Opuscar 98

Smooth-shaded 3D graded as a silent-era orthochromatic print: high contrast, reds go black. Sky near-white, ground in readable mid-greys, deep blacks (25-35% of frame) only in silhouettes. Tint: blend whites half-way toward amber #FFCC80, so the sky is pale cream-amber, never solid orange; blacks stay black. Only the hero the story centres on keeps colour, whole figure at ~70% saturation (e.g. #D97757); every lamp, fire or other light source stays grey. 24 fps gate weave (±1 px), flicker (±5%), fine grain (±4%), 1-3 thin scratches, sparse dust, rounded corners, vignette; open on a 1 s iris. Signature shot: a camera rigged to something moving with the subject, rig in frame; then chase and POV. Cut every 2-3 s; white out through cloud, smoke or glare. Reference: William Wellman, *Wings* (1927). Avoid: motion blur, colour in the greys.

平滑着色的 3D 按默片正色片拷贝调色：高反差，红色发黑。天空近白，地面留清楚的中灰层次，深黑占画面 25%–35%，只在剪影里。染色：白位向琥珀 #FFCC80 混一半，天空是淡奶油琥珀，不要整片橙；黑位不变。只有故事围绕的那个主角留色，整个人都留，饱和度约七成（如 #D97757）；灯火和其他光源一律是灰的。叠 24 fps 片门抖动（±1 像素）、闪烁（±5%）、细颗粒（±4%）、一到三条细划痕、稀疏灰尘，片门圆角加柔和暗角，第一镜 1 秒圆形光圈打开。招牌镜头：机位绑在跟主角一起动的东西上，露出一截支架，轻微震动；再接跟拍和主观镜头。每 2–3 秒一切，穿过云、烟或强光白场转场。对标 William Wellman《翼》（1927）。避免：运动模糊、灰阶里有颜色。

Art Deco revue poster. Black lacquer ground; gold and silver from banded metallic gradients (3-5 hard bands); airbrush glows, sunbursts, ziggurat steps, streamlined curves; a stepped proscenium frame of gold lines and bulbs. Palette: ground #0A0908, gold #D6B560, highlight #F3E2A2, silver #BFC4C9; skin pale silver-cream; one saturated accent (e.g. #D97757) only on the hero the story centres on. Elongated Erté-style figures with real faces; fringe, sequins or feathers where the subject allows. Fine grain, glints, stars. Frontal symmetry, a central spotlight. Motion: chasing bulbs, a row of repeated elements (dancers, waves, columns) rippling toward the centre, rings radiating from the main sound or light source; slow pushes, cut on the music's beat (without music, every 2-3 s). References: A. M. Cassandre's posters, Erté's costumes. Avoid: flat yellow for metal, faceless figures, extra hues.

装饰艺术歌舞海报。黑漆底；金和银都用分带金属渐变做（每个面 3–5 条硬分界），喷枪光晕、放射线、阶梯形、流线型，场景外圈套一道层层退进的金线台口框，嵌一排灯泡。色板按用途：底 #0A0908，金 #D6B560，高光 #F3E2A2，银 #BFC4C9；皮肤用淡银奶油色；只有故事围绕的那个主角用一个饱和强调色（如 #D97757）。人物是 Erté 式修长造型，有五官表情，题材允许时加流苏、亮片或羽毛。细颗粒、闪光点、星星。正面对称，中间一束追光。动起来：灯泡流动，一排重复元素（舞者、浪头）向中心卷成波浪，主要声源或光源放射环纹；镜头慢推，踩音乐的拍子切，无乐每 2–3 秒一切。对标 A. M. Cassandre 的海报、Erté 的服装设计。避免：平涂黄色冒充金属、人物没脸、多余的颜色。

Expressionist woodcut after Käthe Kollwitz, *Krieg* (1921-22). 60-70% solid black; white contour cuts 1/300-1/150 of frame width separate forms; faces are white shapes with a few black features; hands large. Figures fill the frame, cropped by its edges. Each cut tapers in and out with chipped edges, is wider the nearer it sits to the light, in slightly uneven bundles. Ink #17130F on paper #E8DFCA; texture is only wood-grain streaks and under-inked speckle (±5%). One colour block (e.g. #D97757) only on the hero the story centres on, flat on its body or clothes, cuts over it; black stays 60%+. Light enters through one opening (window, cloud gap); lamps get a short ring of cuts. The ground under figures stays uncut black. Quiet motion (breathing, a small gesture); slow pans and push-ins. Avoid: grey fog or midtones, even striped hatching, gore.

仿凯绥·珂勒惠支《战争》组画（1921–22）的表现主义木刻。画面六到七成是实黑；形体之间用白色轮廓刀分开，刀宽为画幅宽的 1/300–1/150；人脸刻成白形，只留几笔黑五官；手要大。人物占满画面，被画框裁切。每刀都有尖的进刀收刀和碎木边，离光越近的刀越宽，刀痕成组排、节奏略不均。墨色 #17130F 印在 #E8DFCA 纸上；纹理只有木纹条和缺墨斑点（±5%）。只有故事围绕的那个主角套一块色版（如 #D97757），平铺在身体或衣服上，刀痕照样压在上面，黑仍占六成以上。光只从一个开口进来（窗、云缝）；灯只刻一小圈短刀痕。人物脚下的地面留不刻的黑。动作安静（呼吸、一个小手势）；慢摇、慢推。避免：灰雾灰调、排刀规整成条纹、血腥。

A moving 1880s gold-toned albumen photograph. Paint soft-edged flat shapes by brightness: main subjects dark (15-30%), ground 50-60%, sky about 90%; visible hatching and grass tufts (lines ~1/300 of frame width). Then print: grayscale, slight blur (~1/800 of frame width), a faint smear of three horizontal offset copies growing with camera speed, multiply cream #F2DCB4, lift blacks to umber #2E1C0F, blotchy development (±5%), vignette to #785634, per-frame grain (±4%), dust, scratches. Hand-tint only the hero the story centres on (e.g. #D97757) as transparent dye, mask feathered 2-3 px; lamps stay sepia. Wide panorama: the middle band packed with repeated small elements (figures, animals, vehicles; for a lone subject fences, posts, trees), no big plane dominating. Camera: one 4-5 s ease-out pull back from the hero to the panorama. Avoid: hard ink outlines, colour beyond the hero, a flat grey print.

会动的 1880 年代金调色蛋白照片。先画边缘柔和的平涂形，按亮度分：主体深（15%–30%），地面 50%–60%，天空约 90%；物面和草丛有看得见的排线（线宽约画幅宽 1/300）。再“印”：转灰度，轻柔焦（约画幅宽 1/800），三层横向错开的淡影随运镜拉长，乘奶油色 #F2DCB4，黑位抬成暖褐 #2E1C0F，显影不匀（±5%），暗角压到 #785634，每帧刷新颗粒（±4%），稀疏灰尘划痕。只给故事围绕的那个主角手工上色（如 #D97757），像透明染料，蒙版羽化 2–3 像素；灯光仍是棕褐。横向全景，中间一条带排满重复小元素：人物、动物、车辆，题材冷清就用篱笆、木桩、树；别让一整块大面占满画面。天空默认发白。运镜：从主角近景 4–5 秒缓出拉到全景。避免：硬墨线、主角以外的颜色、干净的数码天空、发灰的印相。

A real 3D set, by default an Art Deco interior (marble, chrome, chandelier, glossy checkerboard floor); outdoors keep the real setting with glossy surfaces (wet pavement, still water) and symmetrical framing. Ambient occlusion, soft bloom; 1930s studio silver: about 40% deep black, glossy whites near 90%, no washed-out greys. Light falls in shafts from one high source. All neutral grey except the hero the story centres on (e.g. #D97757), at least 1/6 of frame height; warm lamps render white, bloom only around them. Grain (±3%), halation. Signature shot: eye-height wide into a deep symmetrical set, floor and ceiling in frame, floor reflections; then 4-6 s tracks; one overhead on rings, figures as chess pieces. Period figures (heads, hats, limbs) walk routes. References: art director Cedric Gibbons, cinematographer William Daniels. Avoid: walking in place, frame-filling abstract patterns, colour casts.

真 3D 场景，默认装饰艺术风大堂（大理石、镀铬、吊灯、亮面棋盘格地面）；室外保留真实场景，表面做出光泽（湿路面、静水），构图对称。环境光遮蔽加柔和辉光，调成 30 年代片厂银色黑白：约四成画面深黑，白位亮度约九成，不发灰。光从一个高处光源成束落下。只有故事围绕的那个主角留色（如 #D97757），至少占画面高度六分之一；暖灯渲染成白光，辉光只在灯旁。颗粒（±3%），灯旁光晕。招牌镜头：平视大全景，望进对称纵深，地面和天花同时入画，地面有倒影；再接 4–6 秒的侧向跟拍；俯拍同心圆、人像棋子只用一次。年代人物有头、帽、四肢，按路线走。对标美术指导 Cedric Gibbons、摄影师 William Daniels。避免：原地踏步、抽象图案铺满画面、偏色。

Alphonse Mucha colour lithograph. Brown contours #4B3326, about 1/250 of frame width, doubling on the shadow side (light from upper left), tapered ends; pastel flats, each with a hard-edged darker shadow tone. Palette: cream #F5ECD6 paper/sky, sage #A9B490 foliage/drapery, pale gold #CFA55A halo/ornament, rose #DBA49C skin/flowers; the hero the story centres on in one stronger accent (e.g. #D97757). Wide frame: figure and a big ring-filled halo in the middle third, arched panels either side, behind them a muted-teal (sage plus grey) square-tile mosaic; whiplash vines, local flowers; a bottom band of serif capitals in the user's language, 1/25 of frame height. No plain area over 1/8 of frame. Almond eyes, heavy lids; hair or cloth in three-tone strands. Litho grain, paper mottle, vignette. Slow sway; tilt down to the halo, pull back. Avoid: thin clean lines, saturated colour, empty backgrounds.

慕夏式彩色石印。褐色 #4B3326 轮廓线，宽约画幅宽 1/250，背光侧（光默认从左上来）加粗到两倍，两端收尖；粉彩平涂，每块在背光侧叠一层深一档的硬边色。色板：奶油 #F5ECD6 作纸和天空，鼠尾草绿 #A9B490 作植物衣褶，淡金 #CFA55A 作光环装饰，玫瑰 #DBA49C 作皮肤和花；故事围绕的那个主角用一个更浓的强调色（如 #D97757）。横幅：人物和细环纹大光环居中三分之一，两侧拱格，后面铺灰青（鼠尾草绿掺灰）方块马赛克；鞭线藤蔓和花草；底部一条衬线大写铭文，用用户语言，字高约画面 1/25。留白不超过画面八分之一。杏仁眼、厚眼睑；头发或衣料三色成束。石版颗粒、纸斑、暗角。慢摆；下摇到光环再拉远。避免：干净细线、饱和色、空荡背景。

Early-1930s black-and-white rubber-hose cartoon. Characters: noodle limbs, white gloves, pie-cut eyes, round heads; thick-thin ink #141414 (1/400-1/150 of frame width) swelling away from the light (default upper left); fills pure black and white plus at most one light grey for the hard shadow, gloss on blacks. Backgrounds stay mid-grey (30-80%), never pure black/white: graphite lines left in, grey watercolour washes with pooled edges and granulation, paper grain. Only the hero the story centres on has colour (e.g. #D97757): its whole body, or its one key prop if the hero is human. ±1 px gate weave, grain (±4%), flicker, scratches, dust. Actions anticipate, overshoot, settle: squash on landing, stretch on fast moves, eyes pop when surprised, a camera jolt on hits. References: Fleischer's Betty Boop shorts; Disney's Silly Symphonies backgrounds. Avoid: smooth vector lines, grey characters merging with the background.

30 年代初的黑白橡皮管卡通。角色：软管四肢、白手套、饼切眼、圆脑袋，三到四头身；墨线 #141414 粗细变化（画幅宽 1/400–1/150），背光一侧变粗（默认光从左上）；角色平涂只用纯黑、纯白，加至多一种浅灰作硬阴影，黑面一道高光。背景只用中间灰（明度 30%–80%），不用纯黑白：铅笔线不擦，灰色水彩罩染，边缘积水有颗粒沉淀。只有故事围绕的那个主角带颜色（如 #D97757）：整个身体，主角是人时只给关键道具。加 ±1 像素片门抖动、24 fps 颗粒（±4%）、闪烁、划痕、灰尘。动作都有预备、冲过头再回落：落地压扁、快动拉长、吃惊时弹眼，碰撞时镜头轻震。对标弗莱舍工作室的 Betty Boop 短片、迪士尼《糊涂交响曲》的背景。避免：光滑矢量线、角色发灰和背景糊在一起。

A late-18th-century copperplate map, default an Admiralty sea chart (inland: a survey map). Fine burin hatching and cross-hatching (lines ~1/1200 of frame width) give all tone; a minimum line width makes small detail darken, not vanish. Ink #1C1610 on laid paper #EFE3C4, light foxing, folds. Thin hand colour: water #9EBCBC along edges, land #B8C08C; the hero the story centres on (e.g. #D97757) is the one strong colour. Rhumb lines from 32-point roses, a graduated border, hachured hills, cartouche, one ornament (e.g. a sea monster), serif lettering. Put the action in an unboxed engraved vignette fading into the chart, filling 60-75% of frame height at the end of the move. Camera: one 5-6 s glide from the whole sheet into the vignette, chart still around it; a dotted route inks itself in. Avoid: cropping the paper, heavy washes, stiff figures.

18 世纪末的铜版地图，默认是英国海军部海图（内陆题材换成测绘图）。明暗全靠刻刀细排线和交叉排线，线宽约画幅宽的 1/1200；线宽设下限，细小处变暗而不是消失。墨色 #1C1610 印在 #EFE3C4 直纹纸上，带淡霉斑和折痕。只上很薄的手工淡彩：沿水边的海蓝 #9EBCBC，陆地 #B8C08C；故事围绕的那个主角（如 #D97757）是唯一的浓色。32 向罗盘玫瑰拉出恒向线网、刻度边框、晕滃山形、装饰图名框、一个装饰物（如海怪）、衬线字。情节放进一幅不加边框的排线插画，排线向纸面渐隐；推到底时插画占画面高度 60%–75%。运镜：一个 5–6 秒的镜头从整张图滑进插画，四周留着地图；一条虚线路线自己画出来。避免：切出纸面、浓重水彩、僵硬的人物。

Real 3D stage spectacle in 1930s studio silver: the subject's world built as a revue set on a round tiered platform turning about 3° per second, draped and garlanded; its people become rows of costumed chorus figures with faces and arms. Costumes light satin grey, set mid-grey, pleated curtain backdrop darker, theatre deep black; whites below pure white. Soft front key; brighter rim lights edging satin and feathers near-white. Faint shafts, grain (±3%). All neutral grey except the hero the story centres on (e.g. #D97757); lamps render white. Signature shot: low medium along the tiers, figures 1/4-1/3 of frame height, the hero on the front tier. Then a 3 s curtain rise, a 10 s crane up to a level medium of the hero. Reference: Robert Z. Leonard, *The Great Ziegfeld* (1936). Avoid: flat lighting, faceless cones, fast spinning.

真 3D 舞台大场面，调成 30 年代片厂银色黑白：把题材的世界搭成圆形分层转台上的歌舞布景，慢慢转（每秒约 3 度），挂满垂幔花环；题材里的人变成一排排穿戏服、有脸有手的合唱队。灰阶：戏服浅缎灰，布景中灰，褶皱大幕更深，剧场深黑；白色不到纯白。正面柔和主光，轮廓光更亮，把缎子和羽毛的边勾到近白。淡光柱，颗粒（±3%）。只有故事围绕的那个主角留色（如 #D97757），灯都渲染成白光。招牌镜头：贴低的中景沿层台看过去，人物占画面高度四分之一到三分之一，主角在前排。再接帷幕升起（3 秒）、10 秒吊臂上升，落到平视主角的中景。对标 Robert Z. Leonard《歌舞大王齐格飞》（1936）。避免：平均打光、没脸的锥形人、转得太快。

1890s newspaper print. Set text as a sharp mask, then print: ~1 px blur and a noisy threshold for ink spread, ragged edges, under-inked patches, faint mirrored show-through. Page grammar: masthead, a wood-type headline across the width (~1/6 of frame height), 3-6 columns of small type in the user's language (~1/80 of frame height) flanking one large engraved picture. Wood-type letters are grained blocks. Everything pictured is a line engraving: hatching lines about 1/1000 of frame width, spaced 1/400, following the form, cross-hatching only in darks, heavier shadow-side contours, paler distance. Warm black #17130F on newsprint #E8E0CC; the hero the story centres on gets one accent plate (e.g. #D97757), offset 1-2 px. Motion: type blocks slam down, bounce and leave their print; one repeating mechanical motion, pages turning. Avoid: clean digital type, smooth grey shading, other colours.

1890 年代的报纸印刷。文字先排成清晰墨版再“印”：约 1 像素模糊加噪声阈值切边，做出油墨外扩、字边毛糙、局部缺墨、淡淡的背面镜像透字。版面语法：报头、横贯全宽的木活字大标题（约画面高度 1/6）、3–6 栏小字正文（用用户的语言，字高约画面 1/80）夹着一幅大线刻插图。木活字一字一块，带木纹。所有画面都是线刻：线宽约画幅宽 1/1000、间距约 1/400，顺着形体走，交叉排线只用在暗部，背光一侧轮廓加粗，远处用淡墨。暖黑 #17130F 印在新闻纸 #E8E0CC 上；故事围绕的那个主角单独一块强调色版（如 #D97757），套印偏 1–2 像素。动起来：活字块砸下、回弹、留下印迹；一个反复的机械动作，报纸翻页。避免：干净的数码字体、平滑灰调、其他颜色。

A 1936-39 WPA (Federal Art Project) silkscreen poster. Six opaque inks printed light to dark, each later screen cut away around lighter shapes (clouds, sun): cream #F0E2C0 for light, ochre #E0A842 and vermilion #C84A2A for sky and warm planes, teal #22686E for water and shade, the hero's own ink (e.g. #D97757, only on the hero the story centres on), brown keyline #322018 last. Shadows: a darker ink overprinted, never grey. Big areas get split-fountain blends: two inks in 2-3 coarse steps, the middle one their overprint. Screens 1-3 px off register; wandering stencil edges, squeegee streaks, warm rag-paper grain (±5%) on every flat. Figures fill 1/2-2/3 of frame height: big planes, crescent shadows, expressive faces. A bold capital title band, user's language. Slow pushes; screens pop in one by one. Avoid: halftone dots, smooth gradients, clean vector flats.

