Man with a Vermilion-Knot Travel Bag in Gouache

Format

Text Parameterized

Inputs

adult_mans_person_reference (image) · Required watermark (text) · Optional · Default: ⓒyulim_mood

Outputs

gouache_portrait (image)

Replace the ${…} placeholders with your values before using this prompt. See parameters and defaults below.

Create ONE VERTICAL 3:4 image as one continuous composition, rendered entirely as a hand-painted-style COLOR GOUACHE ILLUSTRATION on white Korean hanji with selective expressive ink lines. This is a digitally created painting, not photography or film simulation. Use opaque matte colors, economical brushwork, dry-brush edges, and subtle paper fibers. Show a distinct full-color subject against mostly unpainted white paper; avoid heavy mottled overlays or tinted monochrome.

1. Reference identity
Use PERSON-REFERENCE IMAGE MODE. Use the designated adult man's person reference as the sole source of facial identity. Preserve recognizable facial proportions, underlying skin tone, apparent adult age, natural asymmetry, and distinctive identity cues. Let the reference define facial anatomy directly; do not redesign or idealize his face or substitute an actor's face. Preserve reference-visible body proportions or use plausible adult anatomy. Paint the face in the same medium as the body. Do not copy source clothing, lighting, or background.

2. Hair, beanie, and glasses
Use REFERENCE-HAIR PRESERVE MODE. Preserve reference hair color, length, texture, parting, fringe, and primary structure. The beanie naturally conceals and compresses the crown; allow only contact-related displacement. Visible temple and nape hair retain the reference character. Do not invent a new haircut.

Add a short, close-fitting BLACK rib-knit beanie with a narrow folded cuff and compact crown. Its lower edge is above the brows and ears, with both ears exposed. Use charcoal knit strokes; no logo.

Add small ROUND sunglasses with a thin dark gunmetal frame and one plausible bridge resting on the nose, with temples passing over the ears. Lenses are lightly smoky gray. Both eyes and the gaze remain faintly readable. Add subtle upper-left lens reflections; no opaque or mirrored lenses.

3. Composition and front-facing pose
Make a distant FULL-LENGTH portrait including the complete beanie, both hands, whole bag, both legs, and complete boot soles. Scale the figure and bag together. Reserve the TOP 25% as uninterrupted blank white hanji. The highest BEANIE point begins approximately 25% down from the top; the lowest sole ends at 85%. Total figure height INCLUDING the beanie is approximately 60%; leave 15% below the soles. Center horizontally with broad side margins and space around the bag. No architecture, hair, ornament, or lettering enters the upper blank quarter.

Use distant 70 mm-like painted perspective, a waist-height viewpoint, and a level frame. Keep the face, hands, and clothes readable; use diluted ink softness, not optical bokeh.

The head and body face fully forward. He stands still with an upright spine and lowered shoulders. Feet are hip-width apart on one ground plane. Weight rests slightly more on the anatomical LEFT leg; the right foot is a little forward and the right knee is relaxed.

The anatomical RIGHT hand, on the viewer's LEFT, carries one leather bag low beside the outer right thigh. The elbow is nearly straight, wrist aligned with the load. Four fingers curl securely beneath the upper handle arch, with the thumb opposing them. Two attached handle mounts support the bag. Keep a small clear gap from the coat and shin; the bag bottom stays above ground.

The anatomical LEFT arm, on the viewer's RIGHT, hangs naturally; the hand is relaxed beside the thigh, with fingers gently curved and separated.

4. Expression and painted grooming
Give him a direct gaze through the smoky lenses, quiet vigilance, and restrained fatigue. Upper eyelids are slightly lowered but eyes remain open; brows are relaxed with slight inner focus. Lips are lightly closed, corners neutral, no smile; cheeks are calm and the jaw released.

Use painted no-makeup grooming: natural tonal variation, a thin matte-to-soft-satin treatment, natural brows, faint beige-taupe eyelid shading, and natural cheek and lip color. No decorative liner or added lashes. Preserve reference-visible facial hair. Use economical facial strokes appropriate to figure scale; no sculpting contour.

5. Clothing and color contrast
Mix Korean outerwear and modern clothing with distinct ink-dark, olive, charcoal, black, and vermilion gouache.

