渡口

Interior of an old wooden ferry passenger cabin under a canvas canopy, Republican-era China, six worn bench rows, patched canopy corner leaking a seam of light, verdigris bronze bell at the bow, morning fog beyond the gunwale, empty scene with no people

Environment reference sheet on ONE 16:9 landscape canvas, panels separated by thin hairline rules. MAIN ZONE, top-left, about 72% of the canvas width and 70% of its height: the master establishing view: wide shot of the old wooden ferry passenger cabin from the bow looking aft, six worn bench rows under the canvas canopy, dense white morning fog beyond the gunwale — the canonical look of this location. RIGHT COLUMN, full height along the right edge, stacked small panels: close-up detail studies of the patched canopy corner leaking a seam of light and the verdigris bronze bell with its rope knot. BOTTOM ROW, spanning beneath the main zone: close-up detail studies of the polished pale mid-section of the second bench, the dark waterline stain along the deck seam, worn wood grain and joinery of the bench legs. Every detail panel is a close-up crop of the SAME space shown in the master view — same geometry, same materials, same wear marks; nothing invented that is not present in the master view. Absolutely no people anywhere on the sheet. Semi-realistic environment concept art, painterly rendering with visible brush texture, grounded architectural perspective, cinematic depth. Weathered, lived-in materials: chipped paint, water stains, patina on metal, worn wood grain, dust in corners and light shafts; fabric and paper props show creases and age; nothing looks factory-new. Atmospheric depth with haze or volumetric light where the space allows

people, human figures, characters, crowds, silhouettes of people, plastic CG look, oversaturated colours, sterile showroom cleanliness, warped perspective, melted geometry, floating objects, text, watermark, signature

An old wooden ferry pier reaching into dense white fog, Republican-era southern China riverside, broken seventh plank patched with a rope-bound log, worn mooring stone, tilted lantern pole with an unlit paper lantern, wet planks, empty scene with no people

Environment reference sheet on ONE 16:9 landscape canvas, panels separated by thin hairline rules. MAIN ZONE, top-left, about 72% of the canvas width and 70% of its height: the master establishing view: low wide shot from the bank end of the old wooden ferry pier, planks leading straight into white fog, tilted lantern pole midway — the canonical look of this location. RIGHT COLUMN, full height along the right edge, stacked small panels: close-up detail studies of the rope-bound log patching the broken seventh plank and the unlit paper lantern on its iron hook. BOTTOM ROW, spanning beneath the main zone: close-up detail studies of the grooved mooring stone worn shiny on top, wet plank surfaces with faint sheen, rope fibres and knots on the mooring line. Every detail panel is a close-up crop of the SAME space shown in the master view — same geometry, same materials, same wear marks; nothing invented that is not present in the master view. Absolutely no people anywhere on the sheet. Semi-realistic environment concept art, painterly rendering with visible brush texture, grounded architectural perspective, cinematic depth. Weathered, lived-in materials: chipped paint, water stains, patina on metal, worn wood grain, dust in corners and light shafts; fabric and paper props show creases and age; nothing looks factory-new. Atmospheric depth with haze or volumetric light where the space allows

people, human figures, characters, crowds, silhouettes of people, plastic CG look, oversaturated colours, sterile showroom cleanliness, warped perspective, melted geometry, floating objects, text, watermark, signature

A desolate reed marsh riverbank seen across the water, Republican-era southern China, soft grey band of reeds in thinning warm haze, rotten wooden boat ribs half-buried in the mudflat, cold glint on wet mud, empty scene with no people

