Monorepo for Aesthetic.Computer
aesthetic.computer
[papers] colored-pencil hero banner with 3-way crossfade on papers.aesthetic.computer
Three Grant-Wood / golden-hour iterations of jeffrey distributing AC papers,
generated via portraits/jeffrey/bin/generate-neo.py with the platter refs:
v1 (washington-crossing) — heroic stride, drones delivering papers
v2 (johnny appleseed) — glasses + working on the green Neo as he walks,
paper-launching backpack cannon, no drones,
pages fall like maple seeds and are caught
v3 (first-person POV) — hands on the keyboard in foreground, ~14 grad
students seated on the grass reading arxiv-styled
papers (serif title bar + AC vignette + two-col
grey body), papers raining in upper-right
Site changes:
- Full-bleed hero banner (100vw, fades transparent → bg with a single linear
ramp so it reads in both light and dark mode)
- Three stacked .hero-bg layers with a 24s ease-in-out crossfade, gated on
prefers-reduced-motion
- Fixed corner-HUD top-bar modeled on give.aesthetic.computer (Times-italic
"papers" + AC pink wordmark, lang-selector top-right, var(--bg)→transparent
gradient strip)
- Times-serif italic for abstracts + colophon for the broadside / journal feel;
paper rows stay Berkeley Mono for legibility
- New papers-og.jpg (1200×630) center-cropped from v2 for social shares
Co-Authored-By: Claude Opus 4.7 (1M context) <noreply@anthropic.com>
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papers/figures/header-prompt-v3.txt
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papers/figures/header-prompt-v3.txt
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Photorealistic colored-pencil illustration on warm cream-colored paper — dense, confident pencil strokes, high tonal contrast where forms are densest, gradually softening at the periphery so the four edges of the image dissolve into bare cream paper with no hard frame. Landscape composition, 1536x1024.
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COMPOSITION SAFE ZONE: the upper-LEFT ~28% of the frame (a horizontal band roughly 430px wide × 280px tall in the top-left corner) MUST be visually QUIET — pale cream-and-honey sky with no figure, no critical detail. This region will be overlaid with a small text label in the final layout. Keep that corner as a soft luminous gradient sky.
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FIRST-PERSON POV: this image is rendered from inside the head of the man in the reference photographs, looking out across the scene from his own viewpoint. He himself is NOT visible in the frame EXCEPT for his own forearms, sleeves, and hands which enter the bottom of the frame holding an open laptop. Do NOT generate his face anywhere in this image. Do NOT generate his full body. We are seeing what HE sees.
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In the FOREGROUND, occupying the bottom ~40% of the frame: an open CITRUS-GREEN MACBOOK NEO held in his lap or against his chest, viewed from his own first-person perspective. The MacBook is Apple's official Citrus green: a saturated lime-leaf-green aluminum body, slightly pearlescent, instantly recognizable. We see the FULL keyboard from above (the back row of keys closest to the screen recedes in slight perspective, the front row nearest us is largest). Both of his HANDS are on the keys, fingers mid-keystroke, rendered with real skin texture, slightly tan, knuckles defined, no rings — male hands, lived-in. Pale shirt-cuffs and the open weave of a soft cardigan or hoodie sleeve enter the very bottom-left and bottom-right corners and exit out of frame. The laptop's open SCREEN tilts up toward us from the middle of the frame, displaying a soft GREEN-ON-BLACK TERMINAL — a few faint lines of monospaced glyphs (no readable text), warm green glow, slight scanline feel. The screen does NOT fill the frame; we can see OVER and AROUND it to the landscape beyond.
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BEYOND and ABOVE the laptop, opening up into the upper two-thirds of the frame: a Grant-Wood pastoral landscape bathed in late-afternoon GOLDEN SUNLIGHT. Rolling green-and-ochre hills, sculpted undulating ridges, tidy crop rows, a single small farmhouse and silo on a distant ridge, a low golden sun on the horizon casting warm honey-and-amber light across the scene with visible volumetric god-rays. The sky glows luminous: deep gold and warm peach near the sun, fading up to dusty pink and pale slate-blue at the top — softer cream-and-honey in the upper-LEFT safe zone. Long sculpted shadows fall across the grass.
