generation model.

Define The Drawing

1. Classify the deliverable: `illustration`, `series`, `icon/badge`, or `logo`. 2. State what must be felt or recognized in one sentence. 3. Choose the subject's most telling action, mass, edge, joint, or relationship. 4. Decide where the drawing should move quickly and where the pen should briefly slow down. 5. Select one dominant sweep and one compact recognition knot. 6. For a scene, identify the `principal actor`, `counterforce`, `narrative hinge`, and the causal path between them. 7. Choose one deliberate scale distortion and one quiet region that carries distance, pause, anticipation, or release. 8. Choose one controlled structural failure: a drifting contour, missed junction, overshoot, displaced restart, incompatible pair of fragments, or abandoned path.

Do not default to a person, face, unrequested character traits, accessories, or anthropomorphism.

Draw In Three Passes

Pass 1: Gesture

Draw three fast structural variants.

• Use one to three long sweeps.
• Do not close shapes for neatness.
• Do not correct proportions yet.
• Let at least one sweep drift, lurch, overshoot, or stop before reaching its

expected destination.

• Permit one to four residual or corrective fragments across an expressive

illustration. They must record discovery, not decorate the page.

• Reject the prettiest or most anatomically competent variant if it feels designed,

trained, or gracefully sketched rather than found while drawing.

Pass 2: Recognition

Add only the shorthand needed to make the subject legible.

• Use short angular, hooked, wavy, or looping fragments.
• Concentrate fragments at the action, contact, or identity knot.
• Let large regions remain unnamed.
• Omit any boundary the viewer can infer. Do not let one connected contour

competently explain the whole form.

• Spend conventional detail only when it carries recognition or action. Do not

delete so aggressively that the result collapses into a stick symbol.

• Distort scale when a hand, tool, opening, joint, shell, edge, or movement carries the idea.
• Prefer an implied boundary over a complete outline.

Pass 3: Pen Life

Restore the physical behavior that image models and vector tools remove.

• Vary pressure and direction unevenly along long sweeps.
• Let selected terminals taper, dry out, or stop bluntly.
• Add one local retrace or ink-darkened overlap at the recognition knot.
• Preserve one broad drift or visible lurch plus smaller speed kinks.
• Let one intended junction miss, overlap, or restart slightly displaced.
• Keep useful false starts and competing fragments when they show the hand losing

and recovering the form.

• Concentrate repeated correction and scribbled density at one recognition knot.

Outside it, prefer one imperfect attempt over several sketchy alternatives.

• Stop before the result becomes clean, balanced, or fully explained.

Adapt Without Humanizing

• `Living form`: use posture, mass distribution, locomotion, and distinctive anatomy.
• `Object`: exaggerate the operational edge, opening, handle, joint, contact, or material path.
• `Place`: use one boundary, route, threshold, and scale cue.
• `Abstract relationship`: first choose an observable physical metaphor, then express tension, exchange, interruption, growth, or separation through its gesture. Do not draw free-floating lines when the meaning depends on explanation.
• `Logo`: begin with a relaxed pen master; derive a separate production vector only after the gesture works.

Do not transfer human facial shorthand to non-human subjects. For human figures, preserve posture and character while withholding clean anatomy. Build the figure from unequal, partially incompatible fragments, with enough local specificity to remain observed rather than diagrammatic.

Compose Story Scenes

Treat complexity as relationships, not line count.

1. Reduce the event to two or three readable beats. 2. Give each actor a different narrative weight. Scale, crop, and detail may violate realistic perspective when that makes the event clearer. 3. Place one compact `narrative h