Environment reference sheet on ONE 16:9 landscape canvas, panels separated by thin hairline rules. MAIN ZONE, top-left, about 72% of the canvas width and 70% of its height: the master establishing view: the reed marsh bank seen across the water from mid-river, soft grey reed band in thinning warm haze, mudflat glint separating water and reeds — the canonical look of this location. RIGHT COLUMN, full height along the right edge, stacked small panels: close-up detail studies of the rotten boat rib skeleton draped with waterweed and the undulating reed skyline dissolving into haze. BOTTOM ROW, spanning beneath the main zone: close-up detail studies of the cold glint line on the wet mudflat, reed stems and seed heads at close range, dark silt texture with shallow tide pools. Every detail panel is a close-up crop of the SAME space shown in the master view — same geometry, same materials, same wear marks; nothing invented that is not present in the master view. Absolutely no people anywhere on the sheet. Semi-realistic environment concept art, painterly rendering with visible brush texture, grounded architectural perspective, cinematic depth. Weathered, lived-in materials: chipped paint, water stains, patina on metal, worn wood grain, dust in corners and light shafts; fabric and paper props show creases and age; nothing looks factory-new. Atmospheric depth with haze or volumetric light where the space allows

people, human figures, characters, crowds, silhouettes of people, plastic CG look, oversaturated colours, sterile showroom cleanliness, warped perspective, melted geometry, floating objects, text, watermark, signature

A weathered Republican-era Chinese leather suitcase at handheld scale, worn brown cowhide with whitened corners, two square verdigris brass clasps, broken handle wrapped in indigo cloth, isolated on a pure white background, no people, no hands

Prop reference sheet on ONE 16:9 landscape canvas on a pure white background, panels separated by thin hairline rules. MAIN ZONE, top-left, about 72% of the canvas width and 70% of its height: the suitcase closed, three-quarter hero view at handheld scale — the canonical look of this prop. RIGHT COLUMN, stacked small panels: close-up detail studies of the verdigris brass clasps with the fresh scratch and the whitened worn corner. BOTTOM ROW beneath the main zone: the suitcase in its open state showing petition papers and the memorial tablet inside, a straight-on side profile, and a close-up of the indigo cloth-wrapped handle. Every panel shows the SAME suitcase — same wear, same scratches, same proportions. Absolutely no people and no hands anywhere. Pure white background in every panel for clean cut-out. Semi-realistic environment concept art, painterly rendering with visible brush texture, grounded architectural perspective, cinematic depth. Weathered, lived-in materials: chipped paint, water stains, patina on metal, worn wood grain, dust in corners and light shafts; fabric and paper props show creases and age; nothing looks factory-new. Atmospheric depth with haze or volumetric light where the space allows

people, human figures, characters, crowds, silhouettes of people, hands, fingers, plastic CG look, oversaturated colours, warped perspective, melted geometry, floating objects, text, watermark, signature

An old Chinese ink stone at handheld scale, dark grey duan stone with a chipped upper corner, moon-shaped wear ring around the ink pool, two lines of carved official seal characters on its underside, isolated on a pure white background, no people, no hands

Prop reference sheet on ONE 16:9 landscape canvas on a pure white background, panels separated by thin hairline rules. MAIN ZONE, top-left, about 72% of the canvas width and 70% of its height: the ink stone face up in three-quarter hero view at handheld scale — the canonical look of this prop. RIGHT COLUMN, stacked small panels: close-up detail studies of the chipped corner with its darker fracture face and the moon-shaped wear ring around the ink pool. BOTTOM ROW beneath the main zone: the inkstone flipped to show the carved official seal characters on the underside under raking light, a straight-on side profile showing its thickness, and a macro close-up of dried ink caught in the carved strokes. Every panel shows the SAME ink stone — same chip, same wear, same proportions. Absolutely no people and no hands anywhere. Pure white background in every panel for clean cut-out. Semi-realistic environment concept art, painterly rendering with visible brush texture, grounded architectural perspective, cinematic depth. Weathered, lived-in materials: chipped paint, water stains, patina on metal, worn wood grain, dust in corners and light shafts; fabric and paper props show creases and age; nothing looks factory-new. Atmospheric depth with haze or volumetric light where the space allows

people, human figures, characters, crowds, silhouettes of people, hands, fingers, plastic CG look, oversaturated colours, warped perspective, melted geometry, floating objects, text, watermark, signature