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POPULATING THE MIDDLE GROUND, seated and kneeling on the grass between the laptop and the horizon: a DENSE CROWD of GRAD STUDENTS reading the freshly-distributed papers. Twelve to twenty visible figures arranged across the rolling hill at varying distances — closest ones immediately past the laptop screen at large scale, others smaller in the middle distance, smallest tiny silhouettes near the horizon. Most are seated cross-legged or kneeling, fully absorbed in reading, heads bent down over the open pages in their hands. A few are mid-action: one lifting a paper to catch the sunlight, two leaning together to share a single sheet, one sprawled on the grass with the booklet propped up, one mid-laugh while reading aloud, two flipping through a small CARDS variant fanned in the hands like a deck. Their clothing is contemporary academic-casual — wrinkled button-downs, oversized sweaters, a backpack strap, a worn tote bag — NOT period costume. A few have a battered laptop or a notebook beside them on the grass.
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The PAPERS in everyone's hands and scattered across the grass — these are the central recurring object and they MUST look like REAL ARXIV PREPRINT first-pages. Each page: cream-white sheet, single silver staple in the upper-LEFT corner. AT THE TOP of the page: a centered SERIF TITLE rendered as a thicker dark-grey horizontal pencil-stroke (no readable letters, just the visual mass of an academic title), beneath it 1-2 thinner author/affiliation lines as fainter grey pencil-strokes. BELOW that, occupying the upper-middle of the page: a small CENTERED COLORED-PENCIL VIGNETTE — a tiny abstract floating motif (sphere, arched window, curve, leaf, tangle of roots, single tree, etc.) painted in the same warm colored-pencil style as the surrounding image but contained within the page, fading to nothing at its own edges (like the existing AC paper covers in arxiv-pioneer-works, arxiv-rhizome, arxiv-eyebeam). BELOW the vignette: TWO COLUMNS of dense grey body text rendered as parallel rows of tight horizontal pencil-strokes — no letters, no readable words, just the visual rhythm of monospaced/serif academic prose, separated by a thin gutter. A small grey footer line at the bottom. NO magenta band, NO logo cluster, NO bright colored bars — each page is a quiet scholarly cream-and-grey academic preprint, and the small colored-pencil vignette is the ONLY color element. The vignette varies tiny per page — different motifs across the crowd, suggesting different titles in the series.
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Falling pages — high in the upper-right and middle-distance sky (NOT in the upper-left safe zone), individual stapled arXiv pages are HIGH ALOFT and DESCENDING in graceful, floating arcs — papers raining down from above, some at the apex spinning lazily, some gliding sideways like maple seeds, some entering a final dive toward outstretched hands below. Each falling page is rendered with a soft motion-trail of pencil-strokes behind it. They originate offscreen above (the reader's mental model: still firing from the printer-backpack on his back, which we cannot see in this POV).
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Palette — muted natural colored-pencil with a strong WARM golden-hour cast: terracotta, sage, ochre, dusty pink, slate blue, warm grey, honey-gold, amber, cream — with the CITRUS-GREEN of the MacBook and the soft GREEN GLOW of its terminal screen as the dominant cool accent in the foreground. The cream paper itself glows through in the upper-left safe zone and at the soft-faded edges. NO drones. NO cyberpunk neon, NO digital glow, NO text, NO logos, NO readable lettering, NO signage. NO costume, NO weapon, NO American flag.
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Tone — straight-faced golden-hour academic pastoral from inside the practitioner's head. The light, the hills, the absorbed-in-reading crowd, the warm green keyboard glow under our hands — all played dead-serious. The comedy is entirely diegetic, in what is happening: a man typing on a laptop in a sunny field while two-dozen grad students sit on the grass around him reading the academic broadsheets he just printed and rained down. Painted with the same loving craft as a real Grant Wood. Edges and corners of the image fade fully to cream paper.
