옥 그림 프롬프트

HOUSE STYLE — this block is identical on every plate. Do not reinterpret it.

MEDIUM: Korean ink wash painting (sumi-e) on aged hanji paper. The paper is a warm pale cream with visible fibre. Ink is soft black-brown, laid in a few confident strokes with a little bleed at the edges. Colour is washed thinly over the ink — muted, dry, never saturated, never glossy, never neon.

HAND: one consistent hand across every plate — the same brush, the same pressure, the same restraint. If two plates sit side by side they must look like pages from the same book.

GROUND: the paper IS the background. No scenery, no table, no cloth, no shelf, no horizon, no cast shadow on the ground. At most a faint grey smudge directly under the object where it rests.

FRAMING: one object alone, centred, drawn head-on and whole, filling about 80 percent of a perfect square panel. A thin hairline ink border runs just inside the edge of the square.

WEIGHT: the object must read as one solid silhouette when shrunk to a thumbnail 48 pixels wide. Fat and clear beats fine and detailed.

PALETTE (stay inside this):
  paper   #F3EFE4    ink     #2B2219
  gold    #C9A227    brass   #B8914A
  jade    #4A9E8F    celadon #DEE4D5
  stone   #6E7682    ember   #D6453A (use sparingly, as an accent only)

FORBIDDEN on every plate: text, numbers, labels, seals, signatures, hanja or any writing; hands, people, animals; drop shadows; 3D render, airbrush or photographic look; glitter, lens flare; anything Japanese or Chinese in styling — these are Korean objects.

THE BEAD — the single reference object. Every jade in every plate below is THIS bead, repeated. Do not redesign it, do not vary its colour, do not carve or facet it.

A polished jade bead. Perfectly round, river-smooth, heavy in the hand. Deep translucent green (#4A9E8F at its heart) going darker and cooler toward the lower edge and paler toward the upper left, so it reads as glass-like and lit from the upper left. Pale cloudy veining drifts inside it — a few soft milky threads, never a crack, never a pattern.

ONE soft oval highlight sits on the upper left of each bead, slightly blurred, tilted about thirty degrees. Never two highlights. Never a hard white dot.

A fine ink outline (#1D4433) holds the bead's edge, a little heavier along the bottom where it rests.

SIZE: the beads in a group are all close to the same size — a hand-picked set, not a gravel pile. One may be slightly larger and sit forward.

The jade is the only saturated colour on the plate. Everything that holds it — cloth, wood, brass — stays dry and muted so the green carries.

LAYOUT: three square panels in one row on a single sheet, equal generous margins of blank paper between them. Overall sheet 3:1 landscape. The three must look like a matched set — same panel size, same ink weight, same amount of colour.

Read left to right as a growing quantity. The BEAD never changes; only the vessel and the count change.

1. A HANDFUL — three beads resting loose on the bare paper, no vessel at all. One slightly larger bead sits forward and left, two behind it, lightly overlapping. A faint grey smudge under them where they rest. Generous empty paper around. This is the smallest offering and it must look modest but clean — not poor, not scattered.

2. A SACK — a small hemp cloth sack, pale undyed linen with soft vertical folds and a dry grey-brown wash in the creases, standing upright and comfortably full. Its neck is gathered and bound once with a dark braided cord, the knot visible, two short ends hanging. Three beads spill over the gathered mouth and rest on the shoulder of the sack, with more green glinting just inside the opening. The sack is dry and muted; the jade is the only bright thing.

3. A CHEST — a small low Korean wooden box (ham), warm dark-brown paulownia with visible grain, its flat lid hinged open and leaning back. Simple brass corner fittings and a plain brass clasp plate on the front, aged and unpolished. The box is FULL: beads heaped above the rim so the pile crowns over the open mouth, five or six reading clearly at the front and the rest implied behind. This is abundance — the box must look heavy.

The three vessels must share one family: same brush, same restraint, same amount of ink. Nothing may look more finished than its neighbours.

EXTRA PLATES — only if you add these tiers later. Same house style, same bead, same hand.

0. ONE BEAD — a single jade bead alone on the paper, centred, with a faint grey smudge beneath it. Nothing else at all. This is the unit: it must read instantly at 48 pixels as one round green stone.

4. A CART — a small low Korean wooden handcart with two spoked wheels and a pair of shafts resting forward on the ground. On its bed: two wooden chests like the one above, lids open and heaped with beads, and one bound hemp sack leaning against them. Beads have spilled onto the cart bed and two rest on the paper beside the near wheel. Keep the cart dry brown and plain; the green must still be the only bright thing. This is the top tier and it should look like more than one person could carry.

NEVER do this on any tier: gold trim, glowing jade, sparkles, rays, a bigger or fancier bead, a different green. Abundance is shown by COUNT and VESSEL only.