Bibliothèque de prompts

Textile concept for [GARMENT TYPE / END USE], fiber base [SPECIFIC FIBER OR BLEND, e.g. 70% Suri alpaca / 30% silk noil], construction [WEAVE / KNIT / FELT / NON-WOVEN, with structure type], surface treatment [DYE / PRINT / EMBROIDERY / WASH / FINISH], color story [3-5 SPECIFIC TONES], hand-feel target [e.g. crisp, papery, supple, weighted, oily], drape character [e.g. fluid, structured, biased, self-supporting], weight [GSM RANGE], pattern motif if any [DESCRIPTION], reference textile from [HISTORICAL OR CULTURAL SOURCE: e.g. Ainu attush bark cloth, Andean chuspa weaving], modern interpretation through [TECHNIQUE OR CONSTRAINT]. Swatch presentation: front and back visible, raw edge exposed, draped over the corner of a slate-grey studio table, north-facing daylight, ruler in frame for scale.

Exemple

Textile concept for a winter outer-coat shell, fiber base 70% Suri alpaca / 30% recycled merino noil, construction loose double-cloth twill with hand-drawn registration thread every 6cm, surface treatment piece-dyed then over-printed with a barely-visible iron-oxide pigment pattern, color story oxidized silver, slate, stone, faint rust, hand-feel weighted and slightly oily, drape character self-supporting with a soft fall, weight 540 GSM, motif a scattered grid of half-erased survey marks, reference textile from interwar Welsh blanket weaving, modern interpretation through digital pigment registration that drifts 2mm per repeat by design. Swatch presentation: front and back visible, raw edge exposed, draped over the corner of a slate-grey studio table, north-facing daylight, brass ruler in frame for scale.

Conseils

Name the fiber blend in percentages — vague "wool" reads as moodboard, "70/30 alpaca/merino noil" reads as production.
Specify hand-feel and drape separately. They are not the same axis.
GSM is the single most useful number to include. Coat weights live around 400-600, shirt weights 100-200.
A reference culture grounds the textile in something specific. Avoid generic "ethnic" — name the people or region.

Editorial lookbook for [BRAND OR DESIGNER], [SEASON], shot in [LOCATION TYPE AND SPECIFIC PLACE], narrative arc [ONE-SENTENCE STORY], number of looks [N], cast [CHARACTER-LED DESCRIPTION OF CAST, NOT MEASUREMENTS], styling tone [e.g. lived-in luxury, austere modernity, romantic minimalism], color progression across the story [START → MIDDLE → END], pacing [e.g. slow wide establishing → medium portrait → garment detail → motion blur], natural light direction [MORNING / MIDDAY / AFTERNOON / DUSK / OVERCAST], styling notes [e.g. cuffs unbuttoned, hair undone, no jewelry, watches and wedding rings only], photographer reference [e.g. Harley Weir, Jamie Hawkesworth, Tyler Mitchell, Coco Capitán], no overt brand logos, film stock aesthetic [e.g. Kodak Portra 400, Cinestill 50D, Fuji Pro 400H], mixed aspect ratios [16:9 environment + 4:5 portrait + 1:1 details], grain pleasant not heavy.

Exemple

Editorial lookbook for Telar, AW26, shot in a closing-down dairy farm in northern Galicia, narrative arc "the granddaughter visits in early autumn to choose what to keep", number of looks 8, cast a 28-year-old non-model of mixed Galician and Senegalese heritage cast for stillness, styling tone lived-in luxury, color progression starts in oxidized silver and stone, moves through oxblood and rust at the middle, lands in deep ink for the final two looks, pacing slow wide establishing of empty milking parlor → medium portrait in the kitchen → garment detail of a worn cuff → motion of a coat in wind in the yard, natural light is the soft overcast of north Atlantic afternoon, styling notes cuffs unbuttoned, hair undone, a single brass key on a leather lanyard, no jewelry otherwise, photographer reference Jamie Hawkesworth, no overt brand logos, Kodak Portra 400 film stock, mixed aspect ratios with one 16:9 environment per location and two 4:5 portraits, pleasant grain.

Conseils

Cast as characters, not measurements. "Cast for stillness" produces better images than "tall, slim".
A color progression across the story (start / middle / end) gives the whole set coherence even when shot non-sequentially.
Specify three pacing beats: environment, person, detail. The eye needs to rest between intimacies.
Name a real film stock. "Portra 400" produces noticeably different palettes than "Cinestill 50D" — even in AI generation.

