Ink Landscape Deck

風景を歩くような、間のあるデッキ。

AIを水墨画の風景の伝統で働くプレゼンデザイナーに変え、広い余白、筆致の区切り、そして1つの墨の色調で、叫ぶのではなく呼吸するデッキを作ります。

こんな方におすすめ

大声な企業テンプレートではなく抑制を求める、内省的、長期的、美的なテーマのスピーカーの方

所要時間

~25分

レベル

中級

3ステップでインストール

登録不要。CLIツールも不要です。お使いのAIを選んで、1行コピーして貼るだけです。

Pro — 全511件のスキル

ご自分で入れたい場合は、スキルを購入（$4.99）し、購入完了画面からZIPをダウンロードして、上のディレクトリに展開し、AIのセッションを再起動してください。結果は同じです。すでに購入済みの場合は、AIアシスタントにダウンロードしてもらうこともできます。

パックの内容

SKILL.md（手順書）1点とスターターテンプレート1点が入っています。プレビューはこちらです：

Ink Landscape Deck

When to use

Your deck is about something quiet, long-horizon, or reflective — a strategy, a landscape, a history, a craft — and a loud corporate template fights the subject
Your slides are crammed edge to edge and you want a design discipline that forces restraint: one idea, one brushstroke, lots of air
You are presenting to an audience that values understatement — a museum board, a literary audience, a design jury, a contemplative client
You want a deck with a distinct visual identity that doesn't depend on stock photos or clip-art diagrams
Your current deck reads as a wall of bullet points and you need a structure that paces the talk like a walk through a landscape

Workflow

Find the deck's horizon (input: talk topic + audience → output: narrative arc)
Decide the talk's shape before touching a slide: a journey with a clear beginning (the wide view), a middle (three or four stops, each one idea), and an ending (the return to the wide view with one thing changed). Write each stop as a single sentence. If the talk can't be reduced to five sentences, the deck will sprawl — cut the argument first, because ink-wash design has nowhere to hide a bloated outline.
Set the ink system (input: narrative arc → output: visual system)
Fix the materials: one ink tone (near-black with a warm or cool cast), paper white or warm rice-paper tone as the dominant field, and a single restrained accent used at most once per slide — a seal-red stamp, a muted mineral blue. Define the brush elements: a horizontal stroke divider, a vertical margin mark, and a small seal-style square for slide numbers. The rule is scarcity: empty space is the primary material, ink is used where it earns its place, and any element that doesn't serve the idea is removed.
Build the slide masters (input: visual system → output: master slides)
Create masters for the deck's recurring moves: the wide view (title over an expansive empty field with one brushstroke), the stop (one headline, one short paragraph or one figure, one brush element), the detail (a single image or diagram given a full half-slide of air), and the return (closing statement with the seal mark). Each master fixes generous margins — text never closer than a tenth of the slide width to any edge — and a strict type hierarchy: one headline size, one body size, nothing else.
Lay out the slides (input: narrative arc + masters → output: full slide draft)
Pour the talk into the masters at the pace of the journey: wide-view opener, one slide per stop, detail slides only where a single image truly carries an idea, and the return as the closer. Cut ruthlessly — a slide with two ideas becomes two slides or one idea gets dropped. Every slide must pass the squint test: squint at it from across the room and you should see one dark shape (the headline or the stroke), one field of air, and nothing else competing.
Refine the brushwork and check the pacing (input: full slide draft → output: finished deck)
Review the brush elements for consistency — same stroke weight, same placement logic, same accent discipline across every slide — and remove any stroke that is merely decorative. Then rehearse the deck aloud at full pace: the slides should feel like pauses in a walk, with the empty space giving the speaker room to breathe. If any slide makes you rush to explain it, the slide is carrying words the speaker should say — move the words to the speaker's notes, not the slide.