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papers/figures/header-prompt.txt
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papers/figures/header-prompt.txt
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Photorealistic colored-pencil illustration on warm cream-colored paper — dense, confident pencil strokes, high tonal contrast where forms are densest, gradually softening at the periphery so the four edges of the image dissolve into bare cream paper with no hard frame. Landscape composition, 1536x1024.
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COMPOSITION SAFE ZONE: the upper-LEFT ~28% of the frame (a horizontal band roughly 430px wide × 280px tall in the top-left corner) MUST be visually QUIET — pale cream-and-honey sky with no figure, no critical detail. This region will be overlaid with a small text label in the final layout. Keep that corner as a soft luminous gradient sky.
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Mood: an old American wartime epic poster reworked as a quiet absurdist Grant-Wood pastoral with a Johnny-Appleseed-on-a-stroll energy. Equal parts "Washington Crossing the Delaware" (Emanuel Leutze) and "Spring Turning" / "Stone City" (Grant Wood) — sculpted undulating hills rolling back to a low horizon, single tree on a distant ridge, deep theatrical golden-hour lighting. The drama is straight-faced; the joke lives in what's actually happening.
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Central figure — the man from the reference photographs, identifiably him: same medium-length brown hair, same actual face, same bearing as the references. Keep real skin texture, NOT youthified, NOT smoothed. He is positioned at center-RIGHT of the frame (NOT center-left — leave the upper-left clear per the safe zone above). He is mid-stride, walking gently along the crest of a rolling green-and-ochre hill — the easy ambling gait of Johnny Appleseed wandering the countryside, NOT a frozen heroic pose. His head is tilted slightly down toward the open laptop in his hands, but his EYES are looking up over the screen and over his eyeglasses, peering DIRECTLY AT THE CAMERA in calm benevolent acknowledgement — caught between the work and the viewer. He wears wire-rimmed or thin-framed eyeglasses, perched slightly down his nose so he can look over them. He is NOT in costume — no tricorn hat, no military uniform, no period dress. He wears his actual everyday clothing: a soft cotton button-down or a lived-in hoodie under an open cardigan, sleeves pushed to the forearms, plain trousers, sneakers — quiet contemporary clothing rendered with the same gravity as a Grant Wood farmer.
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He is HOLDING AND WORKING ON the open CITRUS-GREEN MACBOOK NEO with both hands as he walks — hands raised in front of his chest, fingers actively on the keyboard mid-keystroke, the laptop balanced level on his forearms. The MacBook is Apple's official Citrus green: a saturated lime-leaf-green aluminum body, slightly pearlescent, instantly recognizable. Its open screen glows with a soft GREEN-ON-BLACK terminal — a few faint lines of monospaced glyphs, no readable text, just the distinctive vintage-terminal feel — and the soft green glow washes faintly up onto his chin and the underside of his glasses. From the side of the MacBook a slim cable snakes back over his shoulder and plugs into the printer-backpack.
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Strapped between his shoulder blades is a LAUNCH PRINTER BACKPACK — a chunky, lovingly-rendered portable printer rig worn as a rucksack and re-engineered as a paper cannon: rectangular off-white-and-grey plastic chassis with two padded canvas shoulder straps, a single tiny status LED glowing soft green, a coiled cable looping down to a small battery clipped at his hip. From the TOP of the chassis, an angled launch-tube fires fresh stapled papers straight UP and slightly back — a dense plume of pages erupting skyward in a continuous fountain, climbing high into the upper-right portion of the sky, then arcing over and beginning their descent across the entire scene. There is a faint puff of paper-dust and a tiny glow at the launch port. It is mechanical and believable — a paper trebuchet built into a backpack — rendered with the gravity of a soldier's pack, not a cartoon.
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Falling papers (replacing the old drone delivery system) — instead of any drones, the launched papers themselves act as the delivery vehicle. Across the upper-right and middle-distance sky, individual stapled pages are HIGH ALOFT and DESCENDING in graceful, floating, drone-like arcs — some still climbing in the launch plume, some at the apex spinning lazily, some gliding sideways like maple seeds, some entering their final dive toward outstretched hands below. Each falling page is rendered with a soft motion-trail of pencil-strokes behind it, suggesting flight. Their distribution is dense in the right two-thirds of the sky, sparse-to-empty over the upper-LEFT safe zone. A few are at the very edge of the visible frame, tiny silhouettes against the gold sky. The whole air is alive with paper, like a paper rain.
