Oh fix other half

art-direction.md

@@ -203,6 +203,57 @@ Possible sections:
 
 ---
 
+## Card Dimensions and Resolution
+
+### Aspect Ratio
+
+All standard cards should use a **5:7 portrait aspect ratio**.
+
+This corresponds cleanly with the current physical prototype dimensions:
+
+- Width: 63 mm
+- Height: 88.2 mm
+
+Artwork, card frames, masks, material maps, and generated assets should
+all use the same 5:7 coordinate space unless a specific experiment
+requires otherwise.
+
+### Master Artwork Resolution
+
+The standard master artwork resolution should be:
+
+**3000 × 4200 px**
+
+This is the source-quality asset and should be retained even if smaller
+versions are generated for the application.
+
+All associated masks should use the same dimensions and alignment where
+practical, including:
+
+- Foil masks
+- Holographic masks
+- Metallic masks
+- Roughness maps
+- Wear masks
+- Normal/bump maps
+- Printing masks
+
+### Runtime Resolutions
+
+Runtime assets may be generated from the master depending on context:
+
+- High-resolution inspection: 2000 × 2800
+- Standard card rendering: 1000 × 1400
+- Binder / collection thumbnails: 500 × 700 or smaller
+
+Exact runtime sizes should eventually be determined through performance
+testing, particularly on mobile devices.
+
+The master artwork should never be replaced by a lower-resolution
+runtime export.
+
+---
+
 # Rarity Art Direction
 
 Rarity should have a major impact on the visual grammar of the card.
@@ -320,6 +371,7 @@ Uncommon cards can begin introducing more refinement.
 
 ---
 
+
 ## Rare
 
 Rare cards should feel distinctive.
@@ -446,9 +498,9 @@ These elements help tell David's story rather than simply adding decoration for
 
 ---
 
-# Rarity vs. Finish
+# Rarity vs. Physical Treatment
 
-Rarity and finish are separate systems.
+Rarity, material, and finish are separate systems.
 
 This is important.
 
@@ -465,24 +517,32 @@ A Legendary plain-paper card should still visually read as Legendary.
 - Base art complexity.
 - Ornamentation.
 
+## Material controls
+
+- The physical substrate of the card.
+- Surface microtexture and roughness.
+- Edge and core appearance.
+- Base reflectivity and perceived weight.
+- Paper, linen, plastic, metal, or wood response.
+
 ## Finish controls
 
-- Physical rendering behavior.
+- A treatment applied over the material and printed artwork.
-- Reflectivity.
+- Selective foil reflection.
-- Foil effects.
+- Holographic spectral response.
-- Holographic behavior.
+- Coating strength and coverage.
-- Surface texture.
-- Material response to lighting.
 
 For example:
 
-- Common Paper Timothy.
+- Common Paper + Printed Ink Timothy.
-- Common Foil Timothy.
+- Common Paper + Foil Timothy.
-- Common Holographic Timothy.
+- Common Linen + Holographic Timothy.
-- Common Metal Timothy.
+- Common Metal + Printed Ink Timothy.
 
 All of them should still use the same underlying Common Timothy card design.
 
+Material and finish should not be treated as an unrestricted Cartesian product. A combination should exist because it has an intentional physical and visual interpretation, not merely because both options are available independently.
+
 ---
 
 # Material and Finish Direction
@@ -500,43 +560,68 @@ Examples:
 - Provenance -> inspectable metadata.
 - Population -> inspectable metadata.
 
+The material is the card's substrate. The finish is a treatment applied over that substrate. They should remain independently identifiable when the card moves under light.
+
 ---
 
 ## Paper
 
-- Matte or slightly textured.
+- Matte with fine, irregular fibers.
-- Soft reflection.
+- Broad, weak reflection rather than a sharp sheen.
-- Visible paper grain if inspected closely.
+- Grain should become visible during close inspection without making the artwork noisy.
 
 ## Plastic
 
 - Smoother surface.
-- Slightly stronger specular response.
+- Clear-coated dielectric reflection.
+- A bounded moving highlight should remain visible even with Printed Ink.
 - Cleaner edges.
 
 ## Linen
 
-- Fine woven normal map.
+- Raised interlaced warp and weft rather than generic noise.
 - Soft diffuse reflection.
+- Small shaded recesses should help the weave read under moving light.
 - Particularly compatible with tapestry-inspired artwork.
 
 ## Metal
 
-- Strong metallic response.
+- Reflective underprint and a visibly metallic edge.
-- Sharper reflections.
+- Darker artwork values create deeper engraved grooves; the maximum depth should remain low enough that the card still feels printed and collectible rather than sculpted.
+- Groove depth should read through surface normals, restrained cavity shading, and fine bevel highlights when the card moves.
+- Printed artwork colors must remain recognizable rather than becoming uniformly silver or gold.
 - Visually heavier.
 - Should still preserve artwork readability.
 
+## Wood
+
+- Warm substrate tint with a darker brown core.
+- Longitudinal, slightly warped grain with shallow physical relief.
+- Grain should support the card artwork rather than overpowering it.
+- Reflection should remain restrained and less polished than plastic or metal.
+
 ## Foil
 
-- Angle-dependent reflection.
+- Selective angle-dependent metallic reflection controlled by an art-directed mask.
-- Light sweeps visibly across the card.
+- Light should sweep visibly across treated regions without washing out the entire illustration.
+- Foil should remain distinguishable from a Metal substrate: foil is a localized surface treatment, while metal changes the whole card body and edge.
+- Metal + Foil should preserve the printed colors and read as restrained, slightly raised champagne-metal polishing over etched steel. It should not turn the whole illustration into opaque gold.
 
 ## Holographic
 
 - View-dependent spectral response.
-- Holographic effect should ideally use masks so only specific portions of the artwork react.
+- Holographic response should use masks so intentional portions of the artwork react.
 - Should remain tasteful and avoid a neon / fantasy appearance.
+- Spectral color can be clearly visible, but extreme white sheen at grazing angles should remain controlled.
+
+## Finish Mask Direction
+
+- Finish masks should be authored and reviewed as part of the card art rather than treated as arbitrary technical output.
+- Preserve titles, verses, and other critical text unless a specific treatment is intentionally designed for them.
+- Do not create obvious circular or elliptical exclusions around faces, hands, animals, or other subjects. Those shapes read as artificial holes when the card moves.
+- Avoid isolated mask islands that produce unrelated holographic spots across skin or focal features.
+- Prefer coverage that follows stained-glass panes, ornament, borders, garments, environmental color, and other compositional regions.
+- Evaluate every mask while rotating the card under multiple lighting angles. A mask that looks acceptable in a still image may look distracting in motion.
 
 ---