Overall plus style, place, layout, iconography, iconic emptiness, minimalism, pose, face, angle, color, and light. Self-grade reads the prompt; your save still rewrites the house suffix.
Living house prompt
HEEWON STYLE: a Korean WEBTOON figure painted into a hand-painted WATERCOLOR-AND-OIL world, in a SIMPLE, MINIMAL, ICONIC layout — the benchmark is a lone man in magenta silk walking down a storm-lit grass ridge toward his tied horse with an empty saddle: one diagonal, two subjects, half the frame storm sky, one cloud-break. FIGURES are webtoon / anime: clean digital-ink linework, simplified webtoon faces with expressive eyes, the face and hands keep that clean ink line, but the body and garments are PAINTED, never digitally shaded — broad loaded brushstrokes and dry-brush drag that follow each fold, the shading stepped in three or four painted value planes with soft broken edges, paper-and-canvas grain running right across the silk — no skin pores, no photographic detail, not photoreal, never a smooth airbrushed gradient, never a 3D render (2.5D, see FORM). THE WORLD is WATERCOLOR FIRST, OIL SECOND: skies and ground in granulated wet-in-wet washes and short broken-colour dabs (Turner), dry-brush grass, dust and stone texture, soft bleeding edges, faint paper grain; the accent colour of the scene blooms into the wash near one frame edge and the frame edges dissolve into bare paper; oil only deepens the darks with rich umber-indigo glazes and adds a touch of impasto on the brightest highlight. INTERIORS AND NIGHT SCENES are the webtoon figure painted into a European OLD-MASTER CANVAS — a Renaissance / Baroque TENEBRIST oil painting (Caravaggio, Georges de La Tour, Rembrandt): broken-colour brushwork, glazed umber-to-black darks, sfumato falloff, a touch of impasto on the brightest highlight, over faint watercolor blooms and paper grain; walls, timber, stone, drapery and tables pulled out of the darkness by the one lamp, window or shaft. The same oil-on-canvas texture covers EVERYTHING in the frame, the figures’ silk included — mottled plaster, gritty stone, brushed robes — so the webtoon figures sit INTO that painted space, lit by the same key and sharing its shadows, never pasted onto a flat backdrop. LAYOUT is MINIMAL AND ICONIC, staged like a Romanticist painting (Friedrich, Turner, Delacroix, Géricault): ONE device carries the frame (a ridge diagonal, a road, a waterline, a hall axis, a table ring, a gate) with ONE or TWO subjects placed on the thirds; at least half the frame is quiet negative space (storm sky, empty field, dark floor, bare wall); distant detail stays tiny and dissolving (a line of banners or roofs in haze); no crowds, no clutter, nothing competing with the subject. Heroic diagonal or pyramid, small figures against a sublime sky or vast field, or a bold worm’s-eye / straight-down angle. BLOCKING IS THE RELATIONSHIP: when two people share a frame, the still reads like a history painting with the faces covered — who stands higher and who kneels, the distance or contact between them, whose hand rests on whom, where each one looks (at each other, past each other, the same way), and how their cast shadows meet on the wall or floor; one gesture between them carries the whole bond. LIGHT is movie tenebrism at full strength: 70–85% of the frame sinks into deep painted shadow (oil-glazed umber, indigo, black), an extreme value range with near-white highlights right beside inky black and almost no middle grey; big dark masses (storm cloud, shadowed slope, umber room, black floor) against ONE bright break — a single cloud-break, low sun shaft, lamp or window — that lands on the subject; inky darks right beside small near-white highlights, few middle greys in the subject; ONE hard directional key carves the subject out of the dark. FORM IS 2.5D — drawn webtoon line on the outside, sculpted painted volume on the