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Промпт для акварельного скетча оживлённого городского перекрёстка

Urban Busy Intersection Watercolor Sketch Prompt

«Промпт для акварельного скетча оживлённого городского перекрёстка» — работа с использованием gpt-image-2.5 на OpenZhenZhen. Изучите исходный промпт и пример генерации для собственных проектов.

Промпт для акварельного скетча оживлённого городского перекрёстка — AI image creation
Промпт для акварельного скетча оживлённого городского перекрёстка

Промпт

Промпт на китайском

在纯亮白、有可见纹理的冷压纸上，创作一张 Kyoto 繁忙十字路口的松散城市速写水彩画，纵横比 3:4。不要奶油色、米色、乌贼墨色或复古色调。 标题：仅在空旷的上部天空用大型且富有表现力的手写字体画出“Kyoto”。使用半透明的暖灰色水彩，笔触粗细多变，有较深的积水、干笔留白、不规则基准线和轻微色调退色。它必须看起来是用与作品相同的画笔手绘的，绝不是印刷或粘贴的。在其背后添加淡蓝色与杏色晕染，并在边缘前淡出。 场景：宽阔多车道交叉口的人行道低角度视图。让 Kiyomizu-dera Temple 成为中景主导地标，伴有明显的 a timber machiya townhouse、a modern glass station entrance 和较小的 a low tiled-roof shop 建筑。包含 a green city bus, 几辆轿车和一辆小型 a small vermilion delivery van 车辆。保持建筑在高度、材质和颜色上明显不同。 线条：先用粗糙的黑色针管笔勾勒，使用松散、摇晃、断裂的徒手笔触、不完美透视、偶尔留白和极少单向排线。不要完美的尺规线条。 深度：形成强烈密度梯度。前景约 60% 清晰且有色彩，中景约 30% 且边缘软化，远景约 10% 主要是浅色轮廓和晕染。让一些远处建筑不着色。每个边缘外部 20% 和四个角必须保持空白白纸，切勿创建均匀晕染或暗角。 建筑：避免完整窗格网格。Kiyomizu-dera Temple 只得到几条断裂窗棂线，大面积仅为晕染玻璃。玻璃反射宽阔天蓝色和白纸扫尾、warm terracotta 阳光，以及仅有两个柔软扭曲的建筑物反射。 人物与地面：10–12 个形象分散在近、中、远距离，改变大小、间距、重叠、姿势和活动。远处人物使用微小松散墨迹、极简面部细节和软灰接触阴影，让一些轮廓溶解在晕染中。底部五分之一保持较重视觉重量，加入近处路缘、稀疏铺路接缝、砂砾和朝向观察者的投射阴影；仅绘制部分斑马线，留出大面积白纸。 色彩与光影：墨线上方是松散错位的水彩，带湿接湿晕染、回流、硬边缘和干笔跳跃。对受光建筑与路面使用 warm terracotta，树木使用柔和鼠尾草绿，天空与玻璃使用天蓝色。至少四种截然不同的色调，没有主导色调；a small vermilion delivery van 仅作为低于 3% 的微小点缀。白纸是最亮明度，仅保留 4–5 个小的最深明度重点。天空主要为白色并带稀疏断裂蓝色笔触，树木以分开的集群出现，包含一棵大型裁剪前景树。 标识：所有指示牌都抽象且不可辨认。除了 Kyoto 外没有可读文字。 避免：写实主义、数字或矢量风格、光泽 3D、均匀细节、完整背景晕染、实色黑色字体、完整窗格网格、直线尺规几何、连续树排、详细远景建筑、完全绘制斑马线、奶油或乌贼墨色纸张、边框、框架、签名、徽标或水印。

Промпт на английском

Create a loose urban-sketch watercolour of a busy street crossing in Kyoto, vertical 3:4, on pure bright-white cold-press paper with visible texture. No cream, beige, sepia or vintage tint. TITLE: Paint only “Kyoto” across the empty upper sky in large expressive hand-lettering. Use translucent warm-grey watercolour with varied brush weight, darker pooling, dry-brush gaps, an irregular baseline and slight tonal fade. It must look hand-painted with the same brush as the artwork, never printed or pasted. Add a subtle pale blue/apricot wash behind it, fading before the edges. SCENE: Low-angle pavement view of a wide multi-lane crossing. Make Kiyomizu-dera Temple the dominant middle-distance landmark, with distinct a timber machiya townhouse, a modern glass station entrance and smaller a low tiled-roof shop buildings. Include a green city bus, a few sedans and one small a small vermilion delivery van vehicle. Keep buildings clearly different in height, material and colour. LINEWORK: Rough black fineliner drawn first with loose, wobbly, broken freehand strokes, imperfect perspective, occasional overshoots and minimal single-direction hatching. No perfectly ruled lines. DEPTH: Strong density gradient: foreground about 60% resolved and colourful, mid-ground about 30% with softened edges, distance about 10% mostly pale outlines and washes. Leave some distant buildings unpainted. The outer 20% of every edge and all four corners must remain untouched white paper. Never create an even wash or vignette. ARCHITECTURE: Avoid complete window grids. Kiyomizu-dera Temple gets only a few broken mullion lines with large areas of wash-only glass. Its glass reflects broad sky-blue and white-paper sweeps, warm terracotta sunlight and only two soft warped building reflections. PEOPLE AND GROUND: Scatter 10–12 figures across near, middle and far distances, varying size, spacing, overlap, poses and activities. Use tiny loose ink marks for distant figures, minimal facial detail and soft grey contact shadows; let some outlines dissolve into washes. Keep darker visual weight in the bottom fifth with a near kerb, sparse pavement joints, grit and a cast shadow toward the viewer. Paint only portions of the crosswalk, leaving large areas of white paper. COLOUR AND LIGHT: Use loose off-register watercolour over ink with wet-in-wet blooms, backruns, hard edges and dry-brush skips. Use warm terracotta for sunlit architecture and pavement, muted sage for trees, and cerulean for sky and glass. Include at least four distinct hues with no dominant hue. a small vermilion delivery van is a tiny accent under 3% of the image. White paper is the brightest value; keep only 4–5 small deepest-value accents. The sky is mostly white with sparse broken blue strokes. Trees appear in separated clusters with wide white gaps, including one large cropped foreground tree. SIGNAGE: All signs are abstract and illegible. No readable text besides Kyoto. AVOID: photorealism, digital/vector style, glossy 3D, uniform detail, full background washes, solid-black lettering, complete window grids, straight ruled geometry, continuous tree rows, detailed distant buildings, fully painted crosswalk, cream/sepia paper, borders, frames, signatures, logos or watermarks.

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