Architectural concept visualization of [BUILDING TYPE: e.g. small civic library, mountain refuge, suburban courthouse, private chapel, neighborhood health clinic], programme size [APPROX m² OR ROOM COUNT], site context [ONE-SENTENCE DESCRIPTION OF SITE AND APPROACH], primary materials [3-4 SPECIFIC MATERIALS WITH FINISH], structural language [e.g. mass-timber portal frame, exposed cross-laminated concrete walls, steel frame with brick infill, rammed earth bearing walls], massing [e.g. single volume with one carved subtraction, three offset boxes, longitudinal shed, courtyard typology], roof type [e.g. monopitch, butterfly, flat with parapet, low-pitched gable], facade rhythm [WINDOW AND MULLION DESCRIPTION], time of day [MORNING / MIDDAY / DUSK / EARLY NIGHT], weather [CLEAR / OVERCAST / POST-RAIN / LIGHT SNOW], people for scale [1-2 figures, described], in the design sensibility of [ARCHITECT: e.g. Peter Zumthor, Lina Bo Bardi, Tadao Ando, Lacaton & Vassal, Studio Mumbai], rendered as [SOFT CLOUDY PHOTOREAL / WATERCOLOR SECTION-PERSPECTIVE / PEN-AND-WASH AXONOMETRIC], aspect 3:2.

Exemple

Architectural concept visualization of a small civic library serving a town of 4,000 in interior Galicia, programme approximately 600 m² with a single reading room, two seminar rooms, a children's alcove, and a covered exterior porch, site context the corner of an emptying town square next to a 17th-century granite church, primary materials local granite at the base, weathering steel cladding to the upper level, oiled Galician chestnut for interior linings, structural language mass-timber portal frame on a granite plinth, massing one long shed with a single carved subtraction at the entry porch, roof type low-pitched gable in standing-seam zinc, facade rhythm tall vertical chestnut mullions every 1.2 metres with full-height glazing between, time of day late afternoon in October, weather post-rain with wet granite paving, two figures for scale — a teenager and an older woman walking apart, in the design sensibility of Peter Zumthor, rendered as soft cloudy photoreal, aspect 3:2.

Conseils

Name the structural system explicitly. "Mass timber portal frame" produces a completely different render from "modern construction".
Granite, brick, weathering steel, oiled wood, board-formed concrete — be specific, not generic. AI handles named materials far better than "stone".
Wet pavement and post-rain conditions consistently produce more readable architecture renders than dry midday sun.
Two figures who are not the same age, walking apart, give the building scale and program intent in one move.

Urban public space concept for [CITY OR CONTEXT], programme [PLAZA / POCKET PARK / LINEAR PARK / WATERFRONT / TRANSIT INTERCHANGE / RECLAIMED STREET], total area [APPROX m²], surrounding context [3-5 ADJACENT BUILDING TYPES], climate [TEMPERATE MARITIME / MEDITERRANEAN / SEMI-ARID / TROPICAL / COLD CONTINENTAL], primary ground material [e.g. permeable granite sett, pigmented concrete, decomposed granite, timber decking with steel edge], shade strategy [TREE SPECIES + CANOPY / PERGOLA / BUILDING OVERHANG], water element [DESCRIPTION OR NONE], seating typology [e.g. low cantilevered concrete benches, movable steel chairs, timber log benches], lighting strategy [e.g. low bollards plus uplit trees plus catenary string lights], biodiversity intent [e.g. pollinator strip, rain-garden swale, edible canopy, native grassland patches], activation programme [e.g. weekly market, evening cinema, skate-tolerant edges], people for scale [3-5 figures of varied ages and purposes], time of day [GOLDEN HOUR / OVERCAST AFTERNOON / EVENING WITH LIT BOLLARDS], in the sensibility of [LANDSCAPE OFFICE: e.g. James Corner Field Operations, Bas Smets, Estudio MMX, Vogt Landscape], rendered as [EYE-LEVEL PHOTOREAL / SOFT WATERCOLOR / PLAN-VIEW AXON HYBRID], aspect 16:9.

Exemple

Urban public space concept for a mid-sized Iberian city, programme a reclaimed two-block street converted into a linear public space, total area 4,800 m², surrounding context six-storey residential blocks, a primary school, a corner bakery, and a 1960s parish church, climate Mediterranean with hot dry summers, primary ground material warm-toned pigmented concrete in irregular cast bays separated by 40mm bronze expansion strips, shade strategy mixed plane and jacaranda canopy at 8 metre spacing, water element a single 12-metre long shallow runnel that doubles as overflow drainage, seating typology low cantilevered concrete benches plus 30 movable powder-coated steel chairs, lighting low bronze bollards plus uplit canopy trees plus warm catenary lights between two facades, biodiversity intent a continuous pollinator strip down one edge, activation programme Saturday morning produce market and Thursday evening neighbourhood cinema, five figures for scale — a grandparent with a child, two friends in their thirties, a woman reading alone, a delivery rider walking a bike, time of day golden hour in late September, in the sensibility of Bas Smets, rendered as eye-level photoreal, aspect 16:9.

Conseils

A water element that doubles as drainage reads as serious landscape architecture, not decoration. Always tie it to a real function if you can.
Movable seating (Bryant Park / Place des Vosges school) signals contemporary thinking. Fixed-only seating reads as 1980s.
Describe the cast — grandparent with a child, delivery rider, woman reading alone — not just "people". The figures carry the program.
Name tree species. "Plane and jacaranda" produces a recognizable Mediterranean canopy. "Trees" produces nothing in particular.