inside (the interior benchmark: a bearded emperor in yellow silk standing at a stone relief, under-lit by an oil lamp set on the floor beside the lens, palm on the carved horse, his shadow climbing the wall): the key is a PRACTICAL light IN or just outside the frame, CLOSE to the subject, RAKING ACROSS the surfaces the camera sees from below or from the side — never from behind them. So every silk fold protrudes, built the way an oil painter builds it: the lit side of each fold laid in with one opaque loaded stroke, the turn into shadow a crisp painted edge, the shadow side a thin transparent umber glaze with a little warm floor-light dragged into it, brush direction following the fold; gold thread and the brightest ridges flicked in with impasto; cheekbones, beard, knuckles, armor plates and horse muscle are painted the same way. The subject is large in frame (medium or closer, worm’s-eye or low three-quarter) so the folds resolve, and the light falls off into black across the body — that falloff is the darkness. Never a garment filled with one flat colour; never a subject backlit into a flat silhouette with only an edge line (if the camera is behind someone, the key still comes from the side and models their back and shoulder); never a wall flat to the lens — walls and floors recede at an angle so cast shadows can climb them. A thin edge of the same real light may graze the far side of the silhouette to lift it off the background (never a glow outline); long raking shadows. TEXTURE IS TACTILE RELIEF — the raking key exists to reveal it: thick oil impasto that stands up off the canvas on the lit side of every surface, loaded-brush and palette-knife ridges the eye can almost touch. Cloth: heavy silk in deep ridged folds, raised gold embroidery and brocade threads catching pin-point specular, quilted collars, layered sleeves with real thickness, beads and pins as small sculpted volumes. Buildings and ground just as sculpted: carved, weathered timber grain on pillars and brackets, every giwa roof tile and end-cap a rounded relief with its own shadow, rough-cut stone blocks, cracked lime plaster, lattice in deep relief throwing crisp little shadows, packed earth with grit and footprints. Never a smooth flat wall, never a plain colour-fill robe. Default hour is dusk, night, storm or pre-dawn — never flat overcast, never even daylight, never a bright open sky filling the frame. DEPTH is three planes in every still: a dark out-of-focus FOREGROUND shape near the lens (shoulder, rein, post, grass, smoke) framing the shot; the subject razor-sharp in the MIDGROUND; the BACKGROUND melting into soft wash and atmospheric haze, with round painted BOKEH discs wherever small lights sit behind the subject (lamps, torches, embers, sparks, rain, wet highlights). Shallow depth of field, overlapping shapes and receding haze so the frame goes back in space — never flat, never every plane in equal focus. SEPARATION: subject and background never share a value — the lit subject sits in the one pool of light and everything behind it drops three or more steps to near-black (or, reversed, a dark figure against the single bright opening); foreground shapes almost black; the eye lands on the subject first. SHOT VARIETY AND NEGATIVE SPACE: across a set of stills alternate INTIMATE CLOSE-UPS (faces and hands filling the frame, the background a dark blur) with FAR WIDES (the figures small in a lower corner or third, 60% or more of the canvas left as quiet negative space — black hall, night sky, dark water, bare wall — that makes the small lit figures strike). RENAISSANCE CANVAS, CARTOON FIGURES: the world is composed and painted like a Renaissance / Baroque master (Leonardo’s sfumato, Titian’s glazes, Raphael’s pyramids, Caravaggio’s darkness), but every face stays a clean-lined webtoon / anime face — big expressive eyes, simple nose and mouth, smooth