IF WE COULD BR*NG IT A Bouche x Artemis II Poster Series

The Brief

Bouche is a fictional food platform. It doesn't exist yet. But for this challenge, we asked: what would Bouche's brand look like if it commissioned a poster series around NASA's Artemis II mission?

The premise: the Artemis II crew packed 58 tortillas for ten days in orbit. What does that say about them?

The result: IF WE COULD BR*NG It — three editorial broadsides designed inside Paper using Claude as the connected agent, each one a different mode of the same story.

The Workflow

This series is the result of a genuine dialogue between Atelier Binti and a connected AI system (Claude, via the Paper MCP). Not a prompt-and-receive workflow. A back-and-forth: decisions made, revised, challenged, and pushed further in real time on the canvas.

Claude read Bouche's design system and NASA Artemis II food documentation, then generated poster briefs constrained by both. Paper rendered each broadside as the brief evolved. The agent didn't just execute — it proposed, critiqued, and remembered. When a move worked, it was recorded. When it didn't, the reasoning was documented and the direction corrected.

The Paper MCP was the connective tissue: Claude could read node IDs, check computed styles, write HTML directly into the canvas, and respond to what it actually saw — not what it assumed. That precision made the difference between a tool executing commands and a collaborator making design decisions.

The Posters

01 — The Manifest. Sixteen food items arranged in a 4×4 planet grid. Each specimen isolated, top-lit, floating in a Cultured gray atmosphere on Deep Cove navy. An amber orbital field glows behind them.

02 — The Orbit. One dish at the centre. Twelve companions on dashed orbital rings pulled inward, not placed.

03 — The Provocation. A tractor beam descends the full length of the poster. Running down its centre, letter by letter, telescoping from small to large: GALACT*CO.

The Real Detail

The hero dish across all three posters is credited to Chef Merlin Labron-Johnson. A real chef, with a real story worth telling. Michelin-starred at twenty-four. Founder of Portland, Clipstone, and Osip in Somerset, where he earned both a Michelin star and a green star for sustainability. His cooking blends classical French technique with ancient methods: fermenting, pickling, curing. No recipes, no timers, no thermometers.

He didn't make a galact*co. But he made something worth putting on a poster for a fictional food platform and a real space mission. His name is Merlin. The colour palette is amber and deep navy. It fits.

One more detail worth noting: Canadian astronaut Jeremy Hansen — one of the four Artemis II crew members — has a well-documented passion for growing orchids. The colour palette of this series, Deep Cove navy and Summer Day amber, leans into that. The series is, in part, a quiet nod to his presence on the mission.

The Constraint That Made It Better

Paper's MCP doesn't expose everything. Paper Shaders — the library that does noise, atmospheric glow, god rays — lives in a React build environment, not the canvas. We couldn't import it. So every atmospheric effect had to be built from inside the canvas itself: grain as SVG feTurbulence, orb warmth as oklab radial gradients, the beam as blurred polygon geometry. Some asset registries reverted. Some visibility properties CSS couldn't override. Every constraint became a decision. The series is better for it.

Credits

Atelier Binti — Founder, Atelier Binti Creative direction, design decisions, final editorial judgement

ABCD (Claude)

Brand voice, copy direction, series narrative

ABAD (Claude) Compositional critique, design sweep, art direction across all three posters

ABTA (Claude)

Paper MCP implementation, HTML/CSS layer engineering, constraint problem-solving

Built in Paper. Directed by Claude. Decided by Binti.