David Aja style reference and prompts

The graphic illustration relies on large uninterrupted color fields, dense black silhouettes, and a few sharp white cuts. Teal-blue carries most of the image area, so even narrow pale accents read strongly. Shapes are reduced to decisive flat contours; internal detail is sparse, and adjacent dark masses remain legible through carefully placed gaps. A long horizontal division anchors the lower region, where repeated broken strokes introduce a rougher, rhythmic texture against the otherwise smooth fields. Illumination is expressed through value placement rather than gradual shading, and the contrast remains bold even at small scale. Broad empty space surrounds a compact cluster of interlocking forms, giving the image stillness while the short fragmented marks add controlled movement. The overall finish is crisp, economical, and slightly enigmatic.

A square minimalist graphic illustration shows two dark-suited figures standing back to back beneath one black umbrella, surrounded by a broad, flat teal-blue field. The upper half is mostly unmarked blue negative space, giving the small central group a deliberate sense of isolation. Near the top center, the umbrella forms a clean, low black arc with a thin upright handle descending between the figures. On the left, a figure faces away in profile, head lowered slightly; a compact black case hangs from one hand beside the leg. On the right, a second figure faces the opposite direction, with a pale blue face and a narrow bright strip of shirt showing between dark jacket panels. Both are built largely from solid black shapes, with only a few blue cuts defining heads, arms, and the space between them. Across the lower third, a thin white horizontal line passes through the scene, marking the division above a reflective water surface. Below it, the paired dark forms stretch downward as broken black ripples, interrupted by short white strokes and narrow blue gaps. The reflection is not a smooth mirror image: its wavering stripes give the flat design a small area of motion and texture. The top of the water remains nearly level, while the lower edge becomes a sequence of increasingly loose black marks. Lighting is graphic rather than naturalistic, with the lightest values reserved for the white line, pale face, and scattered glints; no modeled cast shadow appears on the blue ground. The palette is held almost entirely to medium teal-blue, black, and small white accents. The overall composition turns two opposing silhouettes and their shared overhead shape into a quiet visual riddle, using immense negative space and a narrow band of reflection for rhythm.