1936–39 年 WPA 联邦艺术计划的丝网海报。六色不透明油墨从浅到深套印，后印的版要在不该盖住的浅色形（云、太阳、高光）处镂空：奶油 #F0E2C0 给光和云，赭 #E0A842、朱红 #C84A2A 给天空和暖色面，青 #22686E 给水和阴影，主角专用色（如 #D97757，只用在故事围绕的那个主角身上），最后印深棕描边 #322018。阴影是深一色叠印，不用灰。大面积用分色渐变：两色 2–3 级粗台阶，中间一级是两色叠印。每版套偏 1–3 像素，模版边缘游移，刮板拖痕、漏印，平涂上都有暖色棉浆纸纹（±5%）。人物占画面高度二分之一到三分之二：大块面、月牙形暗面、棕色描边、脸有表情。留一条粗体大写标题，用用户的语言。慢推，一版一版弹出来。避免：网点、平滑渐变、干净的矢量平涂。

Impasto oil in a 1939 Technicolor palette. Palette-knife slabs: long horizontal sky bands (1/15-1/6 of frame width long, about 1/60 tall), shorter strokes following form on land and figures, calm thin areas between; ridges lit from upper left, paint thickest in highlights, canvas weave where thin. Default sunset sky: wine #3A0912, red #A8241A, orange #F27A22, gold #FFD878; ground red-brown #6E2214; warm near-black silhouettes. The hero the story centres on stays a readable warm mid-tone (e.g. #D97757), never a silhouette. Strong backlight, gold rims; in close shots a warm side light on half the face and hands. Epic-poster composition: big dark silhouettes (trees, buildings, rocks, figures) on a low horizon. Lamps as painted flames. Camera: slow push on the wide, low push-in on the hero, crane up to a vista. Avoid: tiled same-size strokes, muddy browns, smooth gradients.

1939 年 Technicolor 配色的厚涂油画。刮刀色块：天空用长条横向色带（长为画幅宽的 1/15–1/6，厚约 1/60），地面和人物用顺形体的短笔触，之间留出平静、薄涂的区域；颜料棱受左上方的光，越亮越厚，薄处露布纹。默认是落日天空，从酒红 #3A0912 经大红 #A8241A、橙 #F27A22 烧到金 #FFD878；地面红褐 #6E2214；剪影是带暖意的近黑；故事围绕的那个主角保持看得清的暖中间调（如 #D97757），不做成剪影。强逆光，金色轮廓光；近景加一道暖色侧光照亮半边脸和手。构图像史诗海报：大块深色剪影（树、房子、岩石、人物）压在低地平线上。灯火用油画火焰。运镜：全景慢推，低机位推近主角，最后吊臂升起看大景。避免：大小一样的碎块铺满画面、脏棕色、平滑渐变。

Charcoal on toothed paper. Fine tooth (grain ~1/600 of frame width): light pressure catches only the peaks, heavy pressure fills the valleys. Grain only in midtones; velvet blacks, clean-paper lifts. Values: ~60% dark-to-mid grey, 15% deep black in the nearest foreground and largest masses, lights small. Charcoal #121111 on paper #EEECE7. Marks: broken vine lines, side-of-the-stick sweeps (1/60-1/30 of frame width) following form, hatching, finger smudges, eraser lifts for edges and glows; mist is horizontal streaks erased out of a toned area (as in William Kentridge's animated drawings). Only the hero the story centres on is in pastel (e.g. #D97757), laid fairly solid, tooth peeking through, outlined in charcoal; flames stay charcoal-and-paper. Moonlight from above; 2-3 fog bands drift at different speeds. Camera: slow subjective push, foreground parting. Avoid: digital noise, smooth digital glows, grey blacks, empty bright skies.

有纹的纸上画炭笔。纸纹细（颗粒约画幅宽 1/600）：轻压只挂纹峰，重压填满纹谷。颗粒只在中间调；黑如天鹅绒，擦白是干净纸面。明暗：约六成画面暗到中灰，一成半深黑，在最近的前景和最大块面上，亮处少。炭色 #121111，纸色 #EEECE7。笔法：藤炭干笔断线，炭条侧锋顺形体宽扫（宽为画幅宽 1/60–1/30），排线，手指抹，橡皮擦出边光和光晕；雾是在铺好的灰调上横向擦出来的（如 William Kentridge 的动画素描）。只有故事围绕的那个主角用粉彩（如 #D97757），铺得较实、透点纸纹，炭笔勾边；火焰保持炭黑和纸白。月光从上方来，两三层雾带不同速横漂。运镜：主观镜头慢推，前景向两边分开。避免：数码噪点、光滑的数码光晕、发灰的黑、空亮的天空。

Opaque gouache after Welsh painter Kyffin Williams. Directional strokes 1/80-1/40 of frame width, 2-5 times as long, ragged, fully covering; broken dark dashes outline buildings, walls and ridges; dark hills flecked with lighter green or slate knife marks. Palette: sky and light pale gold #F1C565 (not mustard), fields green #86A03F, darks coal #1D1B1E, far hills and water slate #48505E, small accents yellow #F6CF2F, other colours mixed from these; the hero the story centres on #D97757, at least 1/8 of frame height. Fields and sky light (~60%), hills and buildings dark. Warm grade under 10%, vignette, grain. Default low late-afternoon side light: fields lit, ridges rim-lit. From high ground in true perspective, a path leading the eye down; small repeated buildings (or walls, rocks) stepping along slopes. Motion: looping smoke or cloud, a lateral track. Avoid: watercolour transparency, vector fills, mud.

仿威尔士画家 Kyffin Williams 的不透明水粉。方向性笔触宽为画幅宽 1/80–1/40，长是宽的 2–5 倍，边缘毛糙，完全覆盖；房子、墙、山脊用断续深色短线勾边；暗山上刮几笔亮绿或灰蓝。色板：天空和光淡金 #F1C565（别成芥末黄），田野绿 #86A03F，暗部煤黑 #1D1B1E，远山和水面灰蓝 #48505E，小点缀黄 #F6CF2F，其他颜色由这几色调出；故事围绕的那个主角用 #D97757，至少占画面高八分之一。田野和天空偏亮（约六成），山和房子偏暗。暖色调色不超过一成，暗角，颗粒。默认傍晚低角度侧光，田野受光，山脊有轮廓光。从高处真透视取景，一条路把视线引下去；小房子（或墙、石块）顺山坡一级级排开。动起来：烟或云循环飘动，横向跟拍。避免：水彩透明感、矢量平涂、发暗发脏。

A 1942 British wartime stone-lithograph poster. Simple, strong shapes from three plates, 1-3 px off register: a colour plate with all flat fills; a grey-blue crayon plate darkening every shadow with short slanted stone grain; a green-black key line about 1/500 of frame width around every shape, figures and clouds included. Palette by role: cream #EBDFC2 paper and highlights, grey-blue #8497A6 sky and shadow, brick red #A23F2D and deep green #34503F as accents, at most a quarter of the frame; browns and skin mixed from cream and brick; key #1E2422. Scenes may be full. Airbrushed skies; only the paper grain boils at 12 fps. Pale light bands, angled from the source, cancel the shadow plate. Figures stand frontally. Camera: slow drifts, a tilt up. References: Frank Newbould, Abram Games. Avoid: dot screens, clean vector edges, big saturated fields.

做成 1942 年英国战时的石印海报。造型简化有力，三版套印，略错位 1–3 像素：色版承载所有平涂；冷灰蓝蜡笔版压暗每一处阴影，带短而斜的石纹颗粒（不用网点）；墨绿黑轮廓版给每个形描一圈约画幅宽 1/500 的线，人物和云也要描。配色按用途：奶油 #EBDFC2 是纸色和亮部，灰蓝 #8497A6 是天空和阴影，砖红 #A23F2D 和深绿 #34503F 只作点缀，合计不超过画面四分之一；棕色和肤色由奶油加砖红调出；轮廓色 #1E2422。场景可以排满。天空用喷枪渐变，只有纸纹每秒 12 帧跳动。浅色光带顺着光源方向斜落，照到之处阴影版消失。人物正面站立，像海报里的人。镜头慢移带视差、上摇。对标 Frank Newbould、Abram Games。避免：网点阴影、干净的矢量边、大片饱和色。

1940s Hollywood studio black-and-white, painted like a retouched glamour still. Forms: smooth airbrushed tone blocks. Faces: short key (light on the face's far side from camera; the near cheek in shadow, holding a Rembrandt triangle of light), two catchlights per eye. Slatted shadows from anything at hand (blinds, railings, branches) fall diagonally across surfaces; light shafts show only in smoke or fog. Values: 30-40% of the frame deep black, whites small and glowing; outdoor skies mid-dark. Grade: diffusion glow, an S-curve, fine grain (±3%), soft vignette, faint flicker; fog stays local. Only the hero the story centres on keeps colour, on its body or costume (e.g. #D97757); skin and lamps stay grey. Camera: a long glide, a push to a face, a pull-back into fog. References: cinematographer Arthur Edeson (*Casablanca*, Michael Curtiz, 1942). Avoid: flat lighting, grey haze, stiff busts.

40 年代好莱坞片厂黑白，画成精修剧照。形体是边缘干净的喷枪明暗块。人脸用短光位：主光照亮离镜头远的那半边脸，靠近镜头的脸颊落在暗部，留一块伦勃朗三角光；每只眼两个眼神光。条状影子借手边的东西（百叶窗、栏杆、树枝），斜落在物面上；光柱只在烟雾飘过处显形。明暗：三到四成画面是深黑，白色面积小而发光；外景天空中暗灰。调色：轻柔光溢出、S 曲线、细颗粒（±3%）、柔暗角、轻微闪烁；雾只在局部。只有故事围绕的那个主角的身体或衣服保留颜色（如 #D97757），皮肤和灯光都是灰阶。镜头：长运镜，推向一张脸，再拉远退进雾里。对标摄影师 Arthur Edeson（《卡萨布兰卡》，Michael Curtiz，1942）。避免：平光、整片灰雾、僵硬的胸像。

A backlit Gothic stained-glass window filling 80-90% of frame height and ~60% of width, neighbours glowing at edges. Every shape is cut glass: lightness varied ±8% per piece, streaks, seed bubbles, a brown edge mat, black lead (about 1/250 of frame width). Sky and empty ground: diamond quarries (about 1/30 of frame width); the border is ruby with beads. The main figure is at least half the window's height, in dark-brown grisaille line. Palette by role: background cobalt #1B3F9E, border ruby #B3121F, highlights gold #E3A526, lead #16161A; skin pale amber; scenery deep greens. Only the hero the story centres on is orange glass (e.g. #D97757). Bright glass blooms into the leads; coloured light spills onto floor and sill. Camera: tilt down, pan, settle on the pooled light. References: Chartres Cathedral; Harry Clarke. Avoid: flat fills, random cuts, dark empty wall.

逆光的哥特彩窗，占画面高度八到九成、宽度约六成，两边露出相邻发光的窗。每个形状是一块切好的玻璃：每块明度浮动约 8%，有流纹气泡和褐色内描边，外压黑铅条（宽约画幅宽 1/250）。天空和空地切成菱形格（每格约画幅宽 1/30）；边框是带圆珠的宝石红。主要人物至少占窗高一半，用尖细的深褐线描脸和衣褶。配色按用途：背景钴蓝 #1B3F9E，边框宝石红 #B3121F，高光金 #E3A526，铅条 #16161A；皮肤淡琥珀；景物用深绿、青绿。只有故事围绕的那个主角是橙色玻璃（如 #D97757）。亮玻璃光晕吃进铅条；彩光落在地面和窗台上。镜头：下摇、横摇，落到光斑上。对标沙特尔大教堂、Harry Clarke。避免：平涂、随意切割、窗四周大片暗墙。

Type every image: one bold monospaced glyph per keystroke, fixed grid, cells 1/150 of frame width wide, twice as tall. Strike 85-95% of cells; bare paper only for highlights. Grey from a key ladder (light . : -, mid = + o, dark X # M); darks (about 30%) are overstrikes like M#. Shapes read as crisp-edged fields, clear silhouettes. Each material repeats its own keys (e.g. I H verticals, _| courses, ~ water). Signs stay legible. Uneven ribbon: half-inked strikes, a few keys always high or low. Paper #EBE6DA, ink #1D1C21; only the hero the story centres on, at least 1/3 of frame height, is struck in red-orange #D4704F, its shadow black. Hard sidelight casts long, crisp, dense shadows. The picture types itself within the first second, then holds. Reference: Paul Smith's typewriter art. Avoid: sparse frames, shapeless streaks.

所有画面都用打字机字符打出来：等宽粗体字逐个敲，落在固定网格上，格宽约画幅宽 1/150、格高是格宽两倍。85%–95% 的格子都要打字，只有最亮的光留纸白。灰阶靠字键分级（浅 . : -，中 = + o，深 X # M），暗部约占三成，用 M# 这样的叠打。形体靠边界清楚的字块和剪影读出。每种材质重复自己的字键（如竖向结构 I H，砖缝 _|，水 ~）。招牌或说明要打得能读。色带墨色不匀：半边缺墨，几个键总是偏高或偏低。纸 #EBE6DA，墨 #1D1C21；只有故事围绕的那个主角用红橙色带 #D4704F 打，至少占画面高度三分之一，影子仍是黑的。硬侧光投出边缘清楚的密集长影。画面在第一秒内打完，然后停住。对标 Paul Smith 的打字机画。避免：稀疏空白、看不出形的横向字条。

Each frame is a 1946 picture-magazine photo spread. Render the scene as a grey photo (3D or painted): low sun, long shadows, deep focus (near and far both sharp). The photo bleeds across both pages, crossed by a soft vertical gutter crease. Print as a 45° black halftone, dot pitch about 1/250 of frame width, ink #1A1A1A on off-white coated stock #ECE6D8. A short black headline and caption sit in a quiet area. Only the hero the story centres on, at least 1/4 of frame height, prints on its own spot-orange plate (e.g. #D97757) at another angle, 2-3 px off, black only in its deepest shadows. Camera: walk in, push to a detail, pull back to reveal an open magazine. References: cinematographer Gregg Toland; *Life* post-war photo essays. Avoid: the gutter cutting the hero, coarse dots that break the photo.

每一帧当成 1946 年画报的新闻摄影跨页。先把场景按照片渲染成灰调（3D 或手绘都行）：低角度太阳、长影子、深焦，近处和地平线一样清楚。照片满版跨过两页，竖向中缝折痕从中间穿过，带一点阴影。再印成 45° 黑色网点，间距约画幅宽 1/250，米白铜版纸 #ECE6D8，墨 #1A1A1A，略有扩墨。从第一镜起，在安静的区域叠印一小块黑色标题和图说。只有故事围绕的那个主角走专色橙版（如 #D97757），换一个网角，错版 2–3 像素，黑版只留在它最深的暗部；主角至少占画面高度四分之一。镜头：走进全景，推进一个细节，再拉远，照片缩成一本摊开的杂志。对标摄影师 Gregg Toland、《生活》杂志战后摄影专题。避免：中缝切过主角，网点粗到照片碎掉。

Graphite pencil like a 1940s magazine illustration, finished and controlled. The drawing builds in the first 1-1.5 s, then holds: faint perspective rays and head ovals, pressure-tapered contours (about 1/600 of frame width) overshooting at corners, then 1-4 near-parallel hatching passes (more for darker), about 1/300 of frame width apart, following the form, then rubbed tone and eraser lifts. The finished frame is toned nearly edge to edge: setting fully drawn in mid-greys, about 15% dark accents, only the outer tenth fading to loose margins. Paper #F2EEE5 with a light tooth; lead #2C2B2E. Only the hero the story centres on wears coloured pencil (e.g. #D97757) on its clothing; skin stays graphite. Faces carry the drama. Camera: a slow ease out, then cuts to close-ups. References: illustrators Al Parker and Robert Fawcett. Avoid: cross-hatch grids, scribbly sketching, a near-empty page.

用石墨铅笔画成 40 年代杂志插画，画得完整、有控制。画面在前 1–1.5 秒内画成，然后停住：先淡淡的透视线和头部椭圆，再画两头轻中间重、转角出头的轮廓（宽约画幅宽 1/600），然后一到四遍近乎平行的排线（遍数越多越暗），间距约画幅宽 1/300，顺着形体走，再擦抹出平滑的过渡，用橡皮提亮。完成的画面几乎铺满：环境和背景都画充分，以中灰为主，深色约占一成半，只有最外一圈约十分之一淡成没画完的边角。纸 #F2EEE5 带轻齿纹，铅色 #2C2B2E。只有故事围绕的那个主角的衣服用彩铅（如 #D97757），皮肤仍是铅笔灰。戏在脸上。镜头：缓缓拉远，再切特写。对标插画家 Al Parker、Robert Fawcett。避免：交叉网格、潦草速写感、大片空白纸面。

A real 3D scene in late-1940s deep-focus black-and-white. Built forms: bare masonry, block by block, bevelled, staggered (Romanesque arches only where the setting has them); wet surfaces dark and glossy. Soft overcast light, no hard shadows: dark masses against a silver sky. Low fog fills the lower third; the far background ends at 60-70% grey, the midground sharp; a bright patch behind cloud throws faint shafts. Water, if any: layered swells, lace foam, misty spray. Post: ambient occlusion, gentle bloom, high-contrast silver grade (true blacks, unclipped whites), grain (±3%), faint flicker. Only the hero the story centres on keeps its colour (e.g. #D97757); every light source stays grey. Camera: slow drift in, a track along a high edge, a low angle on the hero. Reference: Laurence Olivier, *Hamlet* (1948). Avoid: hard sunlit shadows, white-out fog, tiled textures.

真 3D 场景，40 年代末的深焦黑白。建筑是裸露的砌体，逐块砌出，带倒角和错缝（场景本有这类建筑时才用罗马式半圆拱）；湿的表面发黑发亮。阴天柔光，没有硬投影：深色实体衬着银灰天空。高度雾贴着画面下三分之一，成片里远景是 60%–70% 灰，中景清晰；云后亮天透出淡淡光柱。有水时：多层涌浪、蕾丝般的白沫、礁石上的水雾。后期：环境光遮蔽、轻辉光、高反差银色调色（有真黑，白不过曝），颗粒 ±3%，轻微闪烁。只有故事围绕的那个主角保留颜色（如 #D97757），所有光源都是灰的。镜头：慢慢漂近，沿高处横移，低机位仰拍主角。对标 Laurence Olivier《哈姆雷特》（1948）。避免：晴天硬影子、雾糊成一片白、贴图平铺。

A letterpress poster from wood type and cuts. Three inks on cream stock #EEE3C7: blue #20488C (sky, water, shadow masses), red #C82C28 (warm surfaces, stripes), black #1E1B1E (outlines, type); only the hero the story centres on gets a spot ink (e.g. #D97757). Each ink 2-4 px off register; solids knock out the inks beneath, halftones overprint. Wood grain, pinholed starved patches, squeezed edges. Mid tones: coarse dots (about 1/200 of frame width), varied angles, on at most a third of the frame. Figures as linocuts: heavy outlines, gouged white lines, crescent shadows. Picture fills about 70%; short wood-type lines (about 1/10 of frame height, user's language) with offset shadows sit on banners and signs. Camera: small pushes, a lateral track, a bump on each strong beat (or every 2 s). Reference: Hatch Show Print. Avoid: busy grey mid-tones, perfect registration.

