STYLES FOR: cosy autumn nostalgia, as a 30-piece clipart bundle for Etsy download Brief: 1:1, seen mostly at one to three inches placed into planners, cards and stickers, and as tiny tiles in the listing preview; all 30 must read as one family; rules out backgrounds and scenes, cropped subjects, soft fading edges that will not cut out cleanly, and hairline detail that vanishes when scaled down. Autumn nostalgia asks for warm, low, late-afternoon light from one side, and ochre, rust, plum, moss and terracotta held about a quarter below full saturation so they read as remembered, with no cold blue daylight and no pure black; the five spread across golden daylight, dusky plum, wool neutrals, kiln earth and faded sepia. 1. DRYBRUSH KEEPSAKE - opaque scratchy brush paintings inside thick white die-cut borders Looks like: Each object looks like a chunky opaque painting cut from an old keepsake album, with scratchy brush-drag edges and a thick smooth white border around it. Its colours are sun-warmed ochre and rust, lit low from one side. Built from: Gouache drybrush painting for opaque matte colour and the bristle-scratch texture; Victorian die-cut paper scraps for the thick white cut border and one sentimental object centred alone. Palette: #FBF6EA paper white, ground, 38% · #D19A3C harvest ochre, main, 30% · #9C4F2B rust, shadow, 17% · #6E7440 dried sage, accent, 10% · #FFE7A8 pale butter, highlight, 5% Colour rules: Rust only on the side away from the light, butter only on lit edges; about seven steps apart on a ten-step scale / Ochre and rust mid-saturation, sage and white muted; sage touches only leaves, stems or one small detail / Cranberry may replace sage for a red subject; the ochre main, rust shadow and white border never change Line and shape: No drawn outline; dry, broken brush-drag edges inside a smooth white border about 4% of the image wide. Forms plump and rounded, silhouettes compact and chunky. Surface and light: Scratchy dry-bristle texture with paper tooth showing through; shading built in dark-to-light drags, never blended; warm low light from the upper left. Never: a cast shadow outside the white border / wet blends, gradients or airbrush smoothness / a second object or any scenery behind the subject Style prompt: <subject> alone on a plain white background, gouache drybrush illustration, Victorian die-cut paper scrap with a thick smooth white cut border, harvest ochre and rust brown with small dried sage accents and pale butter highlights, dry broken brush-drag edges, plump rounded simplified forms, scratchy bristle texture with paper tooth, warm low light from upper left --ar 1:1 --no outline, scenery, text Try it on: a mug of hot cider / a stack of three pumpkins / a folded wool scarf Breaks on: wide scenes and landscapes, which the die-cut border cannot hold; split them into single objects or pack two or three into one tight cluster. 2. DAMSON STENCIL - flat offset stencil layers, deep plum, heavy keyline, pumpkin pops Looks like: Flat stencilled layers of colour, each with a faint stippled dab texture and set a hair out of line with the next. Objects sit bold and frontal like a fruit-crate label: deep plum bodies, a thick dark keyline, pumpkin pops. Built from: Pochoir hand-stencilling for flat layered gouache, stippled dab texture and slight register slips; apple-crate label lithography for bold heroic objects, heavy keylines and hard glinting highlight streaks. Palette: #F7F2EA cream white, ground, 34% · #5B2A45 damson plum, main, 28% · #2E1B2B aubergine, line, 14% · #E0782A pumpkin orange, accent, 14% · #E9C46A straw gold, highlight, 10% Colour rules: Aubergine keyline darkest, cream lightest, the full scale apart; nothing inside the object as dark as the keyline / Plum deep, moderately saturated; straw gold soft; pumpkin alone fully saturated, on at most a quarter of the object / Pumpkin may become cranberry or apple green; plum main, aubergine keyline and offset layers never change Line and shape: A heavy aubergine keyline of even weight around the silhouette only; stencil bridges break interior shapes. Forms cut down to four or five flat layers, silhouettes bold and frontal. Surface and light: Stippled dab texture inside every flat layer, one layer offset slightly; shading is a single darker stencilled layer; hard highlight streaks, light from the upper right. Never: gradients or soft blends / more than five colour layers / a keyline that changes weight or appears inside the object Style prompt: <subject> alone on a plain white background, hand-stencilled pochoir print in the manner of an old fruit-crate label, deep damson plum with pumpkin orange and straw gold accents, heavy even aubergine keyline around the silhouette, flat stencil shapes with small bridges, four or five colour layers slightly offset, stippled dab texture, hard highlight streak, light from upper right --ar 1:1 --no gradient, scenery, text Try it on: a basket of apples / an acorn with two oak leaves / a lit lantern Breaks on: soft, misty subjects like steam, fog or a fluffy cat, which stencils flatten into blobs; draw fur as three flat tuft shapes and steam as one solid curl. 3. KNIT CUTAWAY - knitted wool silhouettes with details cut clean through Looks like: Each subject is a flat knitted silhouette, every colour area made of rows of V stitches like the front of a jumper. Details are holes cut through the wool, as in paper cutting, showing white as veins, windows and eyes. Built from: Stockinette intarsia knitting for the V-stitch grid, blocky colour changes and wool fuzz; scherenschnitte paper cutting for one connected silhouette whose details are cut out as negative space. Palette: #FFFFFF white, ground, 36% · #6F7A3E moss green, main, 30% · #E6D9BF oatmeal, highlight, 15% · #8F3B2E brick red, accent, 11% · #3F4526 dark loden, shadow, 8% Colour rules: Dark loden only on the outer row and shadow blocks, oatmeal only on lit blocks, about five steps apart / All yarns muted, none brighter than brick; brick touches only one small motif, a berry, stripe or button / Brick may become mustard or pumpkin; moss main, oatmeal, stitch size