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The PAPERS themselves — every page in the air, in his arm, in the launch plume, in the grovellers' hands, scattered on the grass — is rendered like a real Aesthetic.Computer paper cover. Each page: cream-white sheet, a single visible silver staple in the upper-LEFT corner, a thin saturated MAGENTA-PINK band (#cd5c9b) across the very top of the page where a wordmark would sit, a tiny soft cluster of magenta-pink and purple rounded shapes in the upper-RIGHT corner suggesting a small mascot/avatar logo (the AC "pals" — abstract floating round companions, not faces), and a small centered colored-pencil illustration VIGNETTE in the body of the page (a tiny abstract floating motif — sphere, arch, curve, leaf — rendered the same colored-pencil style as the rest of the image but tiny, contained within the page). NO readable text — the wordmark band and pals cluster are color shapes, NOT letters. The recurring magenta-pink dots throughout the composition act as the brand accent.
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A few grovellers in the foreground are holding the CARDS variant of the same paper — small 4×6 inch index-card-sized versions, fanned in the hands like a deck of trading cards. Two or three figures are visibly going through these cards, lifting one to the light, opening a stapled mini-booklet, peering at the small vignette. The cards carry the same magenta-pink top-band and pals cluster, just smaller. Mix of full-page sheets and these smaller cards across the crowd.
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Foreground AND middle ground — a DENSE, POPULATED crowd of GROVELING GRAD STUDENTS extending in a wide arc across the central rolling hill below and around Jeffrey. Closer to camera, six or seven in a tight kneeling semicircle at his feet, hyperbolic varied expressions: one with hands clasped at the chest in awestruck rapture, one weeping with joy, one reaching both arms straight up CATCHING a falling paper mid-air, one already clutching a paper to the chest with eyes squeezed shut, one bowing forehead to the ground, one squinting reading a paper inches from the eyes, one mid-laugh in disbelief, two flipping through the small CARDS booklet together. Continuing back across the hill in the middle distance, ANOTHER DOZEN scattered figures — small clusters of three or four around each landed paper, others looking upward and reaching to CATCH the descending pages, others walking toward the horizon clutching pages, others kneeling solo on distant ridges. Several figures are mid-leap, arms outstretched skyward to snatch a falling paper from the air. The hill is busy, populated, REVERENT and slightly comic, not a lonely tableau. Their clothing is contemporary academic-casual — wrinkled button-downs, oversized sweaters, a backpack strap, a worn tote bag — NOT period costume. A few have a battered laptop or notebook beside them on the grass.
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Setting — Grant Wood rolling hills bathed in late-afternoon GOLDEN SUNLIGHT. The sun sits low on the distant horizon directly behind the central scene, slightly RIGHT of center, casting warm honey-and-amber rays that rake across the rolling crests, hot rim-lighting the central figure and the grovellers from behind, throwing long sculpted shadows down the slopes toward the camera. Visible god-rays / volumetric sunbeams fan up from the horizon through the soft warm haze. The sky glows luminous: deep gold and warm peach near the sun, fading up to dusty pink and pale slate-blue at the top edge — softer cream-and-honey in the upper-LEFT safe zone. A few thin pencil clouds catch the same warm light along their lower edges. Tidy rows of crop or orchard hatch the middle ground, glowing wheat-gold under the sun. A single small farmhouse and silo sit on a distant ridge, rim-lit by the sun. Dust motes and warm haze drift through the lower air. The whole landscape is sun-soaked, almost biblical, but rendered in muted natural pencil-tones.
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Palette — muted natural colored-pencil with a strong WARM golden-hour cast: terracotta, sage, ochre, dusty pink, slate blue, warm grey, honey-gold, amber, cream — plus saturated AC MAGENTA-PINK (#cd5c9b) on every paper page (the wordmark band and the pals cluster) for a recurring brand accent dotted throughout the composition. The cream paper itself glows through in the upper-left safe zone and at the soft-faded edges. NO drones. NO cyberpunk neon, NO digital glow, NO text, NO logos with letters, NO readable lettering, NO signage anywhere in the frame. NO costume, NO weapon, NO American flag.