每帧都是木活字和刻版印的凸版海报。米黄纸 #EEE3C7 上印三色：蓝 #20488C 管天空、水和大块暗部，红 #C82C28 管暖色面和条纹，黑 #1E1B1E 管轮廓和字；只有故事围绕的那个主角多加一块专色（如 #D97757）。每色一版，错位 2–4 像素；实地挖空下层，只有网点处叠印。实地有木纹、缺墨针孔，边缘挤墨。中间调走粗网点（约画幅宽 1/200），各版网角不同，不超过画面三分之一。人物像麻胶版画：粗黑轮廓、刻刀白线、月牙阴影。画面约七成是图；一两行粗木活字短句写在图里的横幅和招牌上，带错位投影，字高约画面十分之一，用用户语言。镜头：小推，横移，重拍上特写一震（无音乐每 2 秒）。对标 Hatch Show Print。避免：碎灰调代替大块实地、套色精准得像电脑。

An Al Hirschfeld-style caricature. Lines are elastic, long and continuous, one stroke per contour: about 1/800 of frame width at the ends, swelling to 1/250 on curves. Dark clothing, hair and big objects go solid black; grey only as sparse parallel hatching. The setting is fully drawn in thin line, architecture, furniture and props in detail, white kept between objects: about 60% paper white, never an empty page. Push one trait per figure (a long neck, a big head). Paper #FBFAF6, ink #131012; only the hero the story centres on has its body or main garment filled flat with one colour (e.g. #D97757) instead of black. Lines write on within the first second, then hold; a short hand-lettered line may sit in the white. Camera: ease back, pan across, push in. Avoid: stiff limbs, stick figures, a bare setting.

画成 Al Hirschfeld 式的漫画，白纸黑墨。线条有弹性、长而连贯，能一笔画完的轮廓就一笔：两端约画幅宽 1/800，转弯处加粗到 1/250。深色衣服、头发和大件物体用实心黑块；灰调只用稀疏的平行排线。环境用细线画完整：建筑、家具、道具连同细节都画，物与物之间留白；约六成纸面留白，但绝不是空纸。每个人物靠姿态和比例夸张一个特征（长脖子、大头），五官具体。纸 #FBFAF6，墨 #131012；只有故事围绕的那个主角的身体或主要衣服用一种颜色平涂（如 #D97757），代替黑块。线条在第一秒内一笔笔写完，然后停住；留白处可有一句手写短句。镜头：拉远，横摇扫过场景，小推。避免：四肢僵直、火柴人、空荡荡的环境。

Paint in Raoul Dufy's watercolour manner: colour first, line second, never aligned. Transparent washes (wet edges, pooled rims, granulation) cover most of the frame, 10-40% oversized, slid one way by about 1/30 of frame width: cobalt #2258CE for sky and water, lemon #FCE02E for light and ground, rose #EC3A7C for warm planes. Overlaps mix violet or green, never brown; keep the hero's wash off blue. Then draw the whole scene densely in quick, thin blue-black ink (about 1/700 of frame width) with flicked ends: buildings, windows, figures, extras; straight edges overshoot corners; trees and clouds as looped strings. Ink #1E1E3A; bare paper 20-30%, skin included. The hero the story centres on gets its own wash (e.g. #D97757). Figures bounce. Camera: small pushes, cuts on the beat (or every 2 s). Avoid: muddy colour, lines tracing the colour, sparse line.

用拉乌尔·杜飞的水彩画法：先上色、后画线，两者永远对不齐。透明色块铺满大部分画面，带湿边、积色边和颗粒，比物体大一到四成，朝同一方向滑开约画幅宽 1/30：钴蓝 #2258CE 管天空和水，柠檬黄 #FCE02E 管光和地面，玫瑰红 #EC3A7C 管暖色面。重叠可混出紫或绿，绝不脏成棕，主角的色块别压在蓝上。再用蓝黑墨 #1E1E3A 快速细线把整个场景画满（线宽约画幅宽 1/700），有提按和甩尾：建筑、窗、人物、小配景；直边单独一笔、角上出头；树冠和云画成一串小圈。留白两到三成，皮肤是纸白。故事围绕的那个主角有自己的一块色（如 #D97757）。人物轻快有弹性。镜头：小推，踩拍子切（没有音乐约每 2 秒）。避免：颜色叠脏、线描死色块、线条稀疏。

A circus chromolithograph after the Strobridge Lithographing Co. (c. 1890). Flat ink, heavy black outlines (about 1/300 of frame width), crescent shadows, light from upper left. Four stones: chrome yellow #F4C416, vermilion #D62C24, cobalt #1E4EA0, key black #181210 on warm cream paper #EBD9B4; overprints and tints give only orange, green, brown, tan, pale blue, grey. Solids print flat; screens (dots about 1/250 of frame width) only on gradients (sky, skin, ground), each stone at its own angle, 1-3 px off register, stone grain. The hero the story centres on is solid yellow under solid vermilion, a flat orange (e.g. #D97757). Exaggerated perspective, radial lines converging on the action, several actions at once; any crowd is tiny individual figures, though a lone figure works. Camera: tilt up, lateral dolly, cut on action. Avoid: off-palette colours, dot-only crowds, a screened, pinkish hero.

19 世纪末马戏团彩色石印，仿 Strobridge 石印公司。平涂油墨加粗黑轮廓（约画幅宽 1/300）；阴影是月牙形加深，加排线；光从左上来。四块石版：铬黄 #F4C416、朱红 #D62C24、钴蓝 #1E4EA0、黑 #181210，印在暖奶油纸 #EBD9B4 上；叠印和浅网只能得到橙、绿、棕、土黄、浅蓝、灰。实地平印，只有天空、皮肤、地面这类渐变处挂网（网点约画幅宽 1/250），各版网角不同，错位 1–3 像素，带石版颗粒。故事围绕的那个主角用黄实地叠朱红实地，得到平的橙（如 #D97757）。构图用夸张透视：放射线汇向主要动作，几件事同时发生；有人群时画成许多可辨的小人，只有一个人物也成立。镜头：上摇，横移，在动作中切到高潮。避免：四色以外的颜色、只有圆点的人群、挂网挂成粉色的主角。

Early-1950s high-key black-and-white photography, painted in 2D to read as a photo: no outlines or flat fills, only soft gradients plus fine texture (sand, rock pitting, cloth). Values: about 70% of the frame above mid-grey; sky light-mid grey, one step below the bright clouds; deep blacks small. Default: hard midday sun, short crisp shadows; under other light keep the pale sky and bright values. Water, foam and mist blow out at the peaks, keeping lace detail; wet surfaces mirror the sky. Print finish: gentle S-curve, slightly soft lens, halation, fresh fine grain (±4%), light vignette, flicker. Only the hero the story centres on keeps colour, whole figure (e.g. #D97757), shaded photographically. Camera: tilt down from the sky, tight level frame, slow pull-back. Reference: cinematographer Burnett Guffey (*From Here to Eternity*). Avoid: low-key frames, white blanks, cartoon fills.

50 年代初高调的黑白外景摄影，用 2D 画出照片感：不描线、不平涂，只用柔和渐变加细腻纹理（沙粒、岩石麻点、布纹）。明暗：约七成画面亮于中灰；天空浅中灰，只比亮云暗一档；深黑很少。默认正午硬朗的太阳，影子短而清楚；其他光线下仍保持浅天空和明亮结构。水、浪沫或雾在最亮处冲白，留住蕾丝细节；湿的表面映着天空。按印片收尾：柔和 S 曲线、略软的镜头、高光晕、每帧刷新的细颗粒（±4%）、轻暗角、轻微闪烁。只有故事围绕的那个主角整个人保留颜色（如 #D97757），明暗也有照片感。镜头：从天空下摇，平视紧框，再慢慢拉远。对标摄影师 Burnett Guffey（《乱世忠魂》）。避免：低调暗沉、死白一片、卡通平涂。

Ben Shahn's social-realist tempera. Ink lines (about 1/500 of frame width) jitter and wander, break each outline into two or three strokes, sometimes doubled by a fainter offset ghost (a blotted line). Flat tempera blocks sit 2-4 px off the line, rough-edged, dry-brush streaks (one brush wide, about 1/100 of frame width) over a third of each block; model form with a darker flat of the same hue. Palette by role: slate #768492 sky and cool areas, brick #9E4834 and ochre #C89852 ground, buildings, clothes, ink #1F1A1A, warm board #F0E9DA; skin pale ochre; other colours: these darkened or greyed. The hero the story centres on wears the one warm accent on its main garment (e.g. #D97757). Big heads and hands, long faces, heavy jaws, heavy clothes. Camera: short pushes, tilt up, close-up. Avoid: smooth gradients, clean closed outlines, cheerful colour.

仿本·沙恩的社会写实蛋彩画。墨线（宽约画幅宽 1/500）会颤：细抖叠着慢摆，一个轮廓分两三笔、不闭合，偶有转印鬼线（旁边多一道偏移的淡线）。颜色是平涂蛋彩块，比墨线偏 2–4 像素，边缘毛糙，每块约三分之一面积带干笔拖痕，拖痕一笔宽（约画幅宽 1/100），不随色块放大；明暗只用同色深一档的硬边平色。配色按用途：灰蓝 #768492 管天空和冷色区，砖红 #9E4834、赭黄 #C89852 管房屋、土地和衣服，墨 #1F1A1A，底板暖白 #F0E9DA；皮肤浅赭；其他颜色由这几色加深或加灰。故事围绕的那个主角的主要衣服用唯一的暖色（如 #D97757）。人物头大手大、长脸重下巴，衣服下垂。镜头：短推，上摇，收在近景。避免：平滑渐变、干净闭合的轮廓、鲜亮讨喜的颜色。

A 1950s kinescope playing on a wood-cabinet television. Inside the screen: black-and-white with a cool phosphor tint (#DCE6EA whites), soft (half resolution, scaled up), halation, ghosting, tearing bands, a rolling hum bar, light snow, lifted blacks, flicker, grain; only the story's hero keeps its colour (e.g. #D97757), under the same artefacts. Tube: rounded corners, sides bowing outward, about 330 scanlines, glass reflections. Outside, a warm flat-illustrated living room (ochre wallpaper, wood, a table lamp), lit warm by the lamp; the screen casts a clear cold-blue glow on nearby walls. Signature shot: hold about 2 s with the TV filling 60% of the frame, then push through the glass (4-5 s) until the broadcast fills the frame, scanlines visible, then steady TV-studio mid shots. Reference: director Delbert Mann's live Philco Television Playhouse dramas. Avoid: heavy snow, a dull, evenly lit room.

把场景做成 50 年代木壳电视里播放的 kinescope 录像。屏幕里：黑白，冷色荧光调（白位约 #DCE6EA），画面发软（半分辨率再放大），有光晕、重影、撕裂带、缓慢滚动的暗带、少量雪花、抬起的黑位、闪烁和颗粒；只有故事围绕的那个主角保留颜色（如 #D97757），同样带这些瑕疵。显像管：圆角、四边外鼓，约 330 条扫描线，玻璃反光。屏幕外是暖色扁平插画风的客厅（赭黄墙纸、木家具、台灯），台灯打暖光，屏幕在附近墙面投出明显的冷蓝光。招牌镜头：电视占画面约六成，先停约 2 秒，再用 4–5 秒推进玻璃，直到节目铺满画面、扫描线还在，然后用演播室式稳定中景拍戏。对标导演 Delbert Mann 的 Philco 电视剧场直播剧。避免：雪花盖住画面、客厅沉闷平光。

1950s UPA modernist cartoon. Uneven ink lines #221C19 about 1/400 of frame width, sometimes broken; colour blocks sit about 1/300 of frame width off them, all one way. Objects are overlapping flat cut-out facets: a lit face and a shadow face one flat step (about 15%) darker. Pale aqua sky and cream paper #F2E9D3 cover most of the frame; mustard #E3A92B, teal #2B8C86, orange-red #D4452B are accents; sky, greens and slate blues are these mixed toward paper. Other times of day change only the sky colour. Crayon grain ±5% brightness everywhere, few flecks. Poster layout: one big graphic shape (a building or sun disc), angular outlined figures beside it. Light beams: flat pale wedges. Hard cuts every 1–2 s; slow parallax drift. After UPA, *Gerald McBoing-Boing* (1950); Saul Bass, *Around the World in 80 Days* titles (1956). Avoid: gradients, perfect registration, saturated colour everywhere.

50 年代 UPA 现代主义卡通。墨线 #221C19 约画面宽的 1/400，有粗细、偶尔断开；色块相对墨线统一朝一个方向错开约 1/300。物体由重叠的平面剪片拼成：一块受光面，加一块同色深约一成半的平色暗面。明亮通透：浅水绿天空和奶油纸 #F2E9D3 占大半画面，芥末黄 #E3A92B、青绿 #2B8C86、橙红 #D4452B 只作点缀；天空、草绿、灰蓝由这些色兑纸色得到。其他时段只改天空颜色。全画面轻蜡笔颗粒（亮度 ±5%），少量纸白斑点。海报构图：一个大图形（建筑、日轮或山峰），旁边是带轮廓的棱角人物。光束画成浅色平涂楔形。机位之间每一两秒硬切，段内慢视差。对标 UPA《Gerald McBoing-Boing》（1950）、Saul Bass《环游地球八十天》片尾（1956）。避免：渐变、套色太准、饱和色铺满画面。

Cyanotype engineering blueprint. The sheet fills the frame (the walnut drafting table shows only on a pull-back): mottled Prussian-blue paper #143874, uneven exposure, a greenish over-exposed margin, creases, faint water stains. White lines #ECF4FF, sharp but printed: outlines about 1/600 of frame width, hatching and dimensions half that, broken where exposure was weak, a slight cyan bloom. Draw the subject densely in drafting grammar: elevations, sections, detail circles, dimension chains, hidden lines, single-stroke lettering, a title block. Notes and actions in red pencil #D63426, in the user's language. The one hero subject is the only hand-painted element, drawn above scale (at least 1/5 of frame height), opaque gouache in one warm hue (e.g. orange #D97757); nothing else is warm. Camera: layered parallax push-in; cut to detail views. Avoid: neon glow, clean digital blue, sparse sheets.

青晒工程蓝图。图纸铺满画面（胡桃木绘图桌只在拉远时露出）：斑驳的普鲁士蓝纸 #143874，曝光不匀，边缘过曝发绿，有折痕和淡水渍。白线 #ECF4FF 锐利但是印出来的：轮廓约画面宽的 1/600，剖面线和尺寸线减半，曝光弱处断续，带几像素青色微晕。用制图语法把主体画得密：立面、剖面、详图圈、尺寸链、虚线、单线工程字、标题栏。批注和动作用红铅笔 #D63426，写用户的语言。唯一的主角是图上唯一手绘上色的东西，比图纸比例放大（至少占画面高五分之一），不透明水粉，一种暖色分几个深浅（比如橙 #D97757），其余没有暖色。镜头：推近时各层视差，再切详图。避免：霓虹发光、干净的数码蓝、空荡的图纸。

Belle Époque colour lithograph after Toulouse-Lautrec. Flat colour plates with wobbly edges; figures and main shapes outlined in a loaded brush (blunt start, swelling middle, split dry tail), about 1/250 of frame width. Crachis only on shadow sides, cast shadows and glows: 1–3 px dots at 1920×1080, sparse, under 15% of the frame, a darker step of the colour beneath. Large surfaces get grouped dry-brush streaks. Palette: yellow #F1C232, orange-red #E0602C, olive #6E7036, black #1D1A16 on cream stone-grained paper #EFE3C3, plus a muted bottle teal and greyed mauve; flesh is orange-red thinned with paper. Caricatured profiles with drawn faces; one large figure cropped by the frame edge in front. Flat, even light; shadows are flat plates. Camera: shallow parallax, a slow pan settling on a medium shot. Avoid: Mucha halos, smooth gradients, regular halftone, all-over speckle.

罗特列克式美好年代彩色石印。大块平涂色版，边缘略手抖；人物和主要形体用饱蘸的笔刷勾轮廓，起笔钝、中段鼓、收尾分叉飞白，粗约画面宽的 1/250。牙刷弹的墨点只在背光面、投影和光晕处：1920×1080 下点径一到三像素，稀疏，合计不到画面一成半，颜色取底色深一档。大面用成组的同向干笔条纹。色板：黄 #F1C232、橙红 #E0602C、橄榄绿 #6E7036、黑 #1D1A16，底是带石版颗粒的奶油纸 #EFE3C3；另加灰暗的瓶绿和淡紫，肤色是橙红兑纸色。人物是夸张的讽刺侧脸，画出五官；前景放一个被画框裁掉的大人物。光平而匀，阴影也是平涂色版。镜头：浅视差，慢慢横摇过场景，落到中景。避免：慕夏式光环、平滑渐变、规整网点、满屏黑点。

1959 65mm widescreen epic built in 3D. Default: hard high sun (about 50°), short crisp shadows, cobalt sky fading to sandy white; under a low sun shadows stay hard but long, the sky turns amber. Marble, gilt, red granite and sandstone, with mouldings and fluted columns, never bare boxes. Warm sunlit haze mixes about 20% into mid-distance colours. Technicolor-print grade: warm, saturated, slightly contrasty, no clipping or bloom; fine grain (±3%), slight gate weave. Scale is the point: monumental architecture, statues and repeated elements fill the background, never empty. The one hero subject (e.g. orange #D97757) is the most saturated thing in frame; any repeated motion (stride, wheel, oar) keeps time with speed. Signature shot: low tracking beside the moving hero, 35–50 mm full-frame; then wide, top-down, close-up, low angle. Avoid: clean CG light, empty or primitive sets, overexposure.

1959 年 65mm 宽银幕史诗，用 3D 搭。默认是硬朗的高太阳（约 50°），影子短而利，天空钴蓝、到地平线渐成沙白；太阳低时影子仍硬但拉长，天空转琥珀色。大理石、镀金、红花岗岩和沙色石头，做出线脚和槽柱，不能是光秃方盒。暖色尘雾约两成混进中景颜色。调色像 Technicolor 拷贝：暖、饱和、略高反差，不过曝不加辉光；细颗粒（±3%）、轻微片门晃动。核心是规模：背景布满宏伟建筑、雕像和重复元素，绝不空。唯一的主角（比如橙 #D97757）是画面里最饱和的东西；重复动作（步伐、轮、桨）节奏随速度。招牌镜头：全画幅等效 35 到 50mm，低机位贴着运动的主角跟拍；其次是大全景、正俯、近景、仰拍。避免：干净的 CG 光、空荡粗糙的布景、过曝。

Saul Bass title lines turned into a set. A shot opens on black: thin white lines (about 1/800 of frame width) slide in and grow into a grid; by 2–3 s grey planes fill in and lights switch on row by row. Then hold the finished frame 3 s: mid-to-light grey, flat fills in 4–5 even steps from #140F0D to #F4F1E8, every shape outlined in dark line about 1/600 of frame width. Strict one-point perspective, centred vanishing point; identical elements repeat into depth (desks and people, or posts, lamps, windows). Figures: flat two-tone shapes. The only warm colour is orange-red #E2472A, for the one hero subject and one prop; all light stays white. Camera: a fast push to the hero, a hard cut to top-down, the grid becoming pattern. Avoid: sketchy lines, gradients, colour leaks, skewed perspective, unfilled wireframe.

