渡口

Semi-realistic character illustration of a lean, rigidly upright Chinese man in his late twenties, wearing a washed-out grey military wool greatcoat with the collar turned up, worn leather boots, right hand in the coat pocket. gaunt angular face, high sharp cheekbones, hollow cheeks, square set jaw, flat unblinking dark eyes under a heavy brow, a two-inch pale old scar cutting across the right brow ridge, straight thin mouth, hard guarded expression; short cropped black hair with high shaved sides. Weather-toughened skin with visible pores, uneven tone and a coarse shaved-stubble shadow along the jaw, faint capillaries at the nostrils; the brow scar sits slightly raised with paler, shinier tissue than the skin around it; eyes with a wet specular highlight, visible iris fibres, reddened inner corners; eyelids and brows noticeably asymmetric; short hair with individual flyaway hair strands breaking the crown silhouette. Heavy wool melton with a visible weave and nap and pilling at the cuffs, shine worn into the elbows and the seat of the coat, the skirt of the greatcoat hanging with real weight and deep self-shadowed folds; leather boots creased across the instep and polished dull at the toe. Three-quarter view, waist-up, plain neutral background. Soft directional key light from the upper left with a cool fill, gentle falloff, ambient occlusion under the chin and in the folds; shallow depth of field with the face in sharpest focus. Semi-realistic character illustration, painterly rendering with soft blended edges and visible brush texture, anatomically grounded, muted ink-blue and cold grey palette, 1930s Republican-era China, soft misty morning light, readable silhouette from every angle.

Single character model sheet on ONE 16:9 landscape canvas (widescreen, width to height exactly 16:9). The canvas is divided into three zones by thin hairline rules. LEFT ZONE — a vertical column occupying about 34% of the canvas width, separated from the rest by a thin vertical rule: one bust portrait, head and shoulders, front-facing, centred, framed like an ID photograph. BOTH SHOULDERS ARE FULLY VISIBLE with clear space on either side; do not crop the shoulders at the sides, and do not fade, vignette or round off the bottom edge — the portrait ends in a clean straight horizontal cut just below the chest. The figure wears a washed-out grey military wool greatcoat with the collar turned up, with the face rendered in full detail: gaunt angular face, high sharp cheekbones, hollow cheeks, square set jaw, flat unblinking dark eyes under a heavy brow, a two-inch pale old scar cutting across the right brow ridge, straight thin mouth, hard guarded expression; short cropped black hair with high shaved sides. Weather-toughened skin with visible pores, uneven tone and a coarse shaved-stubble shadow along the jaw, faint capillaries at the nostrils; the brow scar sits slightly raised with paler, shinier tissue than the skin around it; eyes with a wet specular highlight, visible iris fibres, reddened inner corners; eyelids and brows noticeably asymmetric; short hair with individual flyaway hair strands breaking the crown silhouette. LIGHTING IN THE LEFT ZONE ONLY: a soft directional key light from the upper left with gentle falloff, subtle ambient occlusion under the chin, in the eye sockets and where the collar meets the neck, giving the head real volume. RIGHT-TOP ZONE — the upper part of the remaining 66%, separated from the zone beneath it by a thin horizontal rule: three FULL-BODY views of the SAME character standing side by side — front view, left side profile, and back view — aligned on one shared ground line. PROPORTIONS ARE CRITICAL: all three figures share exactly the same height, head-to-body ratio and costume details; anatomy must be correct and natural — correct limb lengths, correct head size relative to the body, feet planted on the ground line; no stretching, squashing or foreshortening to make a figure fit the space. Each figure is drawn head to toe with clear margin above the head and below the feet. Neutral relaxed standing posture, arms at the sides. The figure is a lean, rigidly upright Chinese man in his late twenties, wearing a washed-out grey military wool greatcoat with the collar turned up, worn leather boots, right hand in the coat pocket. Heavy wool melton with a visible weave and nap and pilling at the cuffs, shine worn into the elbows and the seat of the coat, the skirt of the greatcoat hanging with real weight and deep self-shadowed folds; leather boots creased across the instep and polished dull at the toe. The faces on all three full-body views are fully drawn and must match the bust portrait exactly — same features, same hairstyle, same expression. LIGHTING IN THE RIGHT ZONES: flat even orthographic lighting with no directional key and no cast shadows, so the figures stay measurable and cleanly cut out — only the left bust portrait is dramatically lit. RIGHT-BOTTOM ZONE — a detail strip beneath the three views, above which sits the thin horizontal rule: four to five small isolated close-up studies of the character's key details, evenly spaced in a row and clearly smaller than the full-body figures: the two-inch scar across the right brow ridge in close-up; the greatcoat collar turned up, showing its lining and stitching; the double-breasted button row and worn buttonholes; the right hand inside the coat pocket, fabric strained over something hard; the scuffed leather boot with its buckle. If these details do not fit comfortably in one row along the bottom, continue them in a narrow vertical column down the right-hand edge of the canvas — but NEVER shrink or distort the three full-body figures to make room; the detail studies give way, not the figures. Plain pure white background (#FFFFFF) throughout, suitable for clean cut-out. Balanced composition with generous, even white margins; nothing crowded against an edge. Semi-realistic character illustration, painterly rendering with soft blended edges and visible brush texture, anatomically grounded, muted ink-blue and cold grey palette, 1930s Republican-era China, soft misty morning light, readable silhouette from every angle.

