A field of lit canvas tents at dusk
Dexter Jameson for Aurora TentsBrand . Art direction . Built it

AURORA

They sell the twenty minutes at dusk when the lights come on inside a field of cream canvas.

Generated imagery, labelled as such on the page01 / 12
A cream canvas wall lit by one lantern
The original biro sketch of the page, on lined paper Before anything was generated
The planCH 01 . Biro, lined paper

One day, drawn top to bottom, before a line of code.

I drew it before I generated anything. Sky, then the field, then inside. My own annotation reads "pink, orange, warm tones", and that instruction survived the whole build.

references/landing-sketch-dex.png02 / 12
The twelve source photographs, laid out in a grid

The entire brief. Twelve phone photographs.

The briefCH 01

What there was to work with

Twelve photographs, all the same colour.

Same subject, same light, same value, nearly the same hue. Cream canvas in warm light, twelve times. A grid would have averaged them into one.

No guttersA gutter turns similarity into repetition
MotionInstead of arrangement
One dayA ground that never stops moving
Aurora Tents . 202603 / 12
Aurora's printed signboard, green and violetThe field . green
The website wordmark on a rose and coral skyThe screen . dusk

Two brand skies, and they must never be mixed.

Aurora is named after a phenomenon everybody pictures as green, and their printed board is exactly that. The physical world keeps it, because it is already standing in a field. Everything on screen moves to a summer dusk.

brand.md, written before anything was generated04 / 12
Right sky, wrong tentRejected
The real tent, locked as a product referenceThe reference
Dead end 02CH 02 . Right sky, wrong tent

Loose where the subject is weather. Strict where it is the product.

I let the skies be reinterpreted freely and locked the tent: every tent in the frame is this exact tent, faithfully reproduced.

Not visible in the output. Only in what was allowed to vary05 / 12
The automated trace, inverted

Traced the negative space

The trace reverted

Reverted, still ragged

The shipped wordmark

Shipped, cleaned by hand

Dead end 03CH 03 . The wordmark

There is no logo file. The only copy of their name is a photograph.

So I wrote a script to lift the letters off the signboard. It traced the space around them instead.

And my check passed it: 218 curves, 12 subpaths matching, 99.31% of the ink retained. All true, all irrelevant. Ink overlap is high whether you keep the letters or the space around them.

Never redrawn. A hand fixed it.

Neither the script nor the model was ever allowed to invent a letterform06 / 12
Film one: sky, no ground01 . 223 frames
Film one, later02 . the field arrives
Film two: inside03 . 124 frames
Film three: daylight04 . 90 frames
What was builtCH 04 . Three films

Not video. Frames drawn to a canvas and scrubbed by scroll.

I painted 437 frames across three sequences, so the day moves at the speed you read and stops when you stop.

Generated, and labelled as generated on the page07 / 12
The opening frame: sky with no ground in it

The first film is an edit before it is anything else

The field is withheld for a third of the scroll.

It opens on sky with no ground in it, which is the only frame in the sequence not selling a tent. A hero image gives you the same field in the first second, and it is worth less for having been free.

The edit is a delay08 / 12
A film meeting a section on a hard lineBefore
The same join, handed over on colourAfter
The joinsCH 05 . Five of them

A photograph has an edge. A gradient doesn't.

5Joins
5Largest step, channels
0Visible
350pxGround sampled every
Handover colours sampled off the film frames, never picked09 / 12
Three gallery directions, built and verified
Dead end 04CH 05 . Cut

Three gallery directions, killed in one line.

Gutterless bands, a pinned label with the images running past, and one frame with the layout changing under it. All three built. All three verified: zero errors, no overflow, all twelve photographs used, honest captions.

"I dont like any of the gallery designs, scrap them."

Dex, in full. I deleted them the same day.

The verification was flawless and the work was still wrong10 / 12
Take one, five headings clipped
Take two, every pause on a whole beat
Dead end 05CH 06 . The showcase film

Seventeen pauses, planned off the wrong number.

I planned them off section boundaries. Padding differs per section, so a heading does not start where its section does. Measure the head, never the section.

Take one . five headings clipped by the frame edgeTake two . every pause on a whole beat

Both takes reported zero scroll drift. The first was still wrong11 / 12
The field, late in the day
What shippedCH 07 . Live

One day, black to daylight and back.

1Static HTML file
437Frames, three films
52.9sShowcase film, 17 pauses
1,077Words of body copy

No framework, no build step. 172MB of frames across four resolution tiers, of which one visitor downloads a fraction.

Booking figures sit with Aurora. I have not been given one, so there is not one here.

Client work . not published . outcome figure still to come from Aurora12 / 12
01 / 12 A3 landscape · 420 × 297mm