把 Saul Bass 片头的线条做成布景，黑白加一个暖色。镜头从全黑开始：细白线（约画面宽的 1/800）滑入、向纵深长成网格；两三秒内灰面填满，灯一排排亮起。之后完成态停约三秒：中到浅灰，从 #140F0D 到 #F4F1E8 均匀分四五级平涂，每个形体有约画面宽 1/600 的深色轮廓。严格一点透视，灭点居中；一样的东西重复排向纵深（有人群时是桌子和人，单人时是柱子、路灯、窗格）。人物是两色平涂。唯一的暖色是橙红 #E2472A，只给唯一的主角和一件道具；所有光都是白的。轻颗粒、柔暗角。镜头：急推到主角，硬切到正上方俯视，网格变成图案。避免：草稿感的线、渐变、颜色渗入、透视歪、没填色的暗线框。

Technicolor 3D stage set, like a 1960s studio musical. Simplified geometry, dense detail on every built surface (openings with sills, ledges, railings, ladders, strung lines); textured brick, plaster or rock, never plain. Theatrical light: a low warm sun rakes surfaces with long shadows; cool fill a quarter of the key. Painted sky of red-orange #E0481E, gold-edged cloud bands, violet only at the top edge; warm haze in the distance. The one hero subject in saturated orange #D97757, at least 1/6 of frame height, set against dark brick or given a black rim so it never melts into the sky. Puppet-like mannequin figures. Warm, saturated grade, fine grain (±3%). Signature shot: a low angle against the orange sky; then one continuous descent into the set and a ground-level push. Avoid: photoreal grime, violet-pink skies, plain walls, poses that pop.

Technicolor 3D 舞台布景，像 60 年代棚拍歌舞片。几何简化，每个面都细节密集（窗洞窗台、檐口、栏杆、梯子、绳线）；表面是有质感的砖、灰泥或岩石，不能素面。剧场布光：低角度暖阳斜扫表面拉出长影；冷补光约为主光四分之一。手绘天空以橙红 #E0481E 为主，云带镶金边，只在最上沿带一点紫；远处融进暖雾。唯一的主角用饱和橙 #D97757，至少占画面高六分之一，背后衬深色砖墙或加一圈黑边，不能化进天空。人物是木偶式假人。暖而饱和的调色，细颗粒（±3%）。招牌镜头：衬着橙色天空的低角度仰拍；其次一个连续镜头从高处降进布景、再贴地推进。避免：写实脏旧、紫粉天空、素面墙、动作跳变。

1960s hand-painted epic film poster, gouache with oil highlights. Draw forms solidly, then paint: an opaque mid-tone base, directional strokes following each form (1/80–1/50 of frame width on large areas, smaller on faces and hands), soft-blended edges; model every form in three values; dry-brush only on dust, cloth and distant figures; sharp warm-cream highlights last on lit edges. Warm–cool contrast: cobalt sky #1F4D97 to pale blue #A9C3D6, warming to cream near a low sun; ground #EEC27A (any terrain); ochre-red #B56A33 for skin, earth and costume; violet #6C6394 for distant shadows. The hero centred and largest, a diagonal gesture, cloth streaming; smaller, looser figures may recede behind. Light board grain (±3%), warm vignette, haze. Motion: bounce, slow push to a low close-up, a whip pan out. Avoid: scratchy uniform hatching, flat digital fills, cold-only colour.

60 年代手绘史诗电影海报，水粉打底、油彩提亮。先把形体画扎实再上色：铺不透明中间调底色，再用顺形体走的笔触（大面宽约画面宽的 1/80 到 1/50，脸和手用小笔），边缘柔和衔接；每个形体分亮、中、暗三级；干笔只用在尘土、布料和远处人物上；最后在受光边缘压锐利的暖奶油色高光。冷暖对比：钴蓝天空 #1F4D97 过渡到浅蓝 #A9C3D6，低垂的太阳周围转暖；地面 #EEC27A（任何地形），皮肤、泥土和衣服用赭红 #B56A33，远处阴影用紫 #6C6394。主角居中最大，一个斜向动作，布料飘起；身后可以有更小更松的人物退远。轻画板颗粒、暖暗角、雾气。运动：起伏、缓推到仰角近景、甩镜出画。避免：又碎又匀的刮擦线、平涂数码色、只有冷色。

Georgian satirical print: a copperplate engraving, hand-coloured. Brown-black line only: swelling burin outlines about 1/400 of frame width, heavier on the shadow side; hatching follows each form and covers every surface (spacing about 1/250 of frame width), cross-hatched in the darks, ruled on flat areas. Colour covers nearly the whole picture, clear but strong: washes spilling a few pixels off the line in claret #B3262E, brass #D8A93A, flesh #F0C4A4, slate blue #6D8AA6, warm ochre and umber on large surfaces. Sepia laid paper, foxing, plate mark, engraved border. Stage it like William Hogarth: big-nosed caricatures, bystanders or comic props and animals around the subject; one slanted handwritten speech balloon in the user's language. Camera: hold the full plate 2 s, whip in, glide to another detail, close-up. Avoid: even mechanical hatching, blank paper, colour exactly inside lines, muddy colour.

乔治王时代讽刺版画：先刻铜版，印完再手工上色。墨只有棕黑色的线：雕刀轮廓约画面宽的 1/400，起伏鼓胀，背光一侧更粗；排线顺形体走、铺满每个面（线距约画面宽的 1/250），只在暗部交叉，平面用直尺排线。颜色几乎铺满整幅，清透但饱满：水色溢出墨线几像素，用酒红 #B3262E、黄铜 #D8A93A、肉色 #F0C4A4、石板蓝 #6D8AA6，大面用暖赭和棕褐。浅棕褐帘纹纸，淡霉点，版框印痕，刻线边框。按 William Hogarth 的方式布置：大鼻子的漫画人物，主体身边是旁观者或搞笑的道具、动物；一个手写斜体对话气泡，用用户的语言。镜头：全幅停两秒，急推，横滑到另一处细节，再给近景。避免：机械均匀的排线、大片空白纸、颜色严丝合缝填在线里、颜色发脏。

1960s fashion illustration after Bob Peak. Fast ink line, thicker in turns, dry-brush tail, a flick off; 1/600–1/250 of frame width, thinning on tight curves. Solid black for dark clothing, hats and stripes; faces bare paper #FBF7F1. Loose, soft-edged watercolour pools, darker at drying edges: pink #EE84B2 as the main field, magenta #CE3076 for hot spots, rose #F4B2CC, a touch of plum #80285C; warm grey for secondary figures and shading; directional splatter. Settings are a few lines in these washes, not literal colour. The frieze is essential: slender profile figures 9–10 heads tall repeated across the frame (the hero plus grey-wash figures or echoes), black-and-white pattern over pink; washes cover 60–80% of the frame. Camera: slow drift along the figures; graphic-mask transitions. Avoid: even-width outlines, flat digital fills, polygon-edged washes, a lone figure on an empty page.

仿 Bob Peak 的 60 年代时装插画。墨线很快：转弯处变粗、直线处变细，后段飞白，收笔一甩；粗细在画面宽的 1/600 到 1/250 之间，小弯处变细。深色衣服、帽子和条纹用实心墨块；脸留白纸 #FBF7F1。水彩是松散柔边的色池，干后边缘积色更深：粉 #EE84B2 做主色，品红 #CE3076 做热点，加玫瑰粉 #F4B2CC 和一点梅紫 #80285C；次要人物和阴影用暖灰；带方向的甩点。场景只用几根线和这几种水彩带过。横排人物是核心：修长侧身，九到十个头高，横向重复（主角加暖灰人物或重影），黑白图案压在粉色上；水彩盖住画面六到八成。镜头：沿人物慢横移；转场借图形遮罩。避免：轮廓粗细一样、平涂数码色、多边形硬边色块、空白页上孤零零一个人。

Storybook 3D landscape in saturated 1960s widescreen colour: smooth sculpted forms, not low-poly or photoreal. Default light: bright sun high, a little behind the camera: emerald grass #3FA33A, cobalt sky #2F6FD0, clean white snow and clouds. Rounded ridges, snow lines following slope, grey-ochre rock bands, cloud shadows. Haze only on the farthest ridges, about 25% lilac. Cumulus are lit white cotton puffs. Knee-high grass and wildflowers fill the foreground, bending in gusts. A lower sun lengthens shadows and warms only cloud edges; other settings keep these colours. Camera: one continuous move: 0–2 s high flight, 2–4 s descent, then a low orbit through the grass around the subject (about 20° per second, subject about 1/4 of frame height). References: cinematographer Ted McCord (*The Sound of Music*, 1965); Miyazaki's meadows. Avoid: violet wash, needle peaks, grey photoreal rock, static grass.

绘本感的 3D 风景，60 年代宽银幕的饱和色，形体圆润光滑有雕塑感，不写实也不做低多边形。默认光：太阳高挂、略在镜头身后，大地满色：翠绿草地 #3FA33A、钴蓝天空 #2F6FD0、干净的白雪白云。风化山脊圆润，雪线顺坡，岩层暖灰赭，有云影。空气透视只加在最远的山脊，约两成半淡紫。积云是受光的白色棉花团。前景是齐膝密草和野花，随阵风弯伏。太阳低时只拉长影子、让云边变暖；其他场景也用这些颜色。一个连续镜头：前两秒高空飞越，再两秒降到草坡，之后贴草低机位环绕主体（每秒约 20°，主体约占画面高四分之一）。对标摄影师 Ted McCord（《音乐之声》，1965）和宫崎骏的草地。避免：泛紫、针尖山峰、写实灰岩、不动的草。

Oil portrait after Hans Holbein the Younger. Paint in layers: a toned underlayer, directional strokes following light and shadow, soft glazes, fine detail last; smooth finish, brushwork faint in background and fabric. Render each material: fur hair by hair, velvet folds with sharp light ridges, metal with two highlights per piece, wool and leather with soft nap. Any subject becomes a formal half-length sitter in its own clothes; its setting shows through a window or in an object it holds. Palette: deep green curtain #1F4A26, black #141113, velvet red #6E0C15, gold #B0801E, fur brown #3E2818; warm, fully modelled skin. Soft light from upper left. Signature shot: the portrait against the curtain; then material close-ups, a slow pull back into a dark room lit by warm pools. Warm varnish, light craquelure. Avoid: flat fills, hard digital edges, even light, unmodelled faces.

仿小汉斯·霍尔拜因的北方文艺复兴油画肖像。一层层画：带色底、顺明暗的笔触、柔和罩染、最后细笔；成品光滑，背景和布料隐约见笔触。每种材质各有画法：毛皮一根根画，天鹅绒褶子亮脊锐利，金属每件两个高光点，呢料和皮革画出柔和绒面。任何主体都画成穿自己衣服的正式半身像；它的场景从窗口露出，或由手里一件东西交代。色板：深绿帘幕 #1F4A26，黑 #141113、天鹅绒红 #6E0C15、金 #B0801E、毛皮棕 #3E2818；皮肤暖色、体积完整。柔光从左上来。招牌镜头：衬着绿帘的半身像；其次是材质特写，再慢慢拉远到暖色光池照亮的暗房间。收尾叠暖色光油和轻龟裂。避免：平涂、数码硬边、均匀亮光、没有体积的脸。

Three-ink Risograph: orange-red #EC5032 as the dominant field (about 60%, with drip streaks), deep blue #162C76 for silhouettes and shadows, fluorescent pink #FF48B0 only for rims and halos, on warm paper #F7F2E7. Each ink is halftoned at its own angle, dots 1/300 of frame width, plates misregistered 2–4 px; grain, pinholes, slight boil. Knock orange out under blue silhouettes so they print pure blue; only the darkest accents overprint to near-black. Light is the absence of ink: beams, lamps and lit ground show bare paper, ringed in pink. Figures: blue silhouettes, pink rims; skin is 30–60% orange with a blue shadow step. At cooler times keep the red field; blue rises only into the top of the sky. Camera: handheld behind someone carrying a light, a reverse close-up, a push. Avoid: blue-dominated frames, smooth gradients, a fourth ink, clean registration.

三色专色 Risograph 印刷：橙红 #EC5032 是主场（约占画面六成，带竖向流淌痕），深蓝 #162C76 给剪影和阴影，荧光粉 #FF48B0 只给轮廓光和光晕，印在暖白纸 #F7F2E7 上。每色是各自网角的半调，点径约画面宽的 1/300，版间错位二到四像素；有墨粒、针孔，逐帧轻微抖动。蓝剪影底下挖掉橙色，印成纯蓝；只有最暗处两色叠成近黑。光就是没有墨：光束、灯和被照亮的地面露出纸白，外圈一道粉。人物是带粉色边缘光的蓝剪影，肤色用三到六成橙色网点加一级蓝暗部。时间偏冷时仍保留红场，只让蓝色升到天空顶部。镜头：手持跟在提着光源的人身后，一个反打近景，一次缓推。避免：蓝色占满画面、平滑渐变、第四种墨、套印太准。

Victorian toy paper theatre (Pollock's), all printed card: black lithographic outlines about 1/400 of frame width, sparse crayon hatching on one side of each piece; muted antique hand colouring: deep red #C8262C and dull gold #E0AB36 on proscenium and curtains (never bright yellow), blue #2F5A9A for costumes; scenery, sky, water and skin in greyed browns, greys and cream card #F4ECD6. Every cut-out keeps a white scissor margin (1/200 of frame width). Flats are parallel 2.5D layers in parallax, flat within each plane. Candle footlights throw each cut-out's shadow onto the scenery behind, about 1.5× enlarged, soft, flickering. Gilt proscenium, red drapes and painted audience boxes frame a stage opening 80–90% of frame width. Camera: slow push, lateral tracking, shaky close-ups; a final pull-back shows the dark room. Avoid: bright vector colour, true 3D depth, soft studio light, figures without margins.

维多利亚玩具纸剧场（Pollock's 式）。一切都是印出来的卡纸：黑色石印轮廓约画面宽的 1/400，每张剪纸一侧有稀疏蜡笔排线；手工上色是沉稳旧色：深红 #C8262C 和暗金 #E0AB36 用在台口和帷幔（金色不能是亮黄），蓝 #2F5A9A 给服装；布景、天空、水和肤色用发灰的棕、灰和奶油卡纸 #F4ECD6。每个人物和景片留一圈剪刀白边（约画面宽的 1/200）。景片是平行的 2.5D 层，层间视差，层内无透视。烛光脚灯把剪纸影子放大约一倍半投到后面景片上，柔边，随烛火闪动。镀金台口、红帷幔和画出来的包厢观众框住舞台，台口宽占画面八到九成。镜头：慢推、横移，近景微震；结尾拉远露出暗房间。避免：鲜艳矢量色、真 3D 纵深、柔和摄影光、没有剪边的人物。

Andy Warhol photo-silkscreen. Two plates: a high-contrast black halftone photograph at 45°, dots about 1/200 of frame width, few mid-tones; and hand-painted flat colour blocks underneath, offset about 1/100 of frame width with wobbly edges: taxi yellow #F3BE14, skin pink #F2A197, cream #EFE6CF, red #E2462B, on brushed silver paint #BABCC0 with a soft sheen. The one hero subject takes the strongest block colour. Uneven squeegee pressure: dots flood into blotches in places, drag into dry horizontal streaks and pinholes elsewhere, over faint canvas weave. Repetition is the composition: the same figure or object, full-length, printed side by side two then three times, slightly overlapping, on empty silver. Settings appear only as drained-to-silver prints in the repeat. Camera: handheld shake, a push in, flat frontal tableaux. Reference: Andy Warhol, *Double Elvis* (1963). Avoid: clean even halftone, perfect registration, uniform crispness.

安迪·沃霍尔式照片丝网印。两块版：一块是 45° 的高反差黑色半调照片，网点约画面宽的 1/200，几乎没有中间调；下面是手刷平涂色块，相对照片错开约画面宽的 1/100，边缘歪扭：出租车黄 #F3BE14、肤粉 #F2A197、奶油 #EFE6CF、红 #E2462B，底是带柔和光泽的刷涂银漆 #BABCC0。唯一的主角用最强的那块颜色。刮板压力不匀：有的地方网点糊成墨团，有的地方拖成横向干笔条纹和针孔，底下隐约有画布纹。重复就是构图：同一个人物或物体全身，在空银底上并排印两次、再印三次，略有重叠。场景只以褪成银色的印样出现在重复里。镜头：手持晃动、推近、正面平面定格。对标沃霍尔《Double Elvis》（1963）。避免：干净均匀的网点、套色完全对齐、处处一样清晰。

1940s US war-bond lithograph poster. Flat inks: red #C2342C, navy #213261, olive #5F5C31, khaki #B7975E, on fibrous, foxed cream #E6D5B3 paper. Three values per form (bare paper, flat ink, ink plus halftone), posterised in hard steps. Brown-black key line about 1/500 of frame width, printed last; shadows as coarse 45° halftone bands (dots about 1/150 of frame width) with crayon grain; colour plates offset about 1/600 of frame width. Default: a symmetrical frontal stage, a small subject before a huge graphic shape filling most of the frame (flag, emblem, sunburst), lights as hard pale shapes or bare paper; outdoors too, light falling as a hard pale pool. Lettering optional, in the user's language. Camera: slow push-ins, one crisp pull-back. Reference: US war-bond posters, 1942–45. Avoid: airbrushed gradients, perfect registration, halftone so fine it reads grey.

1940 年代美国战争债券石印海报。平涂油墨：红 #C2342C、海军蓝 #213261、橄榄绿 #5F5C31、卡其 #B7975E，印在米白 #E6D5B3 的纸上，有纤维、霉点和磨边。每个形体三档：留纸、平涂、油墨加网点，压成硬边色阶。棕黑轮廓线约画面宽的 1/500，最后压上；阴影是粗的 45° 网点带（点径约画面宽的 1/150），带蜡笔颗粒；色版错开约画面宽的 1/600。默认像舞台：对称正面，小主体站在占满大半画面的巨大图形前（旗帜、徽章、放射光芒），灯光是硬边浅色块或留纸；户外也一样，光落成地上的硬边浅斑。文字可有可无，用用户的语言。镜头慢推，配一次干脆的拉出。对标 1942–45 年美国战争债券海报。避免：喷枪渐变、套色完全对齐、网点细到像一片灰。

Gritty early-1970s documentary look in a detailed 3D world, finished as pushed 16mm. Grade: low saturation, high contrast; neutral-cold greys #7A7C7A, cyan shadows #1E2A2C, warm-brown mid-tones #6E4A34 in brick, wood, vehicles (at least a quarter of the frame), never an overall blue; the one hero (e.g. #D97757) stays saturated. Default overcast, sky near-white, at any time of day; sun through any overhead grid (track, bridge, pier) falls in hard stripes. Grain clumps about 1/700 of frame width, ±8% brightness; gate weave, flicker, dust, occasional faint ghosts of bright lights. Dense clutter fitting the place. Handheld cameras ride the action: a low 18–25 mm lens rushing forward as repeated objects strobe past, a rig looking back at the subject, a corner wide. References: William Friedkin, *The French Connection* (1971); cinematographer Owen Roizman. Avoid: clean CG shine, blue tint, empty places, mushy grain.