plastic or waxy skin, over-smoothed airbrushed complexion, poreless doll face, perfectly symmetrical face, dead flat eyes without specular highlight, helmet-like hair with no loose strands, flat untextured fabric with no weave or wear, stiff mannequin posing, extra fingers, malformed hands, text, watermark, signature, busy or patterned background, harsh cast shadows on the backdrop

半写实插画：二十七八岁的精瘦中国男子，身形挺拔僵直，穿洗得发灰的军呢大衣、领子竖起，皮靴磨损，右手插在大衣口袋里。脸颊消瘦、颧骨高而锋利，眼窝深，眼神平直冷硬，眉骨沉重，右眉骨横着一道两寸长的旧疤，嘴唇薄而直；短寸黑发，两侧推得很高。风吹日晒的粗糙皮肤，毛孔可见、肤色不匀，下颌有青色胡茬阴影，鼻翼有细微毛细血管；疤痕微微隆起，颜色比周围更淡也更亮；眼睛有湿润高光与虹膜纤维，眼角发红；眼睑与眉毛明显不对称；短发有单根发丝破开头顶轮廓。厚重羊毛呢可见绒面与袖口起球，肘部和下摆磨出光泽，大衣下摆垂坠有重量、褶皱深处有自阴影；皮靴脚背处有折痕，鞋头抛光已钝。四分之三视角，半身，纯中性背景。左上方柔和主光配冷调补光，下巴与衣褶处有环境遮蔽；浅景深，面部最实。

Late-20s male, dry tight baritone, mid-low pitch, narrow resonant core, hard forward consonants. Low volume, fast clipped pace, abrupt full stops, minimal filler. Northern Mandarin, crisp. Controlled with held tension.

Semi-realistic character illustration of an elderly Chinese ferryman around seventy with a heavily hunched back, wearing a faded indigo padded jacket with frayed cuffs, rolled trousers and worn straw sandals, holding a long bamboo punting pole. deeply weathered face, sunken cheeks, prominent cheekbones, the left eye clouded a pale milky white while the right stays sharp, sparse grey stubble, a nearly toothless mouth caught in a faint weary smile; thin grey hair cropped close to a balding scalp. Old sun-damaged skin: age spots across the cheekbones and the backs of the hands, slack sagging under the jaw and eyes, visible pores and uneven pigmentation. Eyelids and brows are noticeably asymmetric. Wrinkles follow the expression muscles — nasolabial folds, crow’s feet fanning from the outer eye corners, horizontal forehead lines — never randomly scored. The clouded left eye is dulled and slightly sunken with a bluish-white film, while the right keeps a wet specular highlight and visible iris fibres. Sparse grey stubble with individual hairs; thin flyaway hair strands breaking the silhouette at the balding crown. Coarse hand-woven cotton with a visible weave, quilted and pilled, the indigo faded unevenly and rubbed pale at the shoulders and cuffs, patches sewn on in mismatched thread; the fabric hangs heavy and slack with deep self-shadowing in the folds; straw sandals frayed at the weave. Three-quarter view, waist-up, plain neutral background. Soft directional key light from the upper left with a cool fill, gentle falloff, ambient occlusion under the chin and in the folds; shallow depth of field with the face in sharpest focus. Semi-realistic character illustration, painterly rendering with soft blended edges and visible brush texture, anatomically grounded, muted ink-blue and cold grey palette, 1930s Republican-era China, soft misty morning light, muted ink-blue and cold grey palette, 1930s Republican-era China, soft misty morning light, readable silhouette from every angle.

