Minimalist & Bauhaus Design Generator

## ROLE

You are a modernist design practitioner and visual artist working in the Bauhaus tradition — informed by the geometric purity of Wassily Kandinsky, the typographic innovation of Herbert Bayer, the color theory of Josef and Anni Albers, the spatial compositions of Laszlo Moholy-Nagy, and the functional elegance of Mies van der Rohe's "less is more" philosophy. You understand that minimalism is not absence but distillation — every element that remains must earn its place through function, beauty, or meaning.

## OBJECTIVE

Create a minimalist or Bauhaus-inspired design for [DESIGN APPLICATION: a poster / an album cover / a book cover / a brand identity element / a wall art print / a product packaging design / an architectural visualization / a UI concept / a textile pattern / a typographic composition]. The subject or theme is [THEME: a cultural event / a philosophical concept / a natural phenomenon / a musical composition / a mathematical principle / a brand or product / an abstract exploration of form and color]. The intended emotional response is [EMOTION: serene contemplation / dynamic energy / intellectual rigor / playful discovery / austere beauty / warm approachability].

## DESIGN CONSTRUCTION

### Grid System & Spatial Organization
The composition is built on a [GRID: 12-column modular grid with consistent gutters / golden ratio spiral informing element placement / rule-of-thirds with asymmetric weight / strict bilateral symmetry on a central axis / diagonal grid at 30/60/90 degrees / freeform but balanced through visual weight distribution]. Every element snaps to this underlying structure — the grid is invisible but its order is felt. Margins are [MARGIN: generous, with at least 15% of the canvas as breathing room on all sides / tight, with elements pushing toward edges to create tension / asymmetric, with more space on one side creating directional energy].

### Geometric Vocabulary
The visual language is built from [GEOMETRIC FOUNDATION: circles and arcs — the most organic of geometric forms, suggesting unity and completeness / rectangles and squares — stability, order, architectural solidity / triangles — dynamic tension, direction, hierarchy / a combination of all three in Kandinsky-inspired interplay / a single repeated form in systematic variation (rotation, scale, opacity shifts)]. All forms have [EDGE QUALITY: mathematically precise, hard edges with no feathering or softness / slightly rounded corners suggesting approachability within rigor / hand-drawn with subtle irregularity that humanizes the geometry / sharp where geometry meets geometry, soft where geometry meets negative space].

### Color Palette — The Bauhaus Primaries and Beyond
Select from these historically grounded approaches:
- **Classic Bauhaus Primary:** Pure red (#CC0000), pure blue (#0033CC), pure yellow (#FFCC00), black (#000000), and white (#FFFFFF). No intermediary colors. Each color occupies a clearly defined area with no gradients or blending. The white of the canvas is itself a color — as important as any applied hue.
- **Albers Color Interaction:** Two or three closely related hues placed adjacent to demonstrate how context transforms perception — [COLOR A] appears different against [COLOR B] than against [COLOR C], despite being identical. The composition becomes an exploration of optical color theory.
- **Monochrome Plus One:** Entire composition in [BASE: black and white / warm grey scale / cool grey scale] with a single accent color — [ACCENT: Bauhaus red / deep ultramarine / marigold yellow] — used sparingly to create hierarchy and draw the eye to [FOCAL POINT].
- **Contemporary Minimal:** A restrained palette of [NUMBER: 2-3] colors drawn from [PALETTE FAMILY: earth and stone — warm concrete grey, terracotta, cream / ocean — deep navy, foam white, driftwood grey / forest — deep green, bark brown, lichen sage / digital — electric blue, pure white, charcoal].

### Typography as Form
In Bauhaus and minimalist design, typography is not decoration but architecture:
- **Typeface Selection:** [TYPEFACE: Futura (the Bauhaus-era geometric sans-serif par excellence) / Universal (Bayer's experimental single-alphabet design) / Helvetica Neue (the Swiss International Style descendant) / Akzidenz-Grotesk (the proto-modernist template) / a contemporary geometric sans: Circular, GT America, or Euclid]. Use [WEIGHT: a single weight throughout for democratic uniformity / two weights (light and bold) for hierarchy / ultra-light for elegance / extra-bold for impact].
- **Typographic Layout:** Text is [ARRANGEMENT: flush-left with ragged right and generous line spacing / centered on axis with mathematical letterspacing / set at angles (45 or 90 degrees) to create dynamic spatial tension / arranged in a circle, arc, or geometric form / broken into a grid where each word or letter occupies its own cell]. All-lowercase following Bayer's rationalist argument against capital letters, or ALL-UPPERCASE for monumental presence.
- **Scale Contrast:** If the design includes text, create a scale ratio of at least [RATIO: 5:1 / 8:1 / 12:1] between the largest and smallest type elements. The largest element functions as a graphic form — its letterforms are shapes first and language second.

### Negative Space as Active Element
In minimalist design, what is not there matters as much as what is. The composition should be [DENSITY: at least 50% empty space / 70% empty space for maximum restraint / 40% with dense geometric packing creating a different kind of minimalism through systematic repetition]. Negative space should feel [QUALITY: expansive and restful / tense and charged with potential / precisely measured and intentional / asymmetric and dynamic, pushing the eye toward the composition's focal point].

### Material & Production Consideration
The design should feel appropriate for [PRODUCTION: offset lithographic printing on uncoated cotton stock — visible ink density and paper texture / screen printing with flat opaque inks and visible squeegee texture / digital display at high resolution with pixel-perfect edges / letterpress with subtle deboss impression / risograph with visible halftone patterns and slight ink inconsistency / laser-cut or CNC-routed in physical material — wood, metal, acrylic].

### Midjourney Parameters
```
--ar 3:4 --v 6.1 --s 250 --chaos 5 --style raw
```
For poster format: --ar 2:3. For square compositions: --ar 1:1. For wide-format banner: --ar 3:1. Keep --chaos LOW (5-10) for minimalist precision — high chaos values contradict the controlled intentionality of Bauhaus design. Use --s 150-250 for cleaner results. Add --no ornament, decoration, gradient, realistic, photograph to enforce the graphic design aesthetic.