DVNC.ae
The AI agent company of the Gulf, shown as a world of cut paper: every picture is a paper sculpture photographed in a studio, seen through a cut in a pure white page.
The site hires out AI agents by role, so every role needed a picture that shows the job, not a robot. The answer was paper: tiny paper people at work in a built paper world, warm and handmade — the opposite of how AI usually looks.
Details
Client: DVNC.ae
Medium: Image
Models: GPT Image 2.5 Sunburst
Date: Oct 23, 2026
Making
Step 01: Papercut for everything
Step 02: One palette per role
Step 03: Two reference pictures per render
Step 04: The paper lifted to the page's white
Step 05: The format follows the slot
A page cut open
Each scene is one picture whose paper is exactly the page's white, so it melts into the page and the page itself looks cut open. The model's pure white comes out at 253–254, so every picture's near-whites are lifted to 255 before it ships. The words sit on the white surface; the pictures live below it, seen through the cut.
Paper people at work
An isometric world of crisp layered cardstock in warm golden light, with tiny paper figures caught mid-task — one focal point, two to four small story beats, and thread-and-pin tags carrying a word or three. No titles, no logos.
One colour for each role
Cream, kraft and sand stocks, one deep stage colour and one accent — and the agents are the small figures cut entirely from the accent. Each role keeps its palette everywhere it appears.
The roster
The hiring page is a row of windows: pick a job and see its agent at work, each scene seen through its own cut.
Every direction for the hero
The homepage hero went through every direction — from a front desk to an open blue sky — all built in paper and compared side by side before one was chosen.
The format follows the slot
A band torn top and bottom between sections, a window cut into the page, a scene standing with white all round. A floating scene stands complete — never a faded edge.
What was refused
Characters or mascots for the agents, robots, Gulf landmarks, anything Mediterranean or old-European, gardens and nature stories, factories, flat vector or pastel illustration, cold electric palettes, logos. And a style is never described in words alone: every render rides two reference pictures whose palette matches — their craft, light and palette, never their subjects.