Single character model sheet on ONE 16:9 landscape canvas (widescreen, width to height exactly 16:9). The canvas is divided into three zones by thin hairline rules. LEFT ZONE — a vertical column occupying about 34% of the canvas width, separated from the rest by a thin vertical rule: one bust portrait, head and shoulders, front-facing, centred, framed like an ID photograph. BOTH SHOULDERS ARE FULLY VISIBLE with clear space on either side; do not crop the shoulders at the sides, and do not fade, vignette or round off the bottom edge — the portrait ends in a clean straight horizontal cut just below the chest. The figure wears a faded indigo padded jacket with frayed cuffs, with the face rendered in full detail: deeply weathered face, sunken cheeks, prominent cheekbones, the left eye clouded a pale milky white while the right stays sharp, sparse grey stubble, a nearly toothless mouth caught in a faint weary smile; thin grey hair cropped close to a balding scalp. Old sun-damaged skin: age spots across the cheekbones and the backs of the hands, slack sagging under the jaw and eyes, visible pores and uneven pigmentation. Eyelids and brows are noticeably asymmetric. Wrinkles follow the expression muscles — nasolabial folds, crow’s feet fanning from the outer eye corners, horizontal forehead lines — never randomly scored. The clouded left eye is dulled and slightly sunken with a bluish-white film, while the right keeps a wet specular highlight and visible iris fibres. Sparse grey stubble with individual hairs; thin flyaway hair strands breaking the silhouette at the balding crown. LIGHTING IN THE LEFT ZONE ONLY: a soft directional key light from the upper left with gentle falloff, subtle ambient occlusion under the chin, in the eye sockets and where the collar meets the neck, giving the head real volume. RIGHT-TOP ZONE — the upper part of the remaining 66%, separated from the zone beneath it by a thin horizontal rule: three FULL-BODY views of the SAME character standing side by side — front view, left side profile, and back view — aligned on one shared ground line. PROPORTIONS ARE CRITICAL: all three figures share exactly the same height, head-to-body ratio and costume details; anatomy must be correct and natural — correct limb lengths, correct head size relative to the body, feet planted on the ground line; no stretching, squashing or foreshortening to make a figure fit the space. Each figure is drawn head to toe with clear margin above the head and below the feet. Neutral relaxed standing posture, arms at the sides. The figure is an elderly Chinese ferryman around seventy with a heavily hunched back, wearing a faded indigo padded jacket with frayed cuffs, rolled trousers and worn straw sandals, holding a long bamboo punting pole. Coarse hand-woven cotton with a visible weave, quilted and pilled, the indigo faded unevenly and rubbed pale at the shoulders and cuffs, patches sewn on in mismatched thread; the fabric hangs heavy and slack with deep self-shadowing in the folds; straw sandals frayed at the weave. The faces on all three full-body views are fully drawn and must match the bust portrait exactly — same features, same hairstyle, same expression. LIGHTING IN THE RIGHT ZONES: flat even orthographic lighting with no directional key and no cast shadows, so the figures stay measurable and cleanly cut out — only the left bust portrait is dramatically lit. RIGHT-BOTTOM ZONE — a detail strip beneath the three views, above which sits the thin horizontal rule: four to five small isolated close-up studies of the character's key details, evenly spaced in a row and clearly smaller than the full-body figures: the clouded left eye in close-up beside the clear right one; the gnarled hand gripping the bamboo pole; the patched elbow of the padded jacket with frayed cuff; the worn straw sandal on a bare weathered foot; the rolled trouser hem above the ankle. If these details do not fit comfortably in one row along the bottom, continue them in a narrow vertical column down the right-hand edge of the canvas — but NEVER shrink or distort the three full-body figures to make room; the detail studies give way, not the figures. Plain pure white background (#FFFFFF) throughout, suitable for clean cut-out. Balanced composition with generous, even white margins; nothing crowded against an edge. Semi-realistic character illustration, painterly rendering with soft blended edges and visible brush texture, anatomically grounded, muted ink-blue and cold grey palette, 1930s Republican-era China, soft misty morning light, muted ink-blue and cold grey palette, 1930s Republican-era China, soft misty morning light, readable silhouette from every angle.

plastic or waxy skin, over-smoothed airbrushed complexion, poreless doll face, perfectly symmetrical face, dead flat eyes without specular highlight, helmet-like hair with no loose strands, flat untextured fabric with no weave or wear, stiff mannequin posing, extra fingers, malformed hands, text, watermark, signature, busy or patterned background, harsh cast shadows on the backdrop