Theatrical set design concept for [PLAY OR PRODUCTION], specific moment [ACT / SCENE OR DESCRIPTION OF THE BEAT], stage type [PROSCENIUM / THRUST / IN-THE-ROUND / BLACK BOX / SITE-SPECIFIC], scale [WIDTH × DEPTH × HEIGHT IN METRES], central spatial gesture [ONE-SENTENCE IDEA, e.g. "a domestic room slowly tilting toward the audience"], primary materials [3-4 MATERIALS WITH FINISH], color palette under stage light [3-5 COLORS], lighting strategy [KEY LIGHT DIRECTION + COLOR TEMPERATURE + ONE PRACTICAL], staging architecture [e.g. raked floor at 1:12, two practical doors stage-left, one suspended object centre], notable furniture or set pieces [LIST OF 3-5 ITEMS WITH STATE], one detail that signals the production's thesis [e.g. a single bouquet that wilts visibly across the act], scale figure [1-2 actors in approximate costume and position], in the design sensibility of [DESIGNER: e.g. Es Devlin, Robert Wilson, Anna Viebrock, Bunny Christie], rendered as [DESIGNER ELEVATION IN WATERCOLOR AND GRAPHITE / SOFT PHOTOREAL MODEL PHOTOGRAPH / WHITE-CARD MODEL ON BLACK], aspect 16:9.

Exemple

Theatrical set design concept for Chekhov's The Cherry Orchard, the final act (the departure), proscenium stage, scale 14m wide × 10m deep × 8m high, central spatial gesture "an entire room emptied so that only the white linen of dust-sheets remains", primary materials whitewashed pine planking on the floor, raw linen for the sheeted furniture, oxidized brass for the door hardware, dust-grey plaster on the upstage wall, palette of bone white, dust grey, pale moss, faded pink, oxidized brass, lighting strategy a flat north-light key from stage right at 4200K plus a single warm practical oil lamp downstage-left, staging architecture: a 1:24 raked floor, three sheeted armchairs, a closed leather steamer trunk, a door upstage-right that does not open, one detail: a single bouquet of cut cherry branches on the trunk that loses petals to the floor across the act, scale figure: two actors in heavy traveling coats standing apart, in the design sensibility of Anna Viebrock, rendered as designer elevation in watercolor and graphite, aspect 16:9.

Conseils

Lead with one spatial gesture and protect it. Everything else in the design either serves that gesture or gets cut.
Specify the colour temperature of stage light (4200K cold north / 3200K tungsten warm). It changes every other colour decision.
A "door that does not open" or "a window painted on the wall" is a stronger choice than a working version. Stage design is about meaning, not realism.
Reference a specific designer — Anna Viebrock, Es Devlin, Bunny Christie all have completely different visual signatures.

Contemporary dance piece concept, working title [TITLE], duration [APPROX MINUTES], cast [N DANCERS, GENDER-NEUTRAL OR SPECIFIC], central question or image [ONE SENTENCE], movement vocabulary [e.g. release technique, Gaga, contact improvisation, post-Cunningham geometric phrasing, flamenco-derived weight], structural form [e.g. unison opening → fracturing into trios → single solo → return to group → silence], soundscape [INSTRUMENT(S), LIVE OR RECORDED, KEY REFERENCES], lighting [e.g. single hard side-light moving slowly upstage, full-stage wash bleeding to two pools], costume [DESCRIBE FABRIC, COLOR, AND HOW IT MOVES], staging [BLACK BOX / PROSCENIUM / SITE-SPECIFIC LOCATION], scenography [MINIMAL / SCULPTURAL OBJECT / SCREEN / NONE], the single moment of greatest tension [DESCRIPTION OF THE KEY IMAGE], the single moment of release [DESCRIPTION OF THE EXHALE], in the sensibility of [CHOREOGRAPHER: e.g. Pina Bausch, Akram Khan, Crystal Pite, Anne Teresa De Keersmaeker, Hofesh Shechter].

Exemple

Contemporary dance piece concept, working title "the last room we left clean", duration 38 minutes, cast 6 dancers gender-neutral, central question "what does a body do with the muscle memory of a home it has left for the last time?", movement vocabulary release technique with passages of contact improvisation and one extended unison phrase derived from domestic gesture (folding, sweeping, latching), structural form unison opening of two minutes → fracturing into three duets → single 90-second solo by the eldest dancer → return to a slower unison → 30 seconds of complete stillness and silence to close, soundscape live cellist on stage plus processed field recordings of wind through an emptying apartment, lighting a single hard side-light moving slowly upstage across the full duration, costume soft pale linen layers in oat and faded pink that move with one beat of delay, staging black box, scenography one wooden chair that is removed at minute 22, moment of greatest tension the eldest dancer alone facing the chair before it is removed, moment of release after the chair is gone the remaining five dancers gather in a slow loose embrace that does not resolve into a shape, in the sensibility of Crystal Pite.

Conseils

A dance piece is structured around two moments: the tension and the release. Name them both, in one image each.
Movement vocabulary names matter. "Release technique" and "Gaga" are not interchangeable. Pick one and own it.
Live music on stage changes the entire spatial logic of the piece. Decide early whether the musicians are visible.
One object — a chair, a glass of water, a length of fabric — gives a dance piece an axis. Name yours.