70 年代初粗粝的纪实感，放在细致的 3D 世界里，按增感冲洗的 16mm 收尾。调色：低饱和、高反差；中性冷灰 #7A7C7A、带青的暗部 #1E2A2C，砖、木头、车辆保持暖棕 #6E4A34，至少占四分之一画面，绝不整体泛蓝；唯一的主角（比如橙 #D97757）保持饱和。默认阴天，天空亮到近白，任何时段都一样；阳光穿过头顶格栅（轨道、桥、栈桥）落成硬边条纹。颗粒成团，约画面宽的 1/700，亮度 ±8%；片门晃动、闪烁、灰尘，亮处偶有淡重影。杂物多且符合地点。手持机位跟着动作走：18 到 25mm 低机位向前冲，重复物体频闪掠过；回看主体的跟拍机位；墙角广角。对标 William Friedkin《法国贩毒网》（1971）和摄影师 Owen Roizman。避免：干净的 CG 反光、整体泛蓝、空荡的方块场景、颗粒糊成一片。

Chiaroscuro oil painting after Rembrandt and Caravaggio, one overhead light. About 70% of the frame is readable warm dark, mostly umber #24150B, near-black #070403 only in the deepest corners. Amber #8F5D2A mid-tones about 20%; top planes reach #E2B673. The hero stands in the light pool, lit area at least 1/4 of frame height; brows shade the eyes. One red accent #9C1A1A. Darks thin smooth glazes; lights thick impasto, ridged strokes about 1/100 of frame width; modelling soft, never scratchy. Amber varnish, heavy vignette, canvas grain (±3%). A warm bright opening (window, doorway, horizon) may glow behind; a small lamp in frame is a small glow, not a second key. Camera: slow pull-backs and pushes. Reference: Francis Ford Coppola, *The Godfather* (1972), cinematographer Gordon Willis. Avoid: lifting the darks, flat light, faces popping out, frames too dark to read.

伦勃朗、卡拉瓦乔式明暗油画，只有一盏顶光。约七成画面是看得出形体的暖暗部，大多是赭褐 #24150B，近黑 #070403 只在最深的角落。琥珀 #8F5D2A 中间调约两成；朝上的面亮到 #E2B673。主角整个站在光池里，受光部分至少占画面高的四分之一；眉骨把眼睛压进阴影。一处饱和的红 #9C1A1A。暗部薄而平滑地罩染，亮部是带亮笔脊的厚涂，笔触约画面宽的 1/100；过渡柔和，不用刮擦线条。琥珀光油，重暗角，细画布纹（±3%）。背景可有一处暖色亮口（窗、门洞、发亮的天边）；画内的小灯只是一小团光，不算第二个主光。镜头慢拉、慢推。对标 Francis Ford Coppola《教父》（1972），摄影师 Gordon Willis。避免：提亮暗部、平光、人脸跳出来、暗到看不清。

1930s Saturday Evening Post cover illustration. Realist figures, correct proportions, expressive faces, built from blocky planes (lit, shadow, warm bounce from below) filled with blended strokes about 1/150 of frame width, varied in length, following the form, never stripes. Dark contour thicker on the shadow side, 1/800–1/300 of frame width. Warm key from upper left. Palette: plaster #E2C492, oak #764626, slate #28322C, brass #E2B046, ink #341E18; oak and ink darks about a third of the frame; sky plaster cooled with slate, water light slate, skin plaster plus brass. Grainy board (±3%), warm vignette. Default one-point perspective, period detail, haze, secondary figures if the story has any. Each figure is drawn once and moves whole (breathing, sway, sliding along a path). Camera: one long, smooth push in. References: J. C. Leyendecker, Norman Rockwell. Avoid: stiff cut-out figures, even outlines, muddy colour.

30 年代《星期六晚邮报》封面插画。写实人物，比例准确、表情生动，用块面塑造（受光、背光、下方暖色反光），块面里填顺着形体、长短不一的笔触，宽约画面宽的 1/150，柔和衔接，不成条纹。深色轮廓在背光一侧加粗，画面宽的 1/800 到 1/300。暖色主光从左上来。配色：灰泥 #E2C492、橡木 #764626、石板 #28322C、黄铜 #E2B046、墨 #341E18；橡木和墨色暗部约占三分之一画面；天空灰泥偏石板，水是浅石板，皮肤灰泥加黄铜。轻颗粒画板（±3%）加暖暗角。默认一点透视，时代细节，薄雾，故事有就加次要人物。每个人物只画一遍，整体移动（呼吸、摇摆、沿路径滑行）。镜头：一次长而平滑的推进。对标 J. C. Leyendecker、Norman Rockwell。避免：僵硬剪纸人物、粗细一样的轮廓、发脏的颜色。

A hand-coloured toned silver print from about 1900. Build lit 3D forms, soft key from upper left, then 'print' them: soft focus, light halation, grain heaviest in mid-tones (±5%), full sepia range #281A12, #987048, #EEE0C2; at least a fifth of the frame reaches the dark end, in any light. Figures: real proportions (head 1/7 of body), soft shading. Transparent dyes brushed loosely past edges: the one hero subject strongly (e.g. orange-red #D97757 at 60–80% opacity), a faint touch on one or two props; dyes die in shadow. Light ageing: vignette, silvered edges (grey-blue sheen in border darks), small foxing spots, fine scratches, at most one cracked corner. Frontal, documentary: figures stand still facing the lens. Camera: slow pan across faces. References: Lewis Hine; Augustus Sherman (Ellis Island). Avoid: toy figures, digital fill colour, low-contrast fog, big mould blotches.

1900 年前后手工上色的棕褐银盐照片。先做受光的立体形体，柔光从左上来，再“印”出来：柔焦带轻微光晕，颗粒在中间调最重（±5%）；棕褐调从 #281A12 经 #987048 到 #EEE0C2 完整铺开，至少五分之一画面落到最深一端，任何光线下都一样。人物比例真实（头约七分之一身高），明暗柔和。透明颜料松松地刷，溢出边缘：唯一的主角最重（比如橙红 #D97757，不透明度六到八成），一两件道具轻点；颜色进暗部就被吞掉。做旧要轻：暗角、边缘银化（靠边暗部泛灰蓝金属光）、几个小霉点、细划痕，最多一个裂角。构图正面、纪实，人物静立面对镜头。镜头缓慢横摇扫过人脸。对标 Lewis Hine、Augustus Sherman 的埃利斯岛照片。避免：积木人物、数码填色、低反差雾灰、大片霉斑。

Edward Hopper-style American realist painting. Large flat planes of restrained, pale colour: institutional greens #9EB8A0 and #5E7C66, grey-green floor #7E8876, cream #ECE6D2, on visible canvas (±3%), with a few long dragged strokes about 1/80 of frame width, 5–10% off the base. Low side sun throws hard-edged parallelograms of warm light #FCE6AC on walls and ground, crossed by crisp shadows of frames or railings, indoors or out. Sky pale cream-green; skin warmed cream; clothes darkened greens. Figures painted from 3–4 overlapping soft-edged value shapes, no outline, real proportions; several people stand apart. Stillness, then one sudden event under a second: a whip pan, a burst of light. Signature shot: a still one-point interior, light on the floor. References: Edward Hopper, *Office in a Small City* (1953). Avoid: heavy outlines, vector figures, dark saturated walls, fuzzy light patches.

爱德华·霍珀式美国写实绘画。大块克制、偏浅的平面色：机构绿 #9EB8A0 和 #5E7C66、灰绿地面 #7E8876、奶油 #ECE6D2，看得见画布纹（±3%），每块拖几笔长笔触，宽约画面宽的 1/80，亮或暗百分之五到十。低角度阳光从一侧射来，在墙和地上投下硬边暖色平行四边形 #FCE6AC，压着窗框或栏杆的清晰影子，室内户外都一样。天空浅奶油绿，皮肤是提暖的奶油色，衣服用压暗的绿。人物由三四块边缘柔和的明暗色块叠成，不勾轮廓，比例写实；几个人时分开站。大部分时间静止，然后一件不到一秒的突发：甩镜或一阵强光。招牌镜头：一点透视的静止室内，地上有光块。对标霍珀《Office in a Small City》（1953）。避免：粗轮廓、矢量人物、深而饱和的墙、模糊光斑。

1970s 35mm realism in a detailed 3D world, sunrise by default (sunset the same). Sun 5–10° up, warm orange #F0A060, lighting the hero from the side or three-quarter front so the lit body and long ground shadows read; no full backlight. Cool blue sky #7FA3CF, pink cloud undersides #E6B2AE; haze golden toward the sun, blue-violet away. Grade: fine grain (±3%), cool shadows, warm highlights, nothing clipped; flare and ghosts only with the sun in frame. Camera: a low Steadicam following the hero from behind up an ascent, then at the top one continuous orbit that circles, rises and pulls back over 6–8 s, showing the lit face, until the place spreads out below. References: John G. Avildsen, *Rocky* (1976); Steadicam operator Garrett Brown. Avoid: flat noon light, detail-less silhouettes, a static climax, plastic CG shine.

70 年代 35mm 写实，放在细致的 3D 世界里，默认日出（日落同理）。太阳离地平线五到十度，暖橙 #F0A060，从侧面或前侧方照亮主角，让受光的身体和拉过地面的长影看得清；不要完全逆光。天空冷蓝 #7FA3CF，云底染粉 #E6B2AE；雾朝太阳一侧发金、背光一侧发蓝紫。调色：细颗粒（±3%），暗部偏冷、高光偏暖，不过曝；只有太阳入画时才有光晕和鬼影。镜头：低机位斯坦尼康从背后跟着主角爬上一段坡或台阶，到最高处接一个连续环绕，边转边升边退，六到八秒，转到受光的脸，直到整个地方在下面铺开。对标 John G. Avildsen《洛奇》（1976）、斯坦尼康操作者 Garrett Brown。避免：正午平光、没细节的剪影、高潮时机位不动、塑料感反光。

New Yorker single-panel cartoon, full-bleed, no border. Nib-pen lines about 1/1000 of frame width on straights, swelling to 1/300 in turns, flicking off at the ends; box corners overlap. Pale watercolour washes with pooled edges over most objects, slipping past the lines by at most 1/150 of frame width: grey #9698A0, sea blue #78A0BE, sand #E2CCA0, rust #C45C32, on cold-press paper #FBF8F1 fading to white at the edges. Exaggerated, expressive figures with drawn faces among everyday props. One hand-lettered caption line under the action, in the user's language, about 1/30 of frame height, appearing letter by letter: a deadpan remark. The drawing holds still; living things wobble. Camera: small drifts and pushes; the frame may split into two side-by-side drawings. References: James Thurber, William Steig, Jean-Jacques Sempé. Avoid: saturated colour, uniform vector lines, a small framed panel floating in white.

《纽约客》单格漫画，满版出血，不画格框。蘸水笔墨线直线处细到约画面宽的 1/1000，转弯处粗到约 1/300，收笔一甩；方盒子几笔分开画，角上交叉出头。淡水彩带积色边，铺在大部分物体上，溢出墨线不超过画面宽的 1/150：灰 #9698A0、海蓝 #78A0BE、沙色 #E2CCA0、铁锈 #C45C32，底是冷压纸 #FBF8F1，四边化成白。人物夸张、有表情、画出五官，周围有日常道具，留白但不空荡。画面下方一行手写说明，用用户的语言，字高约画面高的 1/30，逐字写出：一句冷面幽默。画面不动，活物微微颤动。镜头：轻微漂移和推近；画面可一分为二，左右并排两幅。对标 James Thurber、William Steig、桑贝。避免：浓重饱和的颜色、粗细一样的矢量线、白纸中间漂着一个小格子。

Egg tempera on gesso panel after Andrew Wyeth. Dry, matte, very fine: colour built from dense cross-hatched strokes, each about 1/400 of frame width long, hairline thin. Muted palette: pale overcast sky #D9D5C6, straw grass #CDB27A, umber #6A5234, misty grey-green hills #8E938C, rust #8A4E32; water, stone, clothes and skin mixed from these. One accent colour, only on the one hero subject (e.g. a red cap); any light source is a small pale dot, no halo. Ground (dry grass by default, other ground alike): big light and dark patches, fine strokes, dark tufts, then single wind-combed blades; rocks, buildings hatched along their planes. Empty, lonely space; the subject small, off-centre. Soft overcast light; at other times of day stay pale, no warm glow. Camera: slow drift, quiet push; a circular iris may mark a cut. Avoid: wet watercolour blooms, saturated colour, thick shiny strokes.

安德鲁·怀斯式石膏底板蛋彩画。干、哑光、极细：颜色全靠密密的交叉短笔叠出来，每笔长约画面宽的 1/400，细如发丝。低饱和配色：苍白阴天 #D9D5C6、草黄 #CDB27A、赭褐 #6A5234、灰绿远山 #8E938C、铁锈色 #8A4E32；水、石、衣服和皮肤都从这几色调出。强调色只给唯一的主角（比如一顶红帽）；画里的光源只是一个淡淡的小点，不带光晕。地面（默认枯草，其他地面同理）先铺大块深浅，再叠细笔、暗色草团，最后是被风梳过的单根草叶；岩石和房屋用短笔顺着各面排。空间空旷孤独，主体小而偏离中心。默认阴天软光，其他时段也保持苍白、不要暖光。镜头缓慢漂移、安静推近；圆形遮罩可作剪切点。避免：湿水彩晕染、饱和色、厚重发亮的笔触。

A careful 6–8-year-old's wax-crayon drawing on white paper. Crayon catches the paper grain's peaks; light pressure leaves 40–60% paper showing, heavy pressure fills it; overlaps show through. Outlines in black or dark-brown crayon, waxy, wobbling, about 1/300 of frame width. Fills are back-and-forth scribbles, strokes about 1/40 of frame width long and 1/250 wide, rows overshooting the outlines, each area in its own direction, spacing and angle uneven, never a regular mesh. Primary box: red #E0382C, orange #F28A1E, yellow #F7D23A, green #3AA345, blue #2E6BD8. Child conventions: a ground line, flattened perspective, arrowed labels, a smiling sun, one mirrored letter (in Chinese, a reversed stroke), patterns coloured cell by cell. Text in the user's language, in wobbly crayon strokes, not a typeface. Camera: shaky close-ups, then a calm drift. Avoid: neat adult rendering, random scrawl, uniform stipple or mesh, smooth gradients.

认真的六到八岁孩子在白纸上画的蜡笔画。蜡笔只蹭到纸纹凸起；轻涂露出四到六成纸白，用力处填满；叠色时下层透出。轮廓用黑色或深棕蜡笔，蜡质、发抖，粗约画面宽的 1/300。填色是来回涂抹，每笔长约画面宽的 1/40、宽约 1/250，一排排涂、冲出轮廓，每块各有方向，间距和角度不均匀，不能排成规整的网。基础色：红 #E0382C、橙 #F28A1E、黄 #F7D23A、绿 #3AA345、蓝 #2E6BD8。儿童画惯例：地面线、压扁的透视、带箭头的标注、笑脸太阳、写反一个字母（中文写反一个偏旁）、图案一格格涂。文字用用户的语言、发抖的蜡笔笔画写，不用字体。镜头：先晃动近景，再平稳扫过全画。避免：大人式的工整画法、没细节的乱涂、均匀点状或网状肌理、平滑渐变。

Transparent watercolour in layered glazes on cold-press paper. Draw shapes crisply first, then two or three glazes, each smaller and darker, drying to a tide-mark edge; two or three blooms, about 1/10 of frame width, inside large washes, never on figures; light granulation (±4%). Paper is the brightest white; light objects and highlights left as paper. Sky and water wet-in-wet, ripples dry-brush. Roles: autumn gold #ECAA34, scarlet #E46030, rust #B8743C for foliage and accents, against grey-blue mist #C2C6D2 and violet-grey shadows #8A8496; sky pale and cool at any time of day; ground pale green-ochre. Foliage: pale wash, scallop-edged clusters, dark dots, flicked leaves; with few trees, warm colours go to scrub, roofs, clothes. Light from one side. Camera: slow pan, gentle push, leaves drifting past the lens. Reference: Winslow Homer's watercolours. Avoid: opaque gouache, airbrushed blur, vector edges, muddy colour, saturated sunsets.

透明水彩，在冷压纸上一层层罩色。先把形状画清楚，再罩两三层，每层更小更深，干后边缘积成深一点的水渍线；每帧两三处回流花，约画面宽的 1/10，只在大块湿画里，不落在人物上；颗粒轻沉进纸纹（±4%）。纸是最亮的白，浅色物体和高光留纸。天空和水面湿画，涟漪干笔。分工：秋金 #ECAA34、猩红 #E46030、锈色 #B8743C 给树叶和点缀，对着冷灰蓝的雾 #C2C6D2 和紫灰阴影 #8A8496；天空任何时段都浅而冷；地面浅绿赭。树冠：先铺淡色，叠扇贝边叶团，点深色，甩散叶；树少时暖色给灌木、屋顶、衣服。光从一侧来。镜头缓慢横摇、轻推，落叶从镜头前飘过。对标 Winslow Homer 的水彩。避免：水粉式覆盖、喷枪模糊、矢量硬边、脏色、饱和晚霞。

1920s stone lithograph poster in four inks: sea blue #245A8C, ochre #D49640, deep brown #40271B, warm red #E47E62, on aged cream #F1E7D1, misregistered about 1/700 of frame width. Every tone is ink grain, never a flat fill: specks about 1/1000 of frame width in soft clumps, covering 20–40% of pale areas, 50–80% of mid-tones, nearly all of solids (with pinholes); no stray specks on bare paper. Roles: blue for sky, water, cool shadow; ochre for ground and skin; brown for outlines, darks, clothes; red sparingly. Values calm and pale. Classical figures: ochre lit side, brown core-shadow line down each limb, head 1/8 of body; groups in a row. Slow motion carried by spray, dust, hair, cloth. Camera: long-lens front views, ground-level shots; optional serif title band. Reference: Jean Droit, 1924 Paris Olympics poster. Avoid: coarse speckle, pictogram figures, vector fills.

20 年代石版印刷海报，四色：海蓝 #245A8C、赭黄 #D49640、深棕 #40271B、暖红 #E47E62，印在泛旧的奶油纸 #F1E7D1 上，每色错位约画面宽的 1/700。所有色调都由油墨颗粒组成，不平涂：颗粒约画面宽的 1/1000，聚成软团，浅色区覆盖两到四成，中间调五到八成，实色几乎满版、留针孔；空白纸上不能有零散孤点。分工：蓝给天空、水和冷阴影；赭黄给地面和皮肤；深棕给轮廓、暗部和衣服；红少量点缀。明暗安静偏浅。人物古典：受光侧赭黄，四肢顺一道深棕明暗交界线，头约身高八分之一；多人排成横列。动作慢，靠水花、尘土、头发、布料带出。镜头：长焦正面、贴地低机位；可加衬线字标题横带。对标 Jean Droit 的 1924 年巴黎奥运海报。避免：粗噪点、象形小人、矢量平涂。

Hand block print on cotton, Rajasthan style (Bagru, Sanganer). Undyed cotton #EEE5CF is the ground, over half the frame, and the skin colour; indigo #2A3A68 for water or sky bands and patterns; madder red #AA322A for borders, clothing and the hero; turmeric #DEA42C for small motifs; black key block #281E1C for outlines. Stamp blocks about 1/8 of frame height, misregistered 2–4 px, tone jumping slightly at seams even in large bands; dye bleeds along the weave, fills unevenly. Mud-resist crackle only inside indigo, fine and sparse. Carved, rough outlines about 1/300 of frame width. Flat frieze in a paisley and vine border; waves as scallop rows; profile figures with miniature-painting faces, kohl-lined eyes. Camera: pan along the frieze, push in; cut on a turning motif. Avoid: vector edges, perfect registration, faceless figures, dense crackle, indigo flooding the frame.