cel-like skin with one or two shadow tones — never photographic skin, pores or realistic facial anatomy. COLOR SYMBOLISM reads at a glance: each kingdom's colour lives in its banners and cloth (Silla blue, Baekje yellow, Goguryeo red, Tang vermilion and gold), each named person's hex in the key light on them, and the rest of the frame stays desaturated umber, slate and black so those few colours sing. FACES stay drawn: match the attached portrait's line weight, eye shape and simplification exactly — if a face starts to read as a photograph, flatten it back to ink line and wash; extras are drawn the same way, never photographic. HORSES are drawn to be admired: the whole body readable, arched neck, deep chest, round haunch, clean legs in a true gait, muscle modelled by the key with a bright edge along the topline. 2.5D painterly cinema — drawn webtoon faces, everything else brushed with visible strokes and canvas grain — not photoreal, not live-action, not a smooth digital airbrush or 3D render, not flat cel fill. Same film stock every still: a CAMERA in a real Korean place — anamorphic 2:1 movie frame, shallow DOF, creamy bokeh, rack-focus, film grain, crushed blacks, ONE hard key, long shadows, tenebrism. MOVIE FRAME of the scene a DP could stand in — NEVER a graphic poster, split-screen collage, 3D architectural visualization, black-triangle overlay, spotlight cone deleting the landscape, or neon outline. NO halo, bloom, glow aura, rim-aura, emissive skin, or god-ray envelope around people — character hex is the color of REAL LIGHT in the dark (key bounce, specular on silk/armor/wet stone, a lamp, a shaft, a floor reflection), never a body halo, never magic outline, never neon-painting the figure. FACE ONLY from the attached portrait — silk/hanbok may match; NEVER copy the portrait stance, clasped hands, 3/4 fashion lineup, or a standing clone. Invent a new DRAMATIC body every still (mid-stride, kneel, full-draw, turn, tumble, lean, count, dutch, worm’s-eye, lower-third). CINEMATOGRAPHY: name the shot — dutch angle, worm’s-eye, crane, over-shoulder, rack focus, shallow DOF / bokeh, chiaroscuro, mise-en-scène, long-shadow key. HIGH CONTRAST: crushed blacks + one hard key / long shadows / tenebrism — not even daylight wash, not a flat tourist postcard. ICONIC MINIMAL means one architectural device a lens can see (road, column, waterline, gate, hall axis) plus empty negative space — not deleting the world. COLOR SYMBOLISM: hex tints the hard key / catchlight / bounce — NEVER a glow aura, NEVER recolor the attached portrait’s garments (Sosuno stays dusty-rose hanbok, Geumwa stays red-burgundy court silk, not gold paint). FACE AND CLOTHES match the attached ch_*.png. One of each named person — NEVER clone or duplicate a character. People stand on packed earth at a well RIM — NEVER inside the well shaft. Jumong is fun-loving and laid-back: grin, laugh, wink, easy eyes — not a grim founder mask. BATTLE ARMOR: metallic GRAY steel lamellar (attached steel-armor ref); cloth peeks in the character hex — not gold-painted plate, not glowing armor, not a standing armor catalog. RING-POMMEL SWORDS: one-handed hip 환두대도 from attached sw_bidam.png — handle:blade 1:3; order is RING (pommel at heel of fist) → short grip → thin gold collar → long blade → point. Never reverse handle and blade. Never a tsuba disc in the middle. Never taller than the person. sword_*.png is a pommel ECU only — do not attach it on full-blade stills. Ignore swords on face portraits. Two people = two garment-true figures against crushed black. Real Korean architecture or a locked dark room. No army. No readable text. No watermark.
Five movie sequences (self-grade)
- Queen Sunduk — Eastern Palace morning 9
4 distinct angles
- Chunchu — two horses on the palace road 9
2 distinct angles
- Harmony Council — first night, High Councillor Euljé 8
7 distinct angles