and cut-through holes never change Line and shape: No lines; edges step along the stitch grid, softened by fuzz. One connected silhouette about forty stitches wide, simplified to bold shape with details as holes. Surface and light: Clear V stitches, a soft halo of wool fuzz and slight yarn twist; shading by changing to a darker yarn block, never a gradient; soft light from upper left. Never: a detail stitched or drawn on top instead of cut out / stitches too small to count at thumbnail size / a silhouette split into floating pieces Style prompt: <subject> alone on a plain white background, flat hand-knitted stockinette intarsia silhouette, large visible V stitches about forty across, moss green wool with oatmeal and dark loden blocks and a small brick red accent, details cut clean through as holes like a paper cutting, one connected shape, stepped stitch edges with soft wool fuzz, soft light from upper left --ar 1:1 --no outline, embroidery, gradient Try it on: an oak leaf / a curled-up sleeping fox / a cottage with a smoking chimney Breaks on: subjects that need fine features or lettering, like a labelled jam jar or a face; keep them to silhouette and cut holes, and leave lettering to the buyer. 4. SLIPTRAIL VECTOR - flat terracotta shapes decorated with piped cream lines and dots Looks like: Flat terracotta shapes with no gradients, decorated with even cream lines that end in round dots, as if piped onto clay. Wavy bands, dotted rows and feathered combing fill each form in place of detail. Built from: Flat vector illustration for constant-weight strokes, geometric simplification and clean edges; slip-trailed redware pottery for piped cream lines, dot terminals, combed feathering and terracotta colouring. Palette: #FFFFFF white, ground, 36% · #B5562F terracotta, main, 30% · #F1E1C2 slip cream, line, 16% · #6B2E1E burnt umber, shadow, 10% · #2F5A4F copper-green glaze, accent, 8% Colour rules: Burnt umber darkest, slip cream lightest, about six steps apart; umber only as one flat shadow shape, cream only as line and dot / Terracotta and umber mid-saturation, cream near neutral; glaze green touches one small area, a leaf, rim or band / Glaze green may become honey amber; terracotta body, cream slip line and its fixed width never change Line and shape: One constant cream stroke about 2% of the image wide, round caps ending in dots; forms reduced to rounded geometric masses; silhouettes smooth and pot-like. Surface and light: Perfectly flat fills, no grain or texture; shading only as one hard-edged umber shape on the side away from the light, which comes from the upper left. Never: tapered or varying line weight / gradients, grain or brush texture / cream used as a fill bigger than a dot Style prompt: <subject> alone on a plain white background, flat vector illustration decorated like slip-trailed redware pottery, terracotta body, cream piped lines of one constant width ending in round dots, wavy bands and combed feathering, one hard-edged burnt umber shadow shape, one small copper green glaze accent, rounded geometric simplified forms, perfectly flat fills, light from upper left --ar 1:1 --no gradient, texture, black outline Try it on: a lattice-crust apple pie / a teapot and cup / a jar of apple butter Breaks on: subjects that need realism or expression, like a pet portrait; reduce faces to two dots and a curve and let the combed pattern carry the character. 5. TINTED SPECIMEN - real objects photographed flat, warm monochrome, one faded hand tint Looks like: Real objects photographed straight on against plain white, printed in warm grey-brown black and white, painted by hand with a thin faded tint on one or two parts. Each sits alone, evenly lit, like an entry in a collector's catalogue. Built from: Hand-tinted black-and-white photography for warm silver tones and thin translucent tints kept inside their areas; museum specimen photography for frontal, centred, evenly lit objects on seamless white. Palette: #FFFFFF white, ground, 40% · #8C8173 warm greige, main, 28% · #3E362F sepia dark, shadow, 14% · #D9A6A0 faded rose, accent, 10% · #EFE6D6 silver cream, highlight, 8% Colour rules: Sepia dark only in deepest crevices and contact shadow, silver cream on the brightest facet; nearly the full range apart, no pure black / Greige almost unsaturated; tints at about a third strength, on one or two named parts, never the whole object / Tint may be rose, sage, butter or dusty blue; monochrome body, frontal angle and white ground never change Line and shape: No drawn lines; edges are the real photographic edge in sharp focus throughout. Forms are not simplified, but shot square-on so silhouettes read flat and clean. Surface and light: Fine silver-print grain, matte; tints look brushed, slightly uneven at their edges; soft even light from the upper left, one small soft contact shadow beneath. Never: full-colour photography / dramatic angles, shallow focus or props / a tint spreading over the whole object or into the background Style prompt: <subject> alone on a plain seamless white background, museum specimen photograph, photographed straight on and centred, warm black and white silver print hand-tinted with faded rose on one small part only, warm greige and sepia tones, sharp focus throughout, clean crisp edges, fine matte grain, soft even light from upper left, one small soft contact shadow beneath --ar 1:1 --no full colour, props, shallow depth of field Try it on: a pinecone / a pair of wool mittens / a pocket watch Breaks on: invented or cartoon subjects, a smiling pumpkin or a gnome, which come out looking like cheap props; keep this style for things that could be photographed. SERIES PICK Pick: 1 - the thick white die-cut border and fixed ochre-rust palette frame thirty different objects the same way, and every piece cuts out cleanly for the buyer. Runner-up: 4 - it wins if the buyers want SVG files for cutting machines, since its flat fills and single line width vectorise cleanly. Hardest to keep consistent: 3 - stitch size drifts first: the tool will knit some subjects chunky and others like fine embroidery, and the set stops matching.