How it was made
A song with a week in it
A critic, a new model every Monday and a sphere that grows; the take is from Suno.
Timed to the word
The lyrics were aligned to the isolated vocal, so every word, cut and switch reads its time from the take.
Drawn in code
Reference pictures were traced into ink cels and repainted as fitted brush strokes; no generated image is shown.
Printed in design languages
The whole film changes language on the beat: type, furniture and colour together.
Every picture is made in front of you
Nothing fades in: a painting is painted, a line is drawn, a stamp lands.
Two shapes
The 9:16 film has its own layout for every scene, with nothing near an edge.
Ingredients
Every look, style and program in it is a Katagami entry. Open one to use it yourself.
Code art6
Rubber StampEvery stamp, and the giant stamp that prints the title into the salt
Transit MapThe map of every look he ran through in verse 1, drawn on the beat
Line EngravingThe engraved fork that becomes a tree of forks in verse 3
Pinned CollageThe fork tree itself: cut-outs hinged at every branch like puppets
Brush PaintingThe one wet stroke on each Okinawan banner
Ink WashThe dish in the relay's Chinese post, as a few ink strokes
Art styles5
HaliteEvery painted frame on the salt flat: the critic, him and her, the diners, the long table
Cel CoutureHim and her on the launch pages, and the crowd's profile pictures
MasticTASTE: the oil painting the frame flips to on every verdict, and the candlelit bridge
CartridgeSLOP: the 16-bit battle the same picture drops into
- Orbnot public yetThe banquet on a cliff above the clouds, the sphere hanging low (s19, s47)
Design languages18
- Salt: The film's own language: tickets, place cards, words inked into the salt, the stamp and the end card
Risograph: Her launch, her verse and the dance, printed as pop: two plates off registerAffiche: The "(Soon.)" teaser, the title and both choruses, as a two-ink poster
Moire: Both pre-choruses and the bridge, in screentone
Alidade: Verse 3, the gallery duet: each measures the other's slop
Suzuri: The Okinawan festival banners, one vermilion hanko a view; the sixth language the film can be drawn in- Launch: Her launch pages, the version number as the hero, and the robot's chat in the relay
Halation: The purple gradient he runs from: the film's only purple
Leerstelle: The warm paperback he hides in, the dictionary of the bridge, and the relay's Russian postGalley: The taste establishment: the proof page, verse 3's wall texts and the relay's Ukrainian post
Raster: Every startup in the same outfit, and the relay's Spanish post
Akte: SI's archive and its launch on the glass
Greenbar: Machines speaking: the battle menus and the relay's assistant
Shuimo: The relay's Chinese post, on xuan paper with one seal
Shizuku: The relay's Japanese post
Bisque: The relay's Korean postReglet: The relay's French post
Signal Press: The relay's Portuguese post
Palettes1
Make your own
Copy this recipe for your agent and ask for "a code-drawn music video like Yesterday's Taste, for this song: ...". It times the lyrics to the take first, shows you the rule sheet and the schedule of design languages, and builds the scenes from Katagami ingredients, checking every scene in every language and both shapes by looking at it.
Connect Katagami in
Run in your terminal:
claude mcp add --transport http katagami https://katagami.ai/mcpYou can change
- The songany song with sections that change, timed to the word.
- The home languagemake one for your film, or take a published one, and name it in the registry.
- The languages it is printed inany design languages that fit together, each chosen for what its section says.
- The schedulewhere the switches land, as long as each is on a beat where the music changes.
- The art stylesone for the world and one for the pages, plus any a verdict flips to.
- The paletteone for the whole film, with one accent.
- The code artsany that show a thing being made in its own medium.
- The cast and the worldnew people and a new place for every film.