Petros Afshar style reference and prompts

Geometric illustration assembles readable large silhouettes from layered rectangles, arcs, discs, fans, bars, and patterned fragments. Matte teal, aged gold, muted red, and cream stand sharply against a near-black ground. Concentric rings and tiny dots repeat at different scales, tying dense central constructions to isolated peripheral accents. Hard, measured edges establish a diagram-like clarity, while a few sweeping curves keep the structure from becoming rigid. Flat graphic illumination leaves little cast shadow; overlap, scale, and contrast provide depth and focus. Generous dark negative space surrounds the busiest clusters, so fine lines and small ornaments remain distinct. The overall effect is intricate, playful, and mechanically rhythmic.

A square geometric illustration constructs a large bird-like figure from overlapping flat shapes, mechanical-looking details, and patterned color blocks on a deep black background. The main form stands slightly left of center and extends from near the top to the lower edge. Its head faces right: a pale gold curved beak projects into the dark space, a small red-and-black circular eye sits in a turquoise rectangular head, and layered blue-green fan shapes suggest feathers behind it. A larger concentric disc appears near the back of the head, paired with little triangles, dots, and short marks that echo the smaller eye. Below, the neck and body become a dense vertical assemblage of pale gold bars, teal blocks, red striped arcs, black zigzags, and tiny circular motifs. A broad pale curved band sweeps down the right side of the torso, crossing a dark red half-circle and several patterned panels. The lower portion tapers into long narrow strips and horizontal bars that nearly touch the bottom edge. The figure is assembled like a diagram or ornate machine, yet the beak and feather-like shapes make its animal outline readable. Around it, isolated gold, red, and teal circles hang in the black field. Thin straight lines, tiny dots, and narrow connectors link some of these accents while leaving generous gaps of darkness. At the upper left, a large ochre disc with a small dark center balances the bird's projecting beak. The colors have a matte, slightly aged printed finish rather than glossy plastic surfaces. Illumination is even and graphic, with contrast supplied by the pale and saturated shapes against black rather than by cast shadows. There is no legible text. The overall composition feels precise, playful, and densely ornamented at the center, while the black negative space gives every small mark room to register.