- Sunduk — symmetrical coronation 9
2 distinct angles
- White River — nineteen dives, then a name 9
12 distinct angles
- Sabi — princes in the white square 9
10 distinct angles
- Gesomun rides into Pyongyang 9
4 distinct angles
- East star — two boys on the hill 7
4 distinct angles
- Gotaso — lantern market to the carry home 6
missing 2 planned cuts— missing gotaso-seq-market-wide, gotaso-seq-nineteen
- Snake River — soul and the escorts 9
7 distinct angles
- Yellow Mountain Fields 8
7 distinct angles
- Ansi siege 7
6 distinct angles
- Muryuk — fight to surrender 7
missing 3 planned cuts— missing sadaham-seq-free, gaya-crown, muryuk-seq-aged
- Hundred-Victories — one cut on the pass 7
9 distinct angles
- The Severing — Gucheon at night 7
8 distinct angles
- Sadaham — first class 7
10 distinct angles
- Yeon’s Massacre 9
5 distinct angles
- Royal Secretariat 7
7 distinct angles
- Taizong and Chunchu — hall, then go 9
6 distinct angles
- Jumong — Amnok myth (sisters, copper, Habek) 7
missing 2 planned cuts— missing jumong-haemosu-chariot-dive, nsfw-jumong-haemosu-copper-ecu
- Haemosu & Yuhwa — Amnok dusk to copper 7
missing 1 planned cuts— missing jumong-yuhwa-amnok-kneel-look
- Yuhwa — kicked out, the sun-fox, Geumwa 9
7 distinct angles
- Jumong — Northern Buyeo, egg to the four 7
missing 16 planned cuts— missing jumong-buyeo-seq-yard-dutch, jumong-buyeo-seq-gate-wide, jumong-buyeo-seq-river-edge, jumong-set-egg-field-empty, jumong-egg-ordeal-fall, jumong-egg-ordeal-land, jumong-egg-ordeal-sty, jumong-egg-ordeal-road, jumong-egg-ordeal-road-worm, jumong-egg-ordeal-second-hurl, jumong-egg-ordeal-bounce, jumong-egg-ordeal-birds-seize, jumong-egg-ordeal-birds-dive, jumong-egg-ordeal-birds-flight, jumong-egg-ordeal-birds, jumong-egg-ordeal-drop-door
- Jumong — Haemosu stops Haewonmek, living ford 7
missing 8 planned cuts— missing jumong-haewonmek-cold-ecu, jumong-haewonmek-shock-ecu, jumong-haewonmek-pain-ecu, jumong-haewonmek-blocked-ecu, jumong-haewonmek-almost-smile-ecu, jumong-haewonmek-ledger-ecu, jumong-haewonmek-disgust-ecu, jumong-haewonmek-tired-ecu
- Jumong — founding timber, cavern dawn, succession hint 8
6 distinct angles
- Sosuno — tsundere at Jolbon well 7
missing 21 planned cuts— missing jumong-tabal-guards-close-wide, jumong-tabal-guards-spear-throat, jumong-kill-react-ecu, jumong-sosuno-porch-kill-ecu, jumong-tabal-bow-notice, jumong-tabal-bow-all-strength, jumong-tabal-bow-fail-ecu, jumong-tabal-stop-points-down, jumong-tabal-slave-assign, jumong-sosuno-not-a-tour, jumong-sosuno-crow-obviously, jumong-sosuno-tiger-side, jumong-sosuno-infight-lift, jumong-daughter-teal-well-hike, jumong-daughter-saffron-well-hitch, jumong-daughter-saffron-talk-ecu, jumong-daughter-teal-aegyo-ecu, jumong-confess-insert-rope, jumong-crown-fires-dutch, nsfw-jumong-royal-king-back-h, nsfw-jumong-royal-naked-pose
- Jumong — Song Yang / Pine Kingdom 7
6 distinct angles
- Onjo — Yuri’s sword to the south road 7
11 distinct angles
- Bidam — first Hwarang morning 8
1 distinct angles
- Bidam’s Rebellion — cavern water 7
missing 1 planned cuts— missing bidam-laugh-monologue
- Bidam’s Rebellion — lineage, tea, black bands, Radiance 8
missing 2 planned cuts— missing bidam-defends-yushin, yushin-father-grandfather-close
- Muryuk — cone and surrender 7
3 distinct angles
- Xue Rengui — Longmen field and hut 7
7 distinct angles
- Hwanung & Ungnyeo — under the birch 9
13 distinct angles
- Euija’s Coup — martial law at Deer Rock 9
10 distinct angles
- Seongchung & Heungsu — the ring and the passes 9
11 distinct angles
- Heaven–Earth King — ink 7
13 distinct angles
- Kangrim — folk painting 7
5 distinct angles
- Sulmun — the apron 9
4 distinct angles
- Three Princes — Samseonghyeol 9
4 distinct angles
- Sanbangduk — geometric vector 7
4 distinct angles
- Balhae — the winter walk north 8
13 distinct angles
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