INK-DARK CHARCOAL Korean DURUMAGI ending at MID-CALF: medium-weight matte cotton, with subtle weave suggested by broken brushwork. Include a recognizable Korean collar with a narrow pale-ivory dongjeong edge, overlapping front-panel construction, modest side gussets, and comfortably wide straight sleeves. Narrow matching goreum ties hang loose beside the opening. Keep the fronts naturally open from chest downward, showing olive knit and central trouser legs. Maintain traditional robe construction; no Western lapels, epaulettes, or oversized fantasy sleeves. Use long vertical gravity folds, slight downward tension in the bag-bearing right sleeve, a softly hanging left sleeve, and a hem clear of the ground.

FADED OLIVE-GREEN HENLEY KNIT: medium-light cotton knit, round neckline, short central placket with three small dark buttons, relaxed fit. Use an opaque muted green field with restrained knit and fold indications, clearly visible through the open robe. Olive remains green, not gray or beige. No additional jeogori or scarf.

CHARCOAL straight-leg twill trousers with modest ease at hips and knees, waistband beneath the knit. Cool-gray folds separate the trousers from the darker robe. Legs enter boots without excess bunching.

BLACK lower-calf lace-up leather combat boots, thick soles, intact laces, worn toes, and sparse gray-brown seam highlights. Both soles are visible and planted. Clothing is unbranded.

6. Leather bag and vermilion knot
Show ONE compact rectangular BLACK leather travel bag on the viewer's LEFT, spanning upper thigh to knee. Give it a short arched handle, dark metal fittings, visible seams, and a closed top. Add worn corners, slight creases, warm gray-brown edge highlights, and a clear box-like volume.

Tie ONE small VERMILION cloth square in a bojagi-style knot around the outer handle attachment, toward the viewer's left side of the bag. Include a secure knot and two short folded tails hanging under gravity. Make it a small saturated red-orange accent, not cloth wrapping the entire bag. Keep it below and clear of the gripping fingers, fully visible. Use matte opaque red fabric with darker-red fold planes. No pattern or additional red accessories.

7. Background, implied light, and spatial logic
Imagine a quiet Joseon residential lane on a calm, dry, overcast late-autumn morning. The man pauses with his traveling bag before continuing. Leave most background as unpainted WHITE hanji. At ONE far side only, suggest a short wall and a small low-eave fragment using sparse PALE-GRAY ink lines, incomplete forms, and controlled diffusion. Architecture stays below the blank upper quarter and clear of the head, shoulders, and bag. No detailed village, crowds, signs, trees, sun, moon, or seasonal decoration.

Add a few pale-gray dry-brush ground marks and contact washes beneath the boots. Place the man and bag in the midground, with faint wall and eaves behind. Paper white is unpainted, not clipped exposure.

Imply broad overcast-sky light, strongest from the viewer's upper LEFT. Use lighter upper-left-facing planes on the face, hands, collar, knit, bag, and boots, with soft darker planes opposite. Keep one coherent shading direction. Add small contact shadows beneath the beanie and collar. Metal and lenses receive restrained painted accents; cotton and knit remain matte. No face spotlight, rim glow, or photographic gloss.

Boot contact washes are short and soft; add a faint painted ground shadow toward the viewer's lower RIGHT. The bag hangs vertically under gravity, supported by its handle. Keep anatomy, garment folds, perspective, and hand-object contact coherent throughout.

8. Essential direction
Maintain the same recognizable reference-defined face. Include the short beanie, round smoky glasses, Korean durumagi and olive knit, and one bag with a small vermilion knot. Show a front-facing full-length figure; keep the top quarter blank and the figure, including beanie, only 60% of canvas height. Carefully paint the face, use broad clothing strokes and a sparse pale background, and make one coherent painting.

9. Watermark
Add the exact text ${watermark:ⓒyulim_mood} at bottom center as a fixed graphic overlay. Use white refined calligraphic italic lettering, thin hairlines, thicker downstrokes, connected lowercase letters, and a pronounced rightward slant. Use medium signature size, approximately twice a small treatment, horizontally centered with a safe bottom margin. Preserve every character and the underscore. No outline, shadow, glow, box, or other text.

Negative constraints: photorealism, film effects, photo collage, anime face, actor substitution, face redesign, plastic skin, identity blending, malformed hands, extra or fused fingers, unsupported bag, fingers fused into handle, grayscale subject, gray-only knit, transparent-watercolor-only rendering, heavy paper overlay, opaque mirrored lenses, oversized glasses, elongated beanie, Western lapels, huge sleeves, oversized suitcase, entire bag wrapped in red, walking, profile, three-quarter body turn, oversized figure, cropped boots, top-quarter decoration, inadequate headroom, bokeh, bloom, HDR, CGI gloss.