장비 그림 프롬프트

Seven Korean swords, as a plate from an old illustrated catalogue.

LAYOUT — this matters most:
Seven objects on one sheet, arranged as a grid of SQUARE panels.
Top row: four panels. Bottom row: three panels, centred under the four.
Each panel is a perfect square, the same size, separated by generous even margins of blank paper and a thin hairline ink border.
Each object sits alone in its own square panel and FILLS about 85 percent of it — big, bold, and still readable when shrunk to a thumbnail.
Reading order is top-left to top-right, then bottom-left to bottom-right, and the objects grow richer in that order.
Overall sheet is a 2:1 landscape rectangle.

STYLE:
Ink wash painting on aged hanji paper with visible paper fibre. Sumi-e brush technique with real brush texture and a little ink bleed. One consistent hand across all seven. No background scenery inside the panels — the paper is the background.

DO NOT: no text, no numbers, no labels, no seals, no hanja, no hands, no people, no Japanese katana or taiko, no European fantasy weapons, no drop shadows on the panel borders. Do not make all seven look alike — each must be clearly its own object.

SWORD ORIENTATION — required:
Lay every sword DIAGONALLY inside its square panel, hilt at the lower left and point at the upper right, so the blade runs along the panel's diagonal and fills it corner to corner. All seven lie the same way. A sword standing straight up leaves the panel mostly empty — that is the thing to avoid.

THE SEVEN, in order:
1. A plain wooden practice sword — unmistakably a SWORD, not a stick: a flat blade silhouette with a bevelled edge, a simple carved collar and a shaped grip. Pale worn oak.
2. A Korean hwando: single-edged, gently curved, round brass guard, leather-wrapped grip.
3. A straight double-edged court sword, brass fittings, a short crimson cord at the pommel.
4. A straight blade inlaid with SEVEN small silver stars in the pattern of the Big Dipper running up the fuller.
5. A straight blade with fine gold inlay script-like etching along the blade and a small brass tiger-head pommel, a crimson tassel.
6. A ceremonial sword whose blade carries a faint inner light, an ornate gilt guard with a mythical beast head, a long gold tassel.
7. The grandest: pale jade and gold hilt set with small green stones, the blade glowing white-gold with a soft aura, a long pale tassel.

Seven Korean lamps and lanterns, as a plate from an old illustrated catalogue. Each one is lit, and the light is the warmest thing on the page.

LAYOUT — this matters most:
Seven objects on one sheet, arranged as a grid of SQUARE panels.
Top row: four panels. Bottom row: three panels, centred under the four.
Each panel is a perfect square, the same size, separated by generous even margins of blank paper and a thin hairline ink border.
Each object sits alone in its own square panel and FILLS about 85 percent of it — big, bold, and still readable when shrunk to a thumbnail.
Reading order is top-left to top-right, then bottom-left to bottom-right, and the objects grow richer in that order.
Overall sheet is a 2:1 landscape rectangle.

STYLE:
Ink wash painting on aged hanji paper with visible paper fibre. Sumi-e brush technique with real brush texture and a little ink bleed. One consistent hand across all seven. No background scenery inside the panels — the paper is the background.

DO NOT: no text, no numbers, no labels, no seals, no hanja, no hands, no people, no Japanese katana or taiko, no European fantasy weapons, no drop shadows on the panel borders. Do not make all seven look alike — each must be clearly its own object.

Stand each lamp upright and centred in its square panel, seen slightly from above so the top and the body both read. Make each one WIDE and solid rather than tall and thin — they must fill the square.

THE SEVEN, in order:
1. A burning pine-knot torch — a gnarled resinous root with a live flame and a thread of smoke.
2. A shallow stone oil dish with a single wick and a small steady flame.
3. A cheongsa-choprong: a cylindrical silk lantern, blue in the upper half and red in the lower half, with a carrying ring on top and a glow inside.
4. A SQUAT stone lantern — wide hexagonal base, low body, broad heavy roof-cap, moss in the carved seams, warm light in the window.
5. A TALL slender stone lantern on a long shaft — clearly much taller and narrower than number four, with a lotus-carved base and a tiered pagoda roof, so the two stone lanterns can never be confused.
6. A gilt bronze lantern with a round face carrying a sun and a crescent moon side by side, a crown of gold flames around the rim.
7. The grandest: deep indigo panels scattered with small stars, a gold frame, and a warm light burning at its heart.

Seven Korean drums, as a plate from an old illustrated catalogue.

LAYOUT — this matters most:
Seven objects on one sheet, arranged as a grid of SQUARE panels.
Top row: four panels. Bottom row: three panels, centred under the four.
Each panel is a perfect square, the same size, separated by generous even margins of blank paper and a thin hairline ink border.
Each object sits alone in its own square panel and FILLS about 85 percent of it — big, bold, and still readable when shrunk to a thumbnail.
Reading order is top-left to top-right, then bottom-left to bottom-right, and the objects grow richer in that order.
Overall sheet is a 2:1 landscape rectangle.

STYLE:
Ink wash painting on aged hanji paper with visible paper fibre. Sumi-e brush technique with real brush texture and a little ink bleed. One consistent hand across all seven. No background scenery inside the panels — the paper is the background.

DO NOT: no text, no numbers, no labels, no seals, no hanja, no hands, no people, no Japanese katana or taiko, no European fantasy weapons, no drop shadows on the panel borders. Do not make all seven look alike — each must be clearly its own object.

Show each drum front-on with the drumhead facing the viewer, centred and filling its square panel. The drums grow larger and more ornate in order.

THE SEVEN, in order:
1. A small hand drum with a short wooden handle, plain hide head, simple lashing.
2. A mid-sized war drum on a plain wooden stand, crimson body, brass studs around the rim.
3. A larger crimson drum with a gold dragon coiled across the body, on a carved stand.
4. A drum with an indigo body painted with rolling cloud scrolls, in a dark carved wooden frame.
5. A drum in an elaborate gilt frame carved with clouds and beasts; the head itself is pale and plain so the frame does the work.
6. A dark drum whose head is cracked across with veins of gold lightning, in a black and gold frame.
7. The grandest: a night-dark drum head full of storm cloud and a glowing core, in a gold frame, with ink-brush ripples radiating outward to show the sound carrying.