拉贾斯坦手工木刻印花布（Bagru、Sanganer）。本色棉布 #EEE5CF 是主底，占画面一半以上，也是皮肤色；靛蓝 #2A3A68 给水面或天空色带和纹样；茜草红 #AA322A 给边框、衣服和主角；姜黄 #DEA42C 给小纹样；黑色雕版 #281E1C 印轮廓。按雕版一块块盖（每块约画面高的 1/8），错位二到四像素，大色带也在版缝处轻微跳变；染料顺经纬微渗，上色不匀。泥防染冰裂纹只在靛蓝里，细而稀疏。轮廓像刻出来的，略毛糙，粗约画面宽的 1/300。平铺成横幅，外框是佩斯利和花藤；海浪是扇贝纹；人物取侧面，细密画式的脸，描黑的眼尾。镜头沿横幅横摇、推近；借转动的纹样转场。避免：矢量硬边、套色完全对齐、没有五官的人、满屏冰裂纹、靛蓝铺满画面。

1970s–80s snapshots in an open album. Faded dyes: blacks lifted to teal grey about #2F3A3A, creamy rolled-off highlights, mild warm cast, slight overexposure, softness, fine grain (±4%), saturation about 60% of normal. White Polaroid borders, photo-booth strips (four frames stacked), ballpoint captions in the user's language. The album fills the frame, cream pages seen from above in soft, even light, a faint plastic sheen. In a photo, a moving subject gets a panning-shutter look (background smeared sideways, subject sharp); still subjects get shallow depth of field. People look photographed: real proportions, soft shading, slight blur, small faces. Camera: an overhead push into one photo until it fills the frame (about 3 s), a cut into the living scene as colour returns, then a pull-back. References: Polaroid SX-70, Kodacolor prints. Avoid: flat cartoon shapes, crisp modern colour, light shafts, saturated prints.

70 到 80 年代的生活快照，摊开在相册里。照片已褪色：黑色抬成偏青的灰（约 #2F3A3A），高光柔和发奶油色，略暖、略过曝，偏软，细颗粒（±4%），饱和度约正常的六成。宝丽来白边、照相馆四连拍条、圆珠笔手写说明（用用户的语言）。相册铺满画面，奶油色页面，从正上方看，光柔和均匀，淡淡塑料膜反光。照片里有东西在动就用追拍：背景横向拖糊，主体清晰；静止主体用浅景深。人物像拍的不像画的：比例真实、明暗柔和、轻微虚焦、脸不大。镜头：俯拍推进一张照片直到铺满（约三秒），切进活起来的场景、颜色恢复，再拉出。对标宝丽来 SX-70 和柯达彩色照片。避免：平面卡通造型、干净的现代色彩、光束、饱和的照片。

18th-century cut-paper silhouettes. Each figure: a solid black profile #0B0705 with its own cut detail (hair, nose, lace holes, props), a 2–3 px pale-gold rim #F7E3A0 (at 1920×1080) toward the nearest flame, and hairline gold lines along clothing folds. Gilt relief #B88A2E and red velvet #6E0F14 frame the scene like an opera box; an outdoor subject becomes a lit painted backdrop on a stage, cut-paper figures in front. Reds and golds fill most of the frame; night blue #0C1A3A only for the far sky. Only the hero gets a painted, coloured face. Candles flicker gently (±5%), warm halos about five flames wide; light haze, vignette, fine grain. Signature shot: silhouettes framing a bright stage far back; slow lateral glide, then push. References: silhouettists Edouart, Miers; cinematographer Miroslav Ondříček (*Amadeus*, 1984). Avoid: plain black blobs; copy-pasted profiles; blue walls; strobing flames.

18 世纪剪纸剪影，放在烛光照亮的洛可可室内。每个人物是实心黑侧影 #0B0705，各有自己的剪纸细节（发型、鼻子、蕾丝镂空、物件），朝最近烛火的一侧描 2–3px（按 1920×1080）亮金边 #F7E3A0，顺衣褶勾几根细金线。金色浮雕 #B88A2E 和红丝绒 #6E0F14 像包厢一样框住画面；户外题材画成舞台上被照亮的布景，剪纸人物站在布景前。红与金占画面大半，夜蓝 #0C1A3A 只用于远处天空。只有主角侧影里的脸是画出来、有颜色的。烛火轻微跳动（亮度±5%），暖光晕约五个火苗宽，薄烟、暗角、细颗粒。招牌镜头：前景剪影框住远处亮着的舞台，慢横移再推进。对标剪影 Edouart、Miers，摄影师 Miroslav Ondříček（《莫扎特传》，1984）。避免：没有剪纸细节的黑块；复制粘贴的侧影；蓝色墙面；频闪的烛火。

Real-time 3D like 1980s widescreen location photography: true-scale models with fine detail (e.g. struts, wires, rivets); smooth terrain, not low-poly. Default light: late-afternoon sun low behind the hero as seen from camera, pale cream sky, amber haze, distant ridges in 3–4 paler layers, ochre ground with long soft shadows. Pale overall: about 70% of the frame in light mid-tones, shadows warm grey, not deep brown; under a fifth near-white. Grade: filmic curve, low saturation, light grain, soft vignette. Thousands of instanced birds or animals (e.g. pink #F3B3AE with crimson #DF3F55) lift or scatter in staggered waves as the hero passes. Signature shot: over the moving hero's shoulder across open land; then a high chase 10–20 m up and one shot into the sun. Reference: cinematographer David Watkin (*Out of Africa*, 1985). Avoid: cold clean CG daylight; dark sepia; lockstep flocks.

实时 3D，像 80 年代宽银幕实景摄影：模型按真实比例、细节到位（如支柱、拉线、铆钉）；地形平滑，不要低多边形碎面。默认光：从镜头看，低斜的太阳在主角身后（逆光），奶油色淡天空，琥珀薄雾，远山分三四层渐淡，赭黄大地上长长的柔影。整体明亮：七成画面在中高调，阴影暖灰不深褐；近白不超过五分之一。胶片曲线、低饱和、细颗粒、轻暗角。上千只实例化的鸟或动物（如粉 #F3B3AE 配深红 #DF3F55），主角经过时一波波错开起飞或散开。招牌镜头：越过移动中主角的肩膀看远景；其次是离地 10–20 米的追拍和一个对着太阳的逆光镜头。对标摄影师 David Watkin（《走出非洲》，1985）。避免：冷而干净的 CG 日光；发暗的棕褐调；整齐划一的鸟群。

Reportage pen-and-wash field sketch. Pen: warm black, fast confident lines ~1/600 of frame width, flicked ends, overshooting corners; quick hatching and zigzags for shadow, on figures and ground. Bold transparent washes with soft wet edges, blooms and uneven pigment (not flat polygons) cover about 70% of the frame, shifted 2–4 px (at 1920×1080) off the line. Colours: olive #70783E, ochre #CEA054, smoke grey #706C70, one hot accent #F0822E for sky and light sources; skin in diluted ochre; sketchbook paper #F2ECDE. Bare paper only in highlights, a thin edge band and brush gaps; light grain. A scrawled pencil note (place, time, weather) in a corner, 1/40 of frame height, in the user's language. Layer for lateral tracks; hard cuts like turning a page. Reference: US Army Vietnam Combat Artists Program (1966–70). Avoid: polished finish; empty page; muddy washes; heavy noise.

现场报道式钢笔淡彩速写。钢笔用暖黑，线宽约画面宽度的 1/600，快而肯定，收笔甩出，转角冲出头；暗部用快速排线和折线，人物和地面都排线。淡彩透明而大胆：边缘湿软、有回流花、深浅不匀（不要硬边多边形），铺满画面约七成，整体错开线稿 2–4px（按 1920×1080）。颜色：橄榄绿 #70783E、土黄 #CEA054、烟灰 #706C70，加一个热烈点缀色 #F0822E 给天空和光源；肤色用淡土黄；暖米色速写本纸 #F2ECDE。只有最亮处、四边窄条和笔刷漏掉处留纸，纸纹很轻。角落用用户的语言潦草写一句铅笔速记（地点、时间、天气），字高约画面 1/40。分层便于横移；换视角硬切，像翻页。对标美国陆军越战战地艺术计划（1966–70）。避免：插画式精修；空着的纸；发脏的淡彩；重噪点。

Chinese gongbi zhongcai (fine-line, heavy-colour court painting) on aged silk. Far to near, each form: flat base, a wash darkening its lower, overlapped edges, an even iron-wire outline (dark brown, ~1/900 frame width), gold and white lifts. Last, a 30% warm ochre glaze over everything, lines still clear. Minerals: cinnabar #C23A22, azurite #2C5A9A, malachite #3A8A6A, gamboge #E8B830, gold #CAA04A, muted by the glaze; ground and sky mid-value warm silk ochre, never near-white, saturated blue or orange; time of day shows only as overall warmth. No cast shadows or glare. Fine-line water ripples. Ruled-line architecture, every tile drawn; crowds all differ; a lone figure works. Faint silk weave (±3%), brown vignette. Symmetrical one-point composition: a large figure before a deep, ordered space. Slow pushes. Reference: Qing court scrolls, e.g. *Kangxi's Southern Inspection Tour*. Avoid: copy-pasted figures; unwashed flat fills; loose ink wash; poster saturation.

绢本工笔重彩（清代宫廷画法）。由远到近画，每个形：平涂底色 → 分染（沿下缘和被遮处加深）→ 均匀铁线描（深褐，线宽约画面 1/900）→ 提金、提白；最后全画面叠三成浓度的暖赭罩染，线仍清楚。矿物色：朱砂 #C23A22、石青 #2C5A9A、石绿 #3A8A6A、藤黄 #E8B830、泥金 #CAA04A，被罩染压稳；地面和天空是中等明度的暖赭绢色，不要近白，不画饱和蓝天和橙色落日，时段变化只靠整体冷暖。不画投影和眩光。水用细线水纹。建筑用界画，瓦片一片片画出；有人群时人人不同，单人也行。绢纹淡（±3%），褐色暗角。一点透视、左右对称，大人物在前，身后深远规整。缓推。对标清代宫廷长卷，如《康熙南巡图》。避免：复制粘贴人物；不分染的平涂；写意水墨；海报式饱和色。

1980s airbrush illustration with a drafting overlay. Every shape: a hard-edged mask filled with a smooth sprayed gradient, 1–2 px overspray rim (at 1920×1080). Bright, high-key: mint #79BDA6 walls or sky, cream, neon pink #F58CB5 and magenta #C9467F accents, black-and-white checker floor or ground; purple and night under 20%; at other times of day keep mint and cream; pink carries any sunset. Figures à la Patrick Nagel (flat pale skin, few crisp lines, dark hair masses, pink and mint rim light), keeping their own age and dress. Metal and glass in Hajime Sorayama chrome: banded sky reflection, hard horizon line, cross-star glints. Overlay: thin cyan callouts #56E6FF, near-white text #D9FBFF (1/40 frame height), dotted leaders, dashed rings, dimension lines; monospace numbers count whatever the story counts, Rain Man style, as each group is circled. Slow push/pull. Avoid: synthwave suns; UI boxes; soft edges.

80 年代喷枪插画，叠一层工程制图标注。每个形是硬边遮罩里喷出的平滑渐变，边缘 1–2px（按 1920×1080）细飞沫。明亮高调：薄荷绿 #79BDA6 的墙或天空、奶油白，霓虹粉 #F58CB5 和品红 #C9467F 点缀，地面铺黑白棋盘格；紫色和夜色不超过两成，其他时段仍是薄荷绿奶油底，晚霞用粉色画。人物学 Patrick Nagel：苍白平整的皮肤、少而利落的线、成块深色头发，粉与薄荷绿轮廓光，但保留本人的年龄衣着。金属玻璃学空山基镀铬：天空色带、硬地平线、十字星光。最上层是细青色标注 #56E6FF、白字 #D9FBFF（字高约画面 1/40）：圆点引线、虚线圈组、尺寸线；像《雨人》的雷蒙，等宽数字数故事里要数的东西，圈一组滚一次。慢推或慢拉。避免：合成波式的条纹太阳；UI 框；发糊的边。

Norman Rockwell-style mid-century magazine-cover oil illustration. Near-realistic figures: head about 1/7 of body height, faces and hands modelled from 3–4 value planes, not outlines; readable expressions. Smooth modelling; faint strokes about 1/150 of frame width, following form, each within ±5% of the colour beneath. Default light: warm afternoon sun from the upper left, clear cast and dappled shadows in cool blue-grey; other light keeps a warm key and cool shadows. Palette: cream sky #E6DCC2, brick red #9A4A38, leaf greens, bottle green #1F3A24, soft skin. Gloss reflects surroundings. Background storytelling: busy bystanders where there are people, telling objects when the hero is alone. Light canvas texture, warm varnish, soft vignette. Camera: deep three-quarter wide, slow push, closer cuts ending on a hand or face. Reference: Rockwell's *Saturday Evening Post* covers (1940s–50s). Avoid: cartoon faces; texture filters; flat digital shading; empty backgrounds.

洛克威尔式 50 年代美国杂志封面油画。人物接近写实：头约占身高 1/7，脸和手用三四块明暗面塑出、不靠描线，表情读得出。塑形平滑，笔触隐约：宽约画面 1/150，顺形体走，每笔与底色只差±5%。默认光：左上方暖色午后阳光，地上有清楚的投影和树影，阴影冷蓝灰；别的光也保持暖主光冷阴影。中等饱和：奶油天空 #E6DCC2、砖红 #9A4A38、叶绿、瓶绿 #1F3A24、柔和肤色。光面映出环境。背景有小故事：有人处路人各忙各的，主角独处就靠物件。轻画布纹、暖光油、柔和暗角。镜头：有纵深的四分之三全景缓推，越切越近，落在手或脸上。对标洛克威尔 1940–50 年代《星期六晚邮报》封面。避免：卡通脸；重纹理滤镜；无笔触的数码平涂；空背景。

A 19th-century field journal come to life: full-colour watercolour over visible pencil. Pencil under-drawing #3A363A, pressure-varied and broken, lightly hatched in shadow, readable through the washes. Brushed washes with soft wet edges, blooms, pooled rims and granulation (not flat polygons) cover about 80% of the frame in rich warm colour. Default magic hour: dusty-rose sky #C88F76 turning lavender above, streaky rose clouds, low sun, ochre-gold land #DEBE87, violet distance, long shadows, opaque pale-gold lifts on sun-facing edges. Yellowed rag paper #F0E4C8, faint stains and foxing, showing through. Iron-gall ink #34221C for small labels and arrows. Signature move, once at the opening (about 2 s): bare pencil, then colour arrives wash by wash, far to near, during a push-in; after that, full colour. References: Bodmer and Catlin field sketches. Avoid: grey, muddy or pale washes; uniform digital outlines; later pencil-only frames.

一本活过来的 19 世纪野外日记：看得见铅笔线的满幅透明水彩。铅笔底稿 #3A363A 有轻重和断笔，暗部轻排线，透过颜色仍读得出。水彩边缘湿软，有回流花、积色深边和颗粒（不要平涂多边形），铺满约八成画面，浓郁偏暖。默认魔幻时刻：灰玫瑰色天空 #C88F76 往上转淡紫，玫瑰色条云，低太阳，赭金大地 #DEBE87，远处紫，长投影；朝太阳的边缘点几笔不透明浅金。泛黄布浆纸 #F0E4C8，淡水渍霉斑，纸色透出来。铁胆墨水 #34221C 写小字草书标注和箭头。招牌动作只在开头约两秒：先只有铅笔，镜头推进时颜色从远到近一块块铺上；之后每帧满彩。对标 Karl Bodmer、George Catlin 的野外速写。避免：灰脏或发白的淡彩；均匀数码描边；开头后仍只有铅笔。

A hand-coloured natural-history copperplate. Every object in engraved warm black-brown line: dense parallel and cross-hatching (spacing about 1/400 of frame width, thicker in darks), stipple for soft tones, hatched shadows beneath; sky bare or sparsely lined. Flat watercolour tints inside the line, medium saturation, clearly coloured: paper #EFE3C4, umber #5A3A22, rust #B4431E, yellow #E6AD24, grey-violet #7D6F8E. Plate: the subject as Fig. 1 in the centre, about 60% of plate height, 3–6 numbered part or object figures around it, each about 1/5 high; spaced small-caps title, numbered legend, bevelled plate mark, light foxing. Even daylight; time of day only shifts the tints' warmth; dark interiors go cold, hard side light. Camera: a still plate where one thing moves (insect, leaf, hand), then a slow push to a key detail. Reference: Moses Harris, *The Aurelian* (1766). Avoid: smooth gradients; garish colour; a tiny vignetted subject.

手工上色的博物学铜版画。所有物体用暖黑褐刻线画：密集平行线和交叉排线（线距约画面宽度 1/400，暗处线更粗），柔和过渡用点刻，物下有排线投影；天空留纸色或只几道稀疏横线。线内平涂水彩，中等饱和、颜色认得出：纸 #EFE3C4、赭褐 #5A3A22、铁锈红 #B4431E、黄 #E6AD24、灰紫 #7D6F8E。图版：主体作图 1 居中，约占版面高六成，四周 3–6 个编号小图（局部或相关物件），各约五分之一高；上方字距拉开的小型大写标题，下方编号图注，压印斜边版框，淡霉斑。默认均匀日光，时段变化只调着色冷暖；暗室内转冷，侧面硬光。镜头：静止图版里只有一样东西在动（虫、叶、手），再匀速慢推到关键细节。对标 Moses Harris《The Aurelian》（1766）。避免：平滑渐变；刺眼的颜色；主体缩成小晕影。

Frederic Remington-style Western oil painting. Primary register, for anything before full dark: sunset, a red-gold sky (orange into deep red) in long horizontal strokes, the sun on the horizon, land and figures dark warm silhouettes, thin warm rim sunward. Second register, only after dark: a blue-green nocturne (sky #17333A, moonlit edges #9CC4BC, warm window light #FFCC6A on dark ground #1E1C16, rain). Broad, readable shapes first, then loaded strokes about 1/80 of frame width wide, 3–6 times as long, soft broken ends, each within ±6% brightness of the colour beneath, following the surface. Light canvas texture. Low horizon, sky 50–60% of the frame, figures small to medium. Camera: one slow push from a silhouetted wide to the figure. References: Remington's late nocturnes; cinematographer Jack N. Green (*Unforgiven*, 1992). Avoid: smooth gradients; hard-edged flat bands; shattered shapes; grey figures in warm scenes; wide pans.