半写实插画：约七十岁的中国老船夫，背驼得厉害，穿褪色靛蓝棉袄、袖口磨破，裤脚挽起，脚踏磨旧草鞋，手握一根长竹篙。面皮饱经风霜，脸颊凹陷、颧骨突出，左眼蒙着一层灰白翳，右眼仍清亮，灰白胡茬稀疏，几乎无牙的嘴带着一丝疲惫的笑；灰发稀薄，贴着谢顶的头皮。老年日晒受损的皮肤：颧骨和手背有老年斑，下颌与眼下松弛，毛孔与色素沉着可见。皱纹顺着表情肌走——法令纹、外眼角放射的鱼尾纹、额头横纹，绝不是随机刻线。左眼浑浊发暗、略微凹陷、覆一层青白薄膜，右眼有湿润高光与虹膜纤维。胡茬根根分明；谢顶处有细碎飘发。粗糙手织棉，绗缝起球，靛蓝褪色不匀，肩部与袖口磨白，补丁用不同颜色的线缝上；布料垂坠沉重松垮，褶皱深处有自阴影；草鞋编织处已磨散。四分之三视角，半身，纯中性背景。左上方柔和主光配冷调补光，下巴与衣褶处有环境遮蔽；浅景深，面部最实。

75-year-old male, gravelled husky bass-baritone, low pitch, thick chest resonance, blurred word endings. Low volume, slow pace, long breath pauses, minimal pitch variation. Southern riverside accent, worn-smooth consonants. Settled and weary.

Semi-realistic character illustration of a plump Chinese travelling peddler in his mid-forties, round soft body on stout short legs, wearing a short russet cotton jacket with sleeves rolled to the elbow and a cloth waist sash, carrying a shoulder pole with two wooden crates hung with small brass bells. round full face with fat cheeks pushed up so the eyes crease into thin happy slits, broad flat nose, wide grinning mouth, double chin, sweat beading on a high balding forehead with thinning hair at the sides. Ruddy sun-exposed skin with visible pores, broken capillaries across the cheeks and nose, a sheen of sweat on the forehead catching the light; eyelids and brows slightly asymmetric; laugh lines fanning deep from the eye corners and around the mouth, following the expression muscles; eyes nearly closed by the raised cheeks, with a wet specular highlight in the visible sliver; thinning hair with individual flyaway hair strands breaking the silhouette at the temples. Coarse cotton with a visible weave, sweat-darkened at the collar and under the arms, shine worn into the shoulder where the carrying pole rests, rolled cuffs holding a permanent crease, the cloth hanging with real weight and self-shadowing in the folds; the wooden crates worn smooth and pale at the handled edges. Three-quarter view, waist-up, plain neutral background. Soft directional key light from the upper left with a cool fill, gentle falloff, ambient occlusion under the chin and in the folds; shallow depth of field with the face in sharpest focus. Semi-realistic character illustration, painterly rendering with soft blended edges and visible brush texture, anatomically grounded, warm palette of russet, mustard and brass, muted ink-blue and cold grey palette, 1930s Republican-era China, soft misty morning light, readable silhouette from every angle.

