Design for emotion, not information
Why a postcard isn't a brochure — and how to keep the AI illustrator from defaulting to corporate slop.
When teams first sit down with the wizard they tend to ask for "a postcard that shows our value prop." That's the recycling-bin postcard.
The job of the front of the card is to make the prospect feel one specific thing before they read the back. Pick the emotion first, work backwards.
Pick one of these as your scene's job
Recognition — "Wait, that's me." The prospect is the hero of the scene, doing the thing they actually do, drawn well enough to be flattering without being weird.
Aspiration — "That looks like a place I want to be." The prospect is rendered slightly larger-than-life — winning the deal, planting the flag, shipping the feature.
Curiosity — "What is this?" An unusual scene that doesn't fully explain itself on the front, pulling the eye to flip the card over.
Do
Most successful campaigns use Aspiration. Recognition is great when you actually know what they do. Curiosity is hard to pull off.
What goes wrong with the AI
Left to its own devices, the AI will draw a person at a conference table with a logo on the wall. Every time. That's the corporate slop default.
Break out of it by being concrete in the scene description. "A developer plants a flag at a mountain summit, their company logo etched into the rock face" — that gives the model an anchor.
Avoid: "Show our values." "A team collaborating." "Innovation." These produce stock-photo-shaped output.
Prefer: "A keys-in-hand moment outside a freshly-painted blue house." "A bartender pouring an iced espresso with the menu chalkboard in the back showing their company's tagline."
The logo is the anchor, not the hero
The most common mistake: making the logo huge. The logo confirms identity. The scene does the selling.
Where the logo lives in the scene matters more than how big it is. On a flag, on a rock face, on a coffee cup, on a name tag — anywhere except "floating in the corner."