A new range
Cards
13 cards, and not one of them is a drawing. Every front is composed from objects that already exist — the cast, the trees, the scenery, the subjects, the glyphs — so a card is a MEDIUM rather than a picture. brand/card.spec.json says what a card does to artwork: 3mm of bleed, 6mm of safe margin, and a trim. A mug is another file of the same shape, and the drawing will not have to change when it arrives.
Each is a folded card — 105x148mm or 140x140mm, printed both sides, blank inside for the sender to write on. Every one links to the file a commercial printer receives: a two-page PDF carrying its own trim, bleed and fold, prepared for FOGRA39.
Birthday
140 x 140mm folded · blank inside
“Many happy returns.”
The energy glyph, repeated. A birthday card should look like a party from across a room, and an all-over does that with one drawing.
the print fileThank you
105 x 148mm folded · blank inside
“Thank you — properly, and not in passing.”
Bow is the Giver. The card that says thank you should be held by the character whose whole calling is giving.
the print fileCongratulations
105 x 148mm folded · blank inside
“Well done. You did the work; this is just the noticing.”
Laurel is the Graduate, and a laurel is what you are given for finishing.
the print fileGood luck
105 x 148mm folded · blank inside
“Good luck. Not that you need it.”
Fleet the Runner, at the start line rather than the finish.
the print fileNew home
105 x 148mm folded · blank inside
“A new home. May it fill up slowly with good things.”
Root is the Protector and a rowan is the tree people plant by a door for luck. The card is a small scene because a home is a place, and a place needs ground.
the print fileGet well
105 x 148mm folded · blank inside
“Take the time it takes.”
Poppy is the Carer. A get-well card that hurries the reader is the wrong card.
the print fileWith love
140 x 140mm folded · blank inside
“With love.”
Bloom is the Lover, on the one ground in the palette that is unmistakably a feeling. Coral is dark enough to reverse the ink, which the composer does without being asked.
the print fileNew baby
105 x 148mm folded · blank inside
“Welcome. Congratulations to all three of you.”
Dove is the Innocent — the only character in the cast who has not yet been anything else.
the print fileThinking of you
105 x 148mm folded · blank inside
“Thinking of you.”
A moon on a dark ground, and no figure at all. Some cards are sent for a reason the front should not try to name.
the print fileBon voyage
105 x 148mm folded · blank inside
“Go well. Send something with a stamp on it.”
The compass is the Explorer's own mark, borrowed as a symbol rather than as a character.
the print fileMidwinter
140 x 140mm folded · blank inside
“Midwinter. The light comes back; it always does.”
Holly and a cliff at night, with Beacon — the Coast Watch — keeping an eye on it. A midwinter card rather than a Christmas one, because the solstice belongs to everybody.
the print fileJust because
140 x 140mm folded · blank inside
“No occasion. That is the occasion.”
Curiosity, repeated small. The card you send for no reason should not look like it is waiting for one.
the print fileNew job
105 x 148mm folded · blank inside
“Taking the plunge. They are lucky to have you.”
The dive scene from /fish, manifested onto a card — the same composition, a different medium, nothing redrawn. A diver going over the side is what taking a new job feels like, and it is the first card in the range that is a SCENE rather than a design.
the print fileThe medium
One drawing, several mediums
A card front is drawn to the BLEED box and its viewBox is the TRIM WINDOW, so what you see above is the card as it is held — trimmed — while the 3mm the guillotine takes is drawn, present, and just outside the frame. The print pack opens the window back out to get it. That is why there is no second file for print: the same def is the web card and the press card, and a third medium is another window on the same drawing.
Two things are proved rather than trusted, because neither is visible in a vector viewer. The ground must reach every edge of the drawn box — a card whose ground stops at the trim comes back with a white hairline down one side — so tools/check-card.mjs rasterises the four bleed corners and counts unpainted pixels. And nothing that matters may sit in the outer 6mm, which is checked against the composer's own record of where it put the foreground, not against ink: a ground, an arc and an all-over pattern are all SUPPOSED to be cut through.
A figure's size on a card is a ceiling, not a number. The composer takes the smaller of 70% of the trim and whatever fits between the top safe line and the horizon, so a figure cannot leave the safe margin on any card size — the square card needed it, and the guard found that out rather than a printer.
And which scenes become cards? None, by themselves. Any composition in the estate CAN be put on any medium — a scene is a composition and a card is a frame, and one of these cards is the dive from the fish page, manifested rather than redrawn. But a card is a PRODUCT: it has an occasion and words somebody wrote. So the range is an authored list, and a scene joins it when a line names it. The capability is automatic; the decision is not. A scene cropped from landscape to portrait must also name the one layer that may not be cut — there is no default, because the alternative is a guard that checks nothing and says ok.
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