Single character model sheet on ONE 16:9 landscape canvas (widescreen, width to height exactly 16:9). The canvas is divided into three zones by thin hairline rules. LEFT ZONE — a vertical column occupying about 34% of the canvas width, separated from the rest by a thin vertical rule: one bust portrait, head and shoulders, front-facing, centred, framed like an ID photograph. BOTH SHOULDERS ARE FULLY VISIBLE with clear space on either side; do not crop the shoulders at the sides, and do not fade, vignette or round off the bottom edge — the portrait ends in a clean straight horizontal cut just below the chest. The figure wears a short russet cotton jacket with a cloth waist sash, with the face rendered in full detail: round full face with fat cheeks pushed up so the eyes crease into thin happy slits, broad flat nose, wide grinning mouth, double chin, sweat beading on a high balding forehead with thinning hair at the sides. Ruddy sun-exposed skin with visible pores, broken capillaries across the cheeks and nose, a sheen of sweat on the forehead catching the light; eyelids and brows slightly asymmetric; laugh lines fanning deep from the eye corners and around the mouth, following the expression muscles; eyes nearly closed by the raised cheeks, with a wet specular highlight in the visible sliver; thinning hair with individual flyaway hair strands breaking the silhouette at the temples. LIGHTING IN THE LEFT ZONE ONLY: a soft directional key light from the upper left with gentle falloff, subtle ambient occlusion under the chin, in the eye sockets and where the collar meets the neck, giving the head real volume. RIGHT-TOP ZONE — the upper part of the remaining 66%, separated from the zone beneath it by a thin horizontal rule: three FULL-BODY views of the SAME character standing side by side — front view, left side profile, and back view — aligned on one shared ground line. PROPORTIONS ARE CRITICAL: all three figures share exactly the same height, head-to-body ratio and costume details; anatomy must be correct and natural — correct limb lengths, correct head size relative to the body, feet planted on the ground line; no stretching, squashing or foreshortening to make a figure fit the space. Each figure is drawn head to toe with clear margin above the head and below the feet. Neutral relaxed standing posture, arms at the sides. The figure is a plump Chinese travelling peddler in his mid-forties, round soft body on stout short legs, wearing a short russet cotton jacket with sleeves rolled to the elbow and a cloth waist sash, carrying a shoulder pole with two wooden crates hung with small brass bells. Coarse cotton with a visible weave, sweat-darkened at the collar and under the arms, shine worn into the shoulder where the carrying pole rests, rolled cuffs holding a permanent crease, the cloth hanging with real weight and self-shadowing in the folds; the wooden crates worn smooth and pale at the handled edges. The faces on all three full-body views are fully drawn and must match the bust portrait exactly — same features, same hairstyle, same expression. LIGHTING IN THE RIGHT ZONES: flat even orthographic lighting with no directional key and no cast shadows, so the figures stay measurable and cleanly cut out — only the left bust portrait is dramatically lit. RIGHT-BOTTOM ZONE — a detail strip beneath the three views, above which sits the thin horizontal rule: four to five small isolated close-up studies of the character's key details, evenly spaced in a row and clearly smaller than the full-body figures: the small brass bells hung on the crate corner; the shoulder pole where it rests on the padded shoulder; the sweat-beaded forehead and thinning hairline in close-up; one wooden goods crate with its lid latch and worn edges; the cloth waist sash and its knot. If these details do not fit comfortably in one row along the bottom, continue them in a narrow vertical column down the right-hand edge of the canvas — but NEVER shrink or distort the three full-body figures to make room; the detail studies give way, not the figures. Plain pure white background (#FFFFFF) throughout, suitable for clean cut-out. Balanced composition with generous, even white margins; nothing crowded against an edge. Semi-realistic character illustration, painterly rendering with soft blended edges and visible brush texture, anatomically grounded, warm palette of russet, mustard and brass, muted ink-blue and cold grey palette, 1930s Republican-era China, soft misty morning light, readable silhouette from every angle.

plastic or waxy skin, over-smoothed airbrushed complexion, poreless doll face, perfectly symmetrical face, dead flat eyes without specular highlight, helmet-like hair with no loose strands, flat untextured fabric with no weave or wear, stiff mannequin posing, extra fingers, malformed hands, text, watermark, signature, busy or patterned background, harsh cast shadows on the backdrop

半写实插画：四十来岁的中国走乡货郎，体态圆胖，腿短敦实，穿赭红色短布褂、袖子挽到手肘、腰间束布带，肩挑扁担，两只木货箱角上挂着小铜铃。圆脸丰满，脸颊高高鼓起把眼睛挤成细缝，鼻子宽扁，嘴大而咧开，双下巴，谢顶的高额头上渗着汗珠，两侧头发稀疏。日晒的红润皮肤，毛孔可见，脸颊和鼻子有破裂的毛细血管，额头一层汗光反着光；笑纹从眼角和嘴周深深散开，顺着表情肌走；眼睛几乎被鼓起的脸颊挤闭，露出的一线里有湿润高光；稀疏头发在鬓角有细碎飘发。粗棉布可见织纹，领口和腋下被汗浸深，肩上扁担压处磨出光泽，挽起的袖口留着固定折痕；木箱被手握处磨得光滑发白。四分之三视角，半身，纯中性背景。左上方柔和主光配冷调补光，下巴与衣褶处有环境遮蔽；浅景深，面部最实。

Mid-40s male, bright brassy tenor, mid-high pitch, broad forward ring, strong breath support. Loud carrying volume, fast tumbling pace, wide springy intonation, laughter breaking in. Rural northern accent, wide open vowels. Unguardedly cheerful.