弗雷德里克·雷明顿式西部油画。主调是晚霞，天黑透之前都用：橙到深红的金红天空用长横笔触，太阳压在地平线上，大地和人物是暗暖剪影，向阳一侧一道细暖轮廓光。第二种调子只在天黑透后用：蓝绿夜景（天 #17333A，月光边 #9CC4BC），暖黄窗光 #FFCC6A 铺在深色地面 #1E1C16 上，加雨。先画清楚的大形，再上笔触：每笔宽约画面宽度 1/80、长为宽的三到六倍，颜料饱满、笔端松散；每笔与底色明暗只差±6%，顺着各个面走。画布纹要轻。地平线低，天空占五到六成，人物小到中等。镜头：从剪影大全景慢推到人物。对标雷明顿晚年夜景画、摄影师 Jack N. Green（《不可饶恕》，1992）。避免：平滑渐变；硬边色带；打碎形体的满屏笔触；暖场景人物发灰；大幅横摇。

Black-and-white film look: cold neutral greys, a strong S-curve (blacks near #111, whites near #EEE), highlights haloing in haze, a soft old lens, silver grain re-rolled every frame (±6%), slight flicker, rare dust, vignette. Everything is grey except the one hero the story centres on, saturated, mainly clothing (e.g. terracotta #D97757); optionally one red story object (#A3241F–#C9463C). Lamps and fires stay grey, unless a flame turning from grey to warm is the story beat. Long-lens compression, soft foreground branches; in a crowd, no two people alike in build, tone or gait. Default: overcast mid-key, shadows open. Signature shot: high long-lens view of many small walking figures, the coloured one among them; without a crowd, the hero tiny in wide grey space. Reference: cinematographer Janusz Kamiński (*Schindler's List*, 1993). Avoid: sepia or blue toning; grain-free greys; more than two coloured things.

黑白电影质感：冷中性灰，强 S 曲线（黑接近 #111，白接近 #EEE），高光在雾里泛光晕，略软的老镜头，逐帧变化的银盐颗粒（±6%），轻微闪烁，偶有灰尘，暗角。全画面是灰的，只有故事围绕的那个主角是饱和色，以衣服为主（如陶土橙 #D97757）；可再有一个红色故事道具（#A3241F–#C9463C）。灯和火保持灰色，除非“火苗先灰后转暖”是剧情节点。长焦压缩空间，前景虚焦树枝；有人群时，体型、衣色和步态人人不同。默认阴天中间调，暗部不死黑。招牌镜头：长焦俯看许多走动的小人，带色的那个在其中；没有人群就让主角很小地落在大片灰里。对标摄影师 Janusz Kamiński（《辛德勒的名单》，1993）。避免：棕褐或偏蓝调色；无颗粒的干净灰；超过两样有颜色的东西。

A real pop-up book filmed on a desk. Every element: a flat die-cut card on parallel folds before a 90° backdrop page, printed with transparent watercolour and grainy coloured-pencil hatching; cut edges show a white core and grey board. Default light: bright window daylight from the upper left, soft shadows between layers. Print colours (sky blue, warm sand, greens) and room light stay daylight whatever the story's time of day; that time appears only in the print (e.g. a low sun, a night sky). Walnut desk #6B3E1E; the room a warm blur. Physical depth of field, focus on the hero's layer. Signature shot: a high three-quarter view of the whole spread. One continuous move: dive into a page, pull back, turn the page instead of cutting, push into the next spread. References: Robert Sabuda, Matthew Reinhart. Avoid: solid-looking cards; dark moody rooms; cartoon faces.

一本放在书桌上实拍的立体书。每个元素是平的模切卡片，靠平行折立在打开成 90° 的背景页前，印着透明水彩和带纸纹的彩铅排线，切口露出白纸芯和灰纸板边。默认光：左上方窗户进来的明亮日光，层间柔和投影。卡面（天蓝、暖沙、绿）和房间都保持日光，故事在任何时段都一样；时段只画在印刷画面里（如低太阳、夜空）。胡桃木书桌 #6B3E1E，后面的房间虚成暖色柔光。物理景深，焦点在主角那层。招牌镜头：高机位四分之三角度看整个跨页。一个连续镜头：钻进一页、拉远到整本书、翻页代替剪辑、再推进下一跨页。对标 Robert Sabuda、Matthew Reinhart 的立体书。避免：像实心模型的卡片；昏暗压抑的房间；卡通脸。

An illuminated manuscript page (cropped, or an open spread) filling the frame. Vellum #ECDCB4, brown ink outlines #2A1A10, lapis #27469A, vermilion #C43A20, burnished gold leaf on raised gesso, with punched dot rosettes; a slow candle glint sweeps the gold only. Miniature backgrounds are mostly gold (night: lapis with gold stars); gold fills at least a tenth of the frame. Gothic figures in flat colour and ink outline. Celtic interlace, ivy borders, marginal grotesques; the story's text (Latin or the user's language) in broad-nib textura, red-and-blue line fillers, one large gilded initial. Layout: the miniature a window about half the page beside the text column, layered for parallax on pushes; figures may break out. Warm candle from upper left, brown vignette, pigment grain. References: Book of Kells, Morgan Bible, Luttrell Psalter. Avoid: flat yellow for gold; modern typefaces; glints on faces.

一页泥金装饰手抄本，取局部或双页填满画面。羊皮纸 #ECDCB4、褐色墨线 #2A1A10、青金石蓝 #27469A、朱红 #C43A20，加抛光金箔：石膏底隆起，有打孔小圆点花，一道烛光高光只在金上慢慢扫过。细密画背景多为金箔（夜景用青金石底加金星），金至少占画面一成。哥特式人物平涂加墨线。凯尔特编结纹、常春藤边框、页边怪诞小兽；正文写故事（拉丁文或用户的语言），宽头笔哥特体，红蓝行尾线，一个大金首字母。版式：细密画如一扇窗，约占半页，旁为文字栏；窗后分层，推进出视差；人物可破框。左上暖烛光，褐色暗角，淡颜料颗粒。对标《凯尔经》、摩根圣经、勒特雷尔诗篇。避免：平涂黄色代替金箔；现代字体；人脸上的高光。

A traveller's scrapbook, crowded edge to edge with 6–10 overlapping items, some running off frame: a taped watercolour (the main image, about 40% of frame), a hand-drawn map, a sepia photo, printed pages, handwritten notes, a pressed flower; each softly shadowed, with yellowed tape. The watercolour: wet-in-wet washes, warm ochre lights, hard-edged violet-rose shadows, pen contours, pooled edges, clear value contrast. Palette: amber paper #E8D6B0, sepia #6B4A2E, ochre #D08A3C, rose-violet #9C6A86, ink #2A1E16. Inside the painting: one warm source (torch, lamp) pooling in a dark foreground, bright sky beyond. Light amber grade on the page only, never muddying the painting; vignette about 20%, faint grain. Signature move: push into the painting until the page edges slide out. Reference: cinematographer John Seale (*The English Patient*, 1996). Avoid: smooth gradients; sparse tidy layouts; panning while a page frames the painting.

旅人的剪贴本铺满画面，从边到边挤满 6–10 样互相压叠的东西，有的伸出画框：胶带贴的水彩画（主画面，约占四成）、手绘地图、深褐老照片、印刷页、手写便条、压花；每样带柔影和泛黄胶带。水彩画：湿中湿铺色，受光面暖赭，暗面是硬边紫玫瑰色，钢笔勾轮廓，积色边，明暗对比清楚。配色：琥珀纸 #E8D6B0、深褐 #6B4A2E、赭 #D08A3C、紫玫瑰 #9C6A86、墨 #2A1E16。画里：暗前景里一个暖光源（火把、灯）投下光池，外面是明亮的天。琥珀调色只轻压书页，画里保持干净不发脏；暗角约两成，纸纹淡。招牌动作：推进一张画，直到书页边缘从两侧滑出、人已在画里。对标摄影师 John Seale（《英国病人》，1996）。避免：平滑数码渐变；稀疏整齐的版面；书页还框着画时横摇。

A blueprint turning into photoreal-leaning 3D. Opening only (1–2 s, under 15% of the film): white edge lines about 1/800 of frame width on Prussian-blue paper (#12306B to #244D8F), hidden lines dashed, figures and terrain as contours, uneven exposure, folds, lettering. A dolly-zoom stands the elevation up into perspective; colour spreads from the hero along a soft warm edge, ghost lines fading within a second. Then the signature look: golden-hour real 3D, low sun, amber highlights #F2B860, warm shadows #3A2530, sun glitter on water, soft mist, shallow focus, gentle bloom, fine grain; then blue hour and night, warm lights coming on. One unbroken move: push in and stand up (blueprint), then, in equal shares, drift low past the hero, rise and orbit, descend. Reference: cinematographer Russell Carpenter (*Titanic*, 1997). Avoid: lingering on the drawing; hard cuts; flat CG light.

一张工程蓝图变成偏写实的 3D。蓝图只占开头 1–2 秒、不超过全片 15%：普鲁士蓝晒图纸（#12306B 到 #244D8F）上的白色棱线，线宽约画面 1/800，被挡的线画虚线，人物和地形用等高线；曝光不匀，有折痕、手写标注和图签。滑动变焦让立面图立成透视，再从主角往外显出全彩，显影边是带暖光的软边，幽灵线一秒内淡掉。之后是风格主体：黄金时刻的真实 3D，低太阳，暖琥珀高光 #F2B860，深暖阴影 #3A2530，水面阳光碎金，薄雾，浅景深，轻泛光，细颗粒；再到蓝调时刻和夜晚，暖灯亮起。一个不间断运镜：推近、立起在蓝图段，之后低掠主角、升起环绕、下降平分余下时间。对标摄影师 Russell Carpenter（《泰坦尼克号》，1997）。避免：在图上停太久；硬切；平而干净的 CG 光。

Elizabethan portrait miniature in Nicholas Hilliard's manner: opaque watercolour laid flat on warm vellum, very fine hatching in shadows (lines about 1/1000 of frame width), lead-white dots on lit edges, red-brown outlines. Palette: ultramarine ground #203E92, shell gold #D6B05C (granular flecks, a few burnished highlights), carmine #A8202C, lead white #F6F2E8, verdigris #346C40. Signature shot: the picture inside a gold-rimmed oval locket lying on rust-red damask; a flowering white eglantine briar fills the oval behind and around the subject; a short motto in gold Roman capitals arcs along the top. The oval's ground stays ultramarine; landscape and sky go in as flat colour bands. Wide scenes may leave the locket, same method, true perspective. Slow push, slight tilt; only flowers, cloth and gestures move. Reference: Hilliard, *Young Man Among Roses* (c. 1587). Avoid: airbrush gradients; thick oil strokes; flat yellow gold.

伊丽莎白时代宫廷细密画，学尼古拉斯·希利亚德：暖色羊皮纸上平涂不透明水彩，暗面极细排线（线宽约画面宽度的 1/1000），受光边点铅白，红褐轮廓线。配色：群青底 #203E92、贝壳金 #D6B05C（细颗粒金点加几处抛光高光）、胭脂红 #A8202C、铅白 #F6F2E8、铜绿 #346C40。招牌画面：主体画在金边椭圆挂坠里，挂坠平放在锈红色锦缎上；一丛开满白花的野蔷薇铺满主体身后和四周，上沿一圈金色罗马大写短铭文。椭圆底色始终是群青，风景和天空放进去时画成平涂色带。大场景可离开挂坠，画法不变。镜头慢推、轻微下摇，只有花、布料和手势在动。对标希利亚德《玫瑰丛中的青年》（约 1587）。避免：喷枪渐变；厚油画笔触；平黄色的金。

Two registers. Primary, about 70%: a clean, saturated illustrated frame, dead-on symmetrical, the hero centred before its home or setting; every shape softly modelled in 2–3 tones, dense detail (shrubs, flowers, foliage of many small leaf clusters). Default bright daylight; under other light stay bright (gold at sunset), never dim. Red accents like a door #C3141F, white trim, saturated greens, orange-red autumn trees; warm grade, light vignette and grain. Transition: curled red petals or leaves (about 1/60 of frame width) thicken into a 1-second blizzard across the lens, hiding the cut. Second register, about 30%: the same world as 1990s DV home video: soft, low-res, chroma bleed, macroblocks, interlace, noise, breathing exposure, greenish shadows, REC/battery/date OSD. One register per frame. Slow push-ins. Reference: cinematographer Conrad L. Hall (*American Beauty*, 1999). Avoid: video artefacts in the clean part; real brands' OSD; flat vector shapes.

两种画面。主画面约七成：干净饱和的插画，正面对称，主角居中，身后是它的家或场景；形状有两三层柔和明暗，细节密（灌木、花丛、由许多小叶簇堆成的树冠）。默认明亮日光；其他光线下也要亮（日落偏金），不发暗。红门 #C3141F 一类红色点缀，白线脚，饱和的绿，橙红秋树；暖调、轻暗角、细颗粒。过渡：卷曲的红花瓣或落叶（约画宽 1/60）越积越密，一秒风暴扫过镜头藏住剪切。副画面约三成：同一世界的 90 年代 DV 家庭录像，发软、低清、色彩渗边、马赛克块、隔行线、噪点、曝光一呼一吸、暗部偏绿，屏显 REC、电量、日期。每帧只用一种。镜头缓推。对标摄影师 Conrad L. Hall（《美国丽人》，1999）。避免：干净画面带录像瑕疵；真实品牌屏显；扁平矢量形。

Roman floor mosaic: over a flat underdrawing lay square tesserae about 1/150 of frame width: two to three courses follow each outline (opus vermiculatum), flat areas in straight rows, figures outlined with one course of dark stones. Muted, warm stone and glass: burnt gold #E2B24C, umber #5B4332, terracotta #8E3C2B, warm marble #E9DDC4, with imperial-purple glass for one accent only; sky and water in pale grey-blue and cream stone, never saturated bands. Tesserae slightly irregular, lit from the upper left, shadowing into dark 1–2 px grout; gold-leaf glass glints slowly on light sources. Frontal, slightly stiff Pompeian figures before a faded field of fine stones. Short pushes and pulls; motion from details (a gesture, a crowd, plants, a light shaft). References: *Alexander Mosaic*, Zliten mosaic. Avoid: a neat grid that reads as pixel art; oversized tiles; smooth gradients; bright grout.

罗马地面马赛克。先画平涂底稿，再铺小方石子，每粒约画面宽度的 1/150：轮廓边的石子顺着边排两三圈（opus vermiculatum），其余一行行横排；人物外面包一圈深色石子轮廓。颜色只用天然石头和玻璃，沉稳偏暖：焦金 #E2B24C、赭褐 #5B4332、陶红 #8E3C2B、暖大理石 #E9DDC4，帝王紫玻璃只做一处点缀；天空和水用浅灰蓝、奶油色石头，不要饱和的色带。每粒切口略不规则，左上受光，往 1–2px 宽的深色灰缝投小影；金箔玻璃片在光源处慢慢闪。人物正面、略僵，像庞贝马赛克；背景是大片褪色的细碎石子。镜头只短推短拉，动的是细节：手势、人群、草木、光柱。对标《亚历山大马赛克》、Zliten 马赛克。避免：整齐网格变像素画；石子太大；平滑渐变；灰缝太亮。

Handwriting as the image: translucent white wax-marker strokes (about 1/300 of frame width) appear stroke by stroke on a window of square leaded panes: formulas, figures or notes about the subject, in small blocks on a quarter of the glass. Outside, the subject's world, soft-focus, mid-toned and warm (overcast gold, muted green), never brighter than the writing. A warm interior (shelves, green-shaded lamp, amber light) frames the window. At the key moment, chosen symbols brighten and soft gold lines join them into a star or polygon, lights running along. Variant: chalk on green slate with ghost writing. Palette: slate green #2F3E35, chalk white #F1EFE6, lamp amber #E0A050, soft gold #D9B45A. Camera: slow push-ins, each cut closer to the writing. Reference: cinematographer Roger Deakins (*A Beautiful Mind*, 2001). Avoid: HUD graphics; typed fonts; writing filling the glass; cold blue outside.

手写就是画面：半透明白色蜡笔 #F1EFE6（笔画宽约画宽 1/300）在方格铅条窗玻璃上一笔笔写出来，写的是与题材有关的公式、数字或笔记，几小块字只占玻璃约四分之一。窗外是题材的世界，柔焦虚化，中间调、暖中性（阴天里的秋黄和柔和的绿），亮度不能超过字迹。暖色室内框住窗子：书架、绿罩台灯、琥珀灯光。关键时刻，选中的符号变亮，柔和的金线在它们之间连成星形或多边形，小光点沿线走。变体：深绿石板粉笔，带残影。配色：石板绿 #2F3E35、粉笔白 #F1EFE6、灯光琥珀 #E0A050、柔金 #D9B45A。镜头缓推，每次切换都离字更近。对标摄影师 Roger Deakins（《美丽心灵》，2001）。避免：HUD 或科幻界面；打字字体；字铺满玻璃；冷蓝色的窗外。

Bob Fosse-style Broadway stage number. Black stage, but about 40% of the frame glows signal red #D0202A: a row of dark barred cells, each backlit red through haze, bright at centre, falling off to black, plus red curtains; hard-edged spots. Dancers are full-bodied black silhouettes with costume shapes and a 2–3 px red rim. One big neon shape (letter or pictogram) in orange-red #FF5A3C, white-hot core, slight flicker, set against black so it reads; glossy black floor reflects it; marquee bulbs #FFD9A0 at the stage edge. The hero, in a warm-white follow spot #FFF1D6, is the only lit figure in its own colours. Accents: sequins, white gloves. Moves on the jazz beat; cells snap on one by one. Push in to end in the follow spot. Reference: Rob Marshall, *Chicago* (2002). Avoid: flat even fills; extra colours; rimless silhouettes.

鲍勃·福斯式百老汇歌舞舞台。黑底，但约四成画面发信号红 #D0202A：一排带栏杆的暗色格间，每格在烟雾里从背后打红光，中心最亮、向四周暗到黑，再加红幕；硬边聚光穿过烟雾。舞者是实心黑剪影，身形饱满、有服装轮廓，外面一圈 2–3px 红色边光。一个大霓虹字形（字母或图形），橙红 #FF5A3C，白热芯、微闪，要放在黑底上才读得出；黑色亮漆地板倒映它；台边一排跑马灯泡 #FFD9A0。主角站在暖白追光 #FFF1D6 里，是唯一被照亮、保留自身颜色的人。点缀：亮片、白手套。动作踩爵士拍子；灯格一间间啪地亮。镜头推进，收在追光里。对标 Rob Marshall《芝加哥》（2002）。避免：平涂匀光；多余颜色；剪影没有边光。

Fantasy concept-art watercolour and pencil on warm paper. Transparent washes, granulated (pigment speckle, ±6% brightness), a few blooms, darker pooled edges; every contour and ridge carries a dark-brown pencil line (about 1/800 of frame width), short hatching on shadow sides. Aerial perspective: 3–5 receding planes, each paler and cooler. Light is the subject: one strong source per scene (sun, fire, lamp, molten glow) burning through haze, its ember glow on about a quarter of the frame, about half the frame in deep umber and violet shadow. Palette: parchment #E9DCC0, deep umber #3A2418, ember orange #E07A2E, hot red #B23A1E only at the light's core, lavender #B8A8C8 for distance. Journeys may cut to a Tolkien-style map, never the main look. Camera: long lateral pans, slow push-ins to the hero. References: Alan Lee, John Howe. Avoid: smooth digital gradients; vector shapes; pale frames.