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Tone — straight-faced golden-hour epic with Johnny-Appleseed-just-out-for-a-walk energy. The light, the rolling hills, the crowd of catching grovellers all play it dead-serious; the comedy is entirely diegetic, in what is actually happening — a man in glasses ambling the countryside, working on a green laptop, while a backpack-cannon launches academic broadsheets into the sun-soaked sky to be caught by leaping grad students. Painted with the same loving craft as a real Grant Wood. Edges and corners of the image fade fully to cream paper.
papers/figures/platter-header-v2_2026-05-02_191021.png
papers/figures/platter-header-v2_2026-05-02_191021.png
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papers/figures/platter-header-v3_2026-05-02_191805.png
papers/figures/platter-header-v3_2026-05-02_191805.png
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papers/figures/platter-header_2026-05-02_183321.png
papers/figures/platter-header_2026-05-02_183321.png
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system/public/papers.aesthetic.computer/index.html
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system/public/papers.aesthetic.computer/index.html
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.p .detail a:hover { text-decoration: underline; }
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.p .abstract {
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color: var(--text);
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opacity: 0.6;
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font-size: 0.72em;
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margin-top: 0.15em;
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line-height: 1.4;
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max-width: 78ch;
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opacity: 0.72;
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font-family: 'Times New Roman', Times, Georgia, serif;
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font-style: italic;
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font-size: 0.92em;
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margin-top: 0.2em;
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line-height: 1.45;
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max-width: 72ch;
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}
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.p .meta-row { display: flex; gap: 0.7em; font-size: 0.7em; margin-bottom: 0.05em; align-items: center; flex-wrap: wrap; }
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.p .meta-row .hits { color: var(--cyan); }
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padding-top: 1.2em;
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border-top: 1px solid var(--sep);
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color: var(--dim);
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font-size: 0.85em;
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line-height: 1.8;
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font-family: 'Times New Roman', Times, Georgia, serif;
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font-size: 1em;
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line-height: 1.7;
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}
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.colophon p { margin-bottom: 0.8em; }
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.colophon p:last-child { margin-bottom: 0; }
···
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}
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.build-bar.fail { background: #e53935; }
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/* === HERO BANNER (Grant-Wood broadsheet, full-bleed) === */
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.hero {
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position: relative;
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isolation: isolate;
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/* Full-bleed across viewport regardless of body max-width / padding */
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width: 100vw;
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margin-left: calc(50% - 50vw);
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margin-top: -1em;
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margin-bottom: 1.4em;
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padding: 0;
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overflow: hidden;
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aspect-ratio: 1536 / 1024;
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max-height: 320px;
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min-height: 220px;
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}
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.hero::after {
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content: '';
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position: absolute; inset: 0;
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background: linear-gradient(to bottom, transparent 0%, var(--bg) 100%);
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z-index: 1;
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pointer-events: none;
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}
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.hero-bg {
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position: absolute; inset: 0;
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background-position: center top;
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background-size: cover;
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background-repeat: no-repeat;
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z-index: 0;
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will-change: opacity;
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}
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.hero-bg-a { background-image: url('/papers-header.png'); } /* v2: Johnny Appleseed */
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.hero-bg-b { background-image: url('/papers-header-v3.png'); } /* v3: first-person POV */
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.hero-bg-c { background-image: url('/papers-header-v1.png'); } /* v1: Washington crossing */
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@media (prefers-reduced-motion: no-preference) {
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.hero-bg-a { animation: hero-fade-3a 24s ease-in-out infinite; }
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.hero-bg-b { animation: hero-fade-3b 24s ease-in-out infinite; }
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.hero-bg-c { animation: hero-fade-3c 24s ease-in-out infinite; }
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}
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@keyframes hero-fade-3a {
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0%, 29% { opacity: 1; }
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33%, 91% { opacity: 0; }
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95%, 100% { opacity: 1; }
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}
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@keyframes hero-fade-3b {
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0%, 29% { opacity: 0; }
