图片提示词
[SUBJECT & CROP]
Extreme macro fragment of a young woman's face. The crop is so tight that
the face is only partially legible and reads as near-abstract: no complete
head, no jawline silhouette, no hairline boundary, no background, no
border. Image bleeds off all four edges. Face is tilted diagonally, its
axis roughly parallel to the line direction.
[FORM MAP — where the dark and light masses sit]
Upper left: a stacked pair of dark almond shapes — arched brow above,
lidded eye below — the darkest accents in the frame.
Upper right: a second, softer eye accent, partially cut by the edge.
Center, sweeping from upper right down to lower center: a broad bare-paper
diagonal highlight band (bridge of nose and lit cheek plane), the largest
light area.
Lower right: two small dark lozenge accents reading as the upper lip and
the shadow under the nose.
Everything else is uninterrupted midtone screen. Forms are ambiguous,
suggested only by changes in line weight.
[LINE SYSTEM — three layers, in this priority order]
1. PRIMARY SCREEN: one dominant set of perfectly straight, perfectly
evenly spaced parallel lines running lower-left to upper-right at
exactly 28 degrees. Constant frequency edge to edge, roughly 50 lines
per inch. Machine-regular, ruled, engine-turned; zero hand-drawn
wobble, zero varying spacing. This screen covers 100% of the frame and
is the only structure that describes the face.
2. SHADOW CROSSHATCH: a second, much finer set of short strokes on the
perpendicular diagonal (upper-left to lower-right), appearing ONLY
inside the darkest accents — the eyelid creases, lash line, nostril
shadow, lip seam. Forms a tight lozenge lattice. Never appears in
midtones or highlights.
3. PAPER MICRO-GRID: beneath both, a barely perceptible fine orthogonal
grid (horizontal + vertical) in the paper itself, visible only across
the empty midtone areas, like the underlay tint of a security print.
[TONAL MAPPING — tone comes only from line weight and dash length]
Deep shadow: lines thick, long, unbroken, merging into near-solid ink mass.
Midtone: lines break into tapered dashes with pointed ends, paper showing
between them.
Highlight: lines vanish entirely, leaving broad areas of completely bare
paper. Not lighter lines — absent lines.
No gradients, no stippling, no dots, no tonal washes. Lines bend only
slightly over the nose and lips to follow volume; the global 28-degree
direction never changes anywhere in the frame.
[COLOR]
Strictly two-tone, one ink on one paper. Ink: single desaturated dark navy,
#25406B, printed at full strength only, never screened to gray. Paper: warm
off-white, #F0EADB. No black, no gray midtone, no third color, no color
variation across the frame.
[RENDER & FINISH]
Flat, evenly lit scan of a printed sheet. Slight ink bite at the edges of
the thickest strokes, faint paper fiber texture. No vignette, no depth of
field, no photographic skin detail, no drop shadow, no lighting effect.
Aspect ratio 1.4:1 landscape.
[PRIORITY]
Geometric regularity of the primary screen and the strict two-tone palette
outrank facial likeness. If the two conflict, keep the screen perfect and
let the face stay abstract.
Negative prompt
outline, contour line, line art drawing, sketch, pencil hatching, charcoal,
etching wobble, hand-drawn shading, smooth gradient, airbrush, soft
shading, blur, stipple, halftone dots, gray tones, black ink, third color,
duotone gradient, full face, portrait framing, visible head shape,
hairline, background, frame, border, guilloche, banknote ornament,
lettering, numerals, watermark, vignette, depth of field, bokeh, skin
pores, eyelashes, hair strands, jewelry, glossy highlight, 3D render