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33%, 62% { opacity: 1; }
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66%, 100% { opacity: 0; }
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}
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@keyframes hero-fade-3c {
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0%, 62% { opacity: 0; }
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66%, 91% { opacity: 1; }
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95%, 100% { opacity: 0; }
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}
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/* === Prompt-HUD corner label (modeled after give.aesthetic.computer) === */
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.top-bar {
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position: fixed;
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top: 0; left: 0;
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width: 100%;
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max-width: 100vw;
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display: flex;
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justify-content: space-between;
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align-items: center;
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padding: 10px 16px 20px;
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z-index: 1000;
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background: linear-gradient(to bottom, var(--bg) 0%, var(--bg) 60%, transparent 100%);
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pointer-events: none;
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}
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.top-bar > * { pointer-events: auto; }
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.top-bar .logo {
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font-size: 18px;
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line-height: 1;
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}
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.top-bar .logo-papers {
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font-family: 'Times New Roman', Times, Georgia, serif;
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font-style: italic;
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font-weight: 700;
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font-size: 1.05em;
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color: var(--text);
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}
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.top-bar .logo-sep {
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font-family: 'Berkeley Mono Variable', monospace;
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color: var(--dim);
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margin: 0 0.3em;
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}
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.top-bar .logo-ac {
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font-family: 'YWFTProcessing-Regular', sans-serif;
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font-size: 1.15em;
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color: var(--pink);
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}
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.top-bar .logo-dot { color: var(--cyan); }
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/* === MOBILE (<600px) === */
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@media (max-width: 599px) {
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body { padding: 0.6em 0.9em; }
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.logo { font-size: 1.3em; }
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.hero { margin-top: -0.6em; margin-bottom: 1em; max-height: 220px; }
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.top-bar .logo { font-size: 13px; white-space: nowrap; }
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.lang-selector .lang-text { display: none; }
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.p .title { font-size: 0.98em; }
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.p .detail { font-size: 0.7em; }
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padding: 2em 3em;
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font-size: 16px;
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}
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.logo { font-size: 2.2em; }
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.sub { font-size: 1em; margin-bottom: 1em; }
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.hero { margin-top: -2em; margin-bottom: 1.6em; max-height: 380px; }
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.p .title { font-size: 1.15em; }
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.p .detail { font-size: 0.82em; }
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.p { padding: 0.45em 0.6em; }
···
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padding: 2.5em 4em;
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font-size: 17px;
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}
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.logo { font-size: 2.6em; }
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.sub { font-size: 1.1em; }
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.hero { margin-top: -2.5em; margin-bottom: 2em; max-height: 460px; }
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.p .title { font-size: 1.22em; }
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.p .detail { font-size: 0.85em; }
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.pals { width: 64px; }
···
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</div>
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</div>
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<div class="sub">@jeffrey — <a href="https://orcid.org/0009-0007-4460-4913">ORCID 0009-0007-4460-4913</a></div>
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<header class="hero" aria-label="papers">
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<div class="hero-bg hero-bg-a"></div>
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<div class="hero-bg hero-bg-b"></div>
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<div class="hero-bg hero-bg-c"></div>
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</header>
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<div class="sub">@jeffrey · <a href="https://orcid.org/0009-0007-4460-4913">ORCID 0009-0007-4460-4913</a></div>
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<div class="sort-bar" id="sortBar">
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<button class="sort-btn active" data-sort="hits">top hits</button>
system/public/papers.aesthetic.computer/papers-header-v1.png
system/public/papers.aesthetic.computer/papers-header-v1.png
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system/public/papers.aesthetic.computer/papers-header-v3.png
system/public/papers.aesthetic.computer/papers-header-v3.png
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system/public/papers.aesthetic.computer/papers-header.png
system/public/papers.aesthetic.computer/papers-header.png
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system/public/papers.aesthetic.computer/papers-og.jpg
system/public/papers.aesthetic.computer/papers-og.jpg
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