奇幻概念设计式的水彩加铅笔，暖色纸。透明水彩要看得出颗粒（细碎颜料斑点，亮度起伏 ±6%），几朵回流花，水迹边缘积色更深；每条轮廓和山脊都有一道深褐铅笔线（约画面宽度的 1/800），暗面短排线。空气透视要强：3–5 层后退，越远越淡越冷。光就是主题：每场一个强光源（低太阳、火、灯、熔岩般的光）穿透雾气，余烬色光晕约占画面四分之一，约一半画面压在深褐和紫色暗部里。配色：羊皮纸 #E9DCC0、深褐 #3A2418、余烬橙 #E07A2E、炽红 #B23A1E 只用在光源核心、远景淡紫 #B8A8C8。旅程题材可插一段托尔金式地图，但不当主画面。镜头：长横摇扫过大地，缓推到主角。对标 Alan Lee、John Howe。避免：平滑的数码渐变；平涂矢量形；发白发灰的画面。

An original 16-bit arcade fighting game. Draw at 320×180 and nearest-neighbour upscale by a whole number (×6 for 1080p); CRT scanlines (alternate lines ~15% darker). A side-on arena from the subject's world, flattened into stage and backdrop (e.g. a ring with a dark purple crowd band #1D1435). UI in a self-drawn 5×7 pixel font: two health bars (yellow #F5C53A, red damage trail), timer, banner, ROUND 1 / FIGHT!, combo counter. Chunky sprites about 50 px tall, 1-px highlights, dark outlines, ~32 colours per frame. The story becomes a contest between the hero and a rival (if none exists, personify an obstacle: a storm, a deadline). Hits spark, freeze 3–4 frames and flash white; the loser is knocked back, then K.O. and WINNER. Fixed side-on camera, no cuts. Reference: early-1990s arcade fighters. Avoid: real games' characters or logos; anti-aliased pixels.

原创的 16-bit 街机格斗游戏。画在 320×180 上，用最近邻放大到输出尺寸的整数倍（1080p 用 6 倍），加轻微 CRT 扫描线（隔行压暗约 15%）。横版场地取自题材：把题材的地点压成平的台面加一层背景（比如拳台配深紫观众带 #1D1435）。界面用自绘 5×7 点阵字：两条血条（黄色 #F5C53A，掉血时拖一段红色）、计时、横幅、ROUND 1 / FIGHT!、连击数。角色是方块胖像素，高约 50 像素，一像素高光加深色边，全画面约 32 色。故事改写成主角和一个对手的较量；题材里没有敌人，就把它世界里的阻碍拟人化当对手（风暴、截止期限）。打中有火花、停顿 3–4 帧、白闪，输家被打飞，然后 K.O. 和 WINNER。固定横版视角，不剪。对标 90 年代初街机格斗游戏。避免：照搬真实游戏的角色或 logo；像素抗锯齿。

Long-exposure night street photography. Sodium-vapour orange #F2A24A washes structures, signs and wet ground (about half the frame in warm light), against cyan neon #3FD0D8 and the odd red-blue emergency light; blacks cyan-tinged, never grey. Layered composition: foreground pavement with figures, lit shopfronts and signs mid-frame, roads or bridges crossing the upper third (away from cities, a lamp-lit road in the subject's own setting). Headlights become thin continuous ribbons (about 1/150 of frame width) along those roads, white #FFF4E0 and red #E0303A, glowing with hot cores. Snow: three layers of short soft streaks, seen only in light cones. Finish: two-level bloom, blue lens streaks, edge bokeh, vignette, moving grain. The hero stands sharp in a lamp cone mid-frame; only traffic streaks. Camera: one continuous tilt, pan and rack focus. Reference: cinematographer J. Michael Muro (*Crash*, 2004). Avoid: evenly lit snow; empty black frames; dotted trails.

长曝光夜景街拍。钠灯暖橙 #F2A24A 铺满建筑、招牌和湿地面（约一半画面在暖光里），对着青色霓虹 #3FD0D8，偶有红蓝警灯；黑色略偏青，不能发灰。构图分层：前景人行道有人，中景亮着的店面招牌，上三分之一横过道路或桥（不在城市就用主体所在地一条有路灯的路）。车灯沿这些路拉成细而连续的光带（约画宽 1/150），白 #FFF4E0 与红 #E0303A，带光晕和发烫的芯。雪分三层，短而柔的拖影，只在光锥里可见。收尾：两级泛光、蓝色横向光条、边缘焦外光斑、暗角、动态颗粒。主角清楚地站在画面中部一盏灯的光锥里，只有车流拖影。镜头：一个连续运镜，俯仰、横摇加转焦。对标摄影师 J. Michael Muro（《撞车》，2004）。避免：雪到处一样亮；大片空黑；光带断成点。

Street stencil graffiti on an old red-brick wall. Each piece is 3–5 stencils sprayed as flat colour, photo-derived in look (smallest cut detail about 1/200 of frame width): hard cut edges, soft overspray where a stencil lifted, spray dots, drips, stencil bridges. Palette: black #151312, mid grey #8C8A85, gold #C99A2E, red #C3261F; brick #7A3224, cream painted patches under the main pieces. Brick relief, mortar and rain streaks show through, so paint sinks into the joints. A busy wall: several pieces side by side, short hand-sprayed slogans about the subject (user's language), old tags, a torn halftone paste-up. Light: soft raking daylight, mild contrast, a faint swaying wire shadow; no heavy vignette. Camera: pieces spray on layer by layer, then close-ups and lateral tracks. Reference: Banksy. Avoid: clean vector edges; paint floating on the brick; too many colours; a dark wall.

老红砖墙上的街头模板涂鸦。每件作品用 3–5 块镂空模板喷成平色块，有照片感（最小镂空约画宽 1/200）：硬切口，模板翘起处有柔喷雾，散落喷点，流挂，以及模板必须留的连接筋。配色：黑 #151312、中灰 #8C8A85、金 #C99A2E、红 #C3261F；红砖 #7A3224，主要作品喷在刷上去的奶油色补丁上。砖面凹凸、灰缝阴影和雨痕透过漆显出来，让漆吃进砖缝。一面墙并排放好几件作品，加关于题材的手喷短标语（用观众的语言）、旧 tag 和一张撕角的半调糊贴海报。光：柔和的白天光斜扫过墙，反差适中，电线影子轻轻晃；不加重暗角。镜头：先让作品一层层喷出来，再切近景、横移。对标班克斯。避免：边缘干净像矢量；漆浮在砖上；颜色太多；墙面昏暗。

Photoreal-leaning 3D landscape at dusk. Sky fills 60% of the frame, dusty ochre #D8A060 at the horizon up to pale cream, thin streaked clouds lit from below. Sun 1–2° above the horizon, still casting shadows; its light burns along the far ridge. Low saturation: hundreds of grey-green scrub clumps receding to the horizon, stones, dry grass, dark warm earth #2A2622 (default arid; elsewhere keep sparse clumped growth). The hero stands backlit in the mid-ground, about a third of frame height, long shadow toward the lens. Expose for the sky: the sun may clip, its glow within a tenth of the frame. Grade: neutral tone mapping, warm highlights, fine grain, vignette. Signature shot: locked, low, wide (~35 mm). Reference: cinematographer Roger Deakins (*No Country for Old Men*, 2007). Avoid: saturated orange sunsets; blown-out glare; bare ground; busy camera moves.

偏写实的 3D 黄昏旷野（three.js）。天空很大，约占画面六成，地平线处尘土赭色 #D8A060，往上渐到淡奶油色，几缕细长云被下方照亮。太阳高出地平线 1–2°，仍能投影，光沿远处坡脊烧成一线亮边。低饱和：成百丛灰绿小灌木退向地平线，碎石和干草散在暗暖色泥土 #2A2622 上（默认干旱荒地，换别的地貌也保留稀疏成丛的植被）。主角逆光站在中景，约占画面高度三分之一，长影子朝镜头拉来。按天空曝光：太阳可以过曝，光晕不超过画面十分之一。调色：中性色调映射、暖高光、细颗粒、暗角。招牌镜头：基本固定，低机位广角（约 35mm）。对标摄影师 Roger Deakins（《老无所依》，2007）。避免：饱和的橙色晚霞；大片发白眩光；光秃的地面；忙乱的运镜。

Two registers. Primary, about 70%: a glossy illustrated quiz-show studio, bright and full, seen three-quarter from slightly above: a glass stage lit from below with concentric blue rings, a packed audience behind, moving-head beams cutting blue-violet #5A3FD0 through haze, a big screen of elongated-hexagon answers, one locked in amber #F0A020; bloom and horizontal flares; as tension rises the edges dim to about half, never black. Characters rounded, softly shaded. Second register, about 30%, as full-frame hard cuts: golden-hour views of the subject's home ground, saturated orange and teal, busy (e.g. tin roofs, washing lines, crowds). Accents: magenta #E2206B, teal #0F7C7A, tangerine #F06A14. Camera: push in on screen and hot seat as beams close on one person; elsewhere slow pans. Reference: cinematographer Anthony Dod Mantle (*Slumdog Millionaire*, 2008). Avoid: real show logos; a mostly black studio; even lighting; grey, empty places.

两种画面。主画面约占七成：光鲜的插画式答题演播室，明亮饱满，略俯的四分之三视角：底光玻璃圆台和一圈圈蓝光环，背后坐满观众，摇头灯在烟雾里打出蓝紫光束 #5A3FD0，大屏上长六角形答案框，一个锁成琥珀色 #F0A020；加泛光和横向光斑；越紧张四周越暗，最多暗到一半，不全黑。人物圆润干净，柔和明暗。第二种画面约占三成，整屏硬切：主题所在地方的黄金时刻景象，饱和橙青，密而热闹（比如铁皮屋顶、晾衣绳、人群）。点缀：洋红 #E2206B、青 #0F7C7A、橘黄 #F06A14。镜头推向大屏和座位，光束收到一人身上；其余慢摇。对标摄影师 Anthony Dod Mantle（《贫民窟的百万富翁》，2008）。避免：真实节目 logo；大片漆黑的演播室；平均打光；灰暗空荡的场景。

Military technical-manual illustration. Warm off-white paper #EFEADB with a faint engineering grid, uniform black ink #1B1A16 (outlines ~1/700 of frame width, hatching thinner), shading only by hatching, ground by stippling, flat tints of olive #6C6D42 and sand #D9C79C on 20–30% of the drawing; lights as ray lines, not glows. Main figure: a one-point-perspective view of the subject's setting filling most of the page; around it exploded views of the subject's key object along a dash-dot axis, circled numbers on leader lines, a parts table, WARNING and CAUTION boxes, typewriter labels (user's language) and FIG numbers, a black chapter card. Animate on twos: parts slide apart, a tool works, a figure walks. Camera: whole page, then cuts to enlarged insets. References: US Army technical manuals; Kathryn Bigelow, *The Hurt Locker* (2008). Avoid: gradient shading; too much colour; decorative fonts; sparse pages.

军用技术手册插图。暖米白纸 #EFEADB 上一层很淡的工程网格，统一黑墨 #1B1A16（轮廓线宽约画面宽度的 1/700，排线更细），明暗只靠排线，地面用点刻，只在两三成的画面上平涂橄榄绿 #6C6D42 和沙色 #D9C79C；灯光画成放射线，不画光晕。主图：题材场景的一点透视画面，占页面大半，里面有人物和器物；四周是题材关键器物沿点划线轴展开的爆炸图、引线上的带圈数字、零件表、WARNING 和 CAUTION 框、打字机字体的标注（用观众的语言）和 FIG 编号，一块黑底章节卡。动画一拍二：零件滑开、工具动作、人物走路。镜头先看整页，再切到放大插图式的细节。对标美军技术手册，Kathryn Bigelow《拆弹部队》（2008）。避免：渐变明暗；颜色太多；花哨字体；空荡的页面。

Painterly interiors where the wall carries the image (outdoor subjects move into a related room with a window). Primary: a diamond-tufted padded wall in gold #C9A050 over deep brown #3A2610, brass button highlights, a warm glow behind the sound source (e.g. a hanging microphone). Secondary, for quiet scenes: a cool grey-green wall worn through to blue, pink, ochre and plaster, with damp lines and fine cracks; patches irregular, under a third of the wall. Clean-edged shapes under a subtle brush texture (strokes ~1/120 of frame width, ±5% brightness); faces, small objects crisp. Sound: 4–8 thin gold oscilloscope lines crossing the wall, spiky, later smooth. Figures in a corner, lots of wall. Camera: slow push-ins, one close-up of the source. References: cinematographer Danny Cohen, designer Eve Stewart (*The King's Speech*, 2010). Avoid: centred symmetry; coarse dabbed strokes; map-like peel; neon-bright waves.

墙面就是画面的油画质感室内（户外题材搬进相关的有窗屋子）。主调：菱形钉扣软包墙，金 #C9A050 压在深褐 #3A2610 上，扣子带黄铜高光，声源（比如吊着的话筒）后面一团暖金光。副调用于安静的场景：冷灰绿墙面，局部磨穿露出蓝、粉、赭和灰泥，有潮线和细裂纹；剥落块不规则，最多占墙面三分之一。形状边缘干净，只罩一层淡淡的笔触纹理（笔触约画宽 1/120，亮度起伏 ±5%）；脸和小物件画清楚。声音画成 4–8 条细金色示波线，扩过墙面，先带尖刺，后来平滑。人物偏到角落，留大片墙。镜头慢推，插一个声源特写。对标摄影师 Danny Cohen、美术指导 Eve Stewart（《国王的演讲》，2010）。避免：居中对称；粗糙点戳笔触；地图般的剥落；霓虹般亮的声波。

A modern homage to late-1920s silent film in black and white. Clean tones: glowing highlights, soft mid-greys, deep blacks; a gentle S-curve, grey halation around lights, slight flicker (±3%), fine grain, rare dust, a 1.33 pillarbox inside 16:9. Intertitles on black with an Art Deco border and spaced capitals, in the user's language. Settings: the subject's world staged as grand, ordered interiors or stage sets (e.g. a wrought-iron staircase, a gilt proscenium, a crowd in backlit silhouette); figures in elegant profile. The one hero subject the story centres on is the only coloured thing, wholly in tones of terracotta #D97757; lamps and fire stay grey. Camera: smooth push-ins and pull-backs, title cards flashed in, cuts landing on gestures (a bow, a wave). Reference: cinematographer Guillaume Schiffman (*The Artist*, 2011). Avoid: heavy scratches; sepia tint; colour bleeding into the greys.

致敬 20 年代末默片的现代黑白片。影调干净：发光的高光、柔和的中灰、深黑；温和的 S 曲线，灯周围有灰色光晕，轻微闪烁（±3%），细颗粒，偶有灰尘，16:9 里加 1.33 的左右黑边。字幕卡是黑底、装饰艺术风边框、字距拉开的大字，用观众的语言。场景：把题材的世界布置成宏大规整的室内或舞台布景（比如带铁艺栏杆的楼梯、金色台口、逆光剪影的人群），人物多取优雅侧面。故事围绕的那个主角是画面里唯一有颜色的东西，整个都用陶土橙 #D97757 的深浅来画；灯和火都保持灰色。镜头：平滑的推拉，字幕卡闪入，剪辑落在动作上（鞠躬、挥手）。对标摄影师 Guillaume Schiffman（《艺术家》，2011）。避免：重划痕；棕褐色调；颜色渗到灰色里。

1970s Jack Kirby comic page. Heavy tapered brush contours, feathered spot blacks, exaggerated perspective, Kirby Krackle energy bubbles, block sound effects, hand-lettered balloons and yellow captions. CMYK flats printed as 45° Ben-Day dots: cyan #1696CD, magenta #DE2C70, yellow #FFD616, black #1C161A on aged newsprint #EEE2C2, colour plates 1 px off register. Paper grain, browned edges, a gutter fold shadow, warm lamp falloff. Lay the story out in panels and move between them: push into the splash, pan along a strip. Dots stay round and grow into pop-art dots on push-ins. Avoid: smooth digital gradients, clean white paper, stiff tube-like machines.

70 年代杰克·柯比漫画页。粗细变化的毛笔墨线，大块涂黑，透视夸张，黑色柯比能量泡，方块拟声字，手写对白框。CMYK 平涂用 45° 网点印出：青 #1696CD、品红 #DE2C70、黄 #FFD616、黑 #1C161A，泛黄新闻纸 #EEE2C2，色版错位 1 像素，纸有纤维和中缝阴影。分格叙事，镜头在格间推进、横移，推近时网点放大成波普圆点。避免：顺滑数码渐变、雪白的纸、僵硬的管状机械。

A cased 1850s daguerreotype, developing. Signature shot: the silver plate fills about 85% of the frame width inside a beaded brass mat #8a6a2c with a rounded-rectangle opening; velvet and leather only at the edges. Greyscale silver, near-black #1c1a18 to pale #ecebe6; a thin blue-violet to amber tarnish halo round the opening. Light swirls, hairline scratches, specks (±4% brightness). Soft window light from upper left; the subject poses still before a plain backdrop (an outdoor place is painted on it). One shot: the camera pushes from the open case to this framing in ~1 s, then holds; the image develops from blank mirror-grey, shadows first, a front sweeping left to right, done by ~3 s. Only the story's one hero is hand-tinted: a translucent flat wash (e.g. #D97757), shading showing through; lamps stay grey. Avoid: sepia, a small plate, fast cuts.

1850 年代盒装银版照片在显影。招牌镜头：银版宽度占画面约 85%，外圈是带珠串的黄铜衬框 #8a6a2c、圆角矩形开口，红丝绒和皮盒只露在边上。银版是灰阶银色，从近黑 #1c1a18 到浅银 #ecebe6；蓝紫到琥珀的氧化晕只在开口边缘窄窄一圈。抛光旋纹、发丝划痕和斑点都要轻（亮度 ±4%）。左上方柔和窗光，主体静止摆姿，背后素色布景，户外地点画在布景上。一镜到底：前 1 秒左右镜头从打开的盒子推到招牌景别，然后停住；影像从空白的镜面灰开始，暗部先出，显影前沿从左扫到右，约 3 秒显完。只有故事围绕的那个主角手工上色：一层半透明平涂（如 #D97757），透出底下的明暗；灯保持灰色。避免：棕褐色、银版太小、快切。

Real-time 3D, one unbroken handheld long take, after cinematographer Emmanuel Lubezki (*Birdman*, 2014). A narrow, lived-in passage (default a backstage corridor; an outdoor subject gets its nearest interior, e.g. a stairwell): chipped blood-red enamel dado #6e2a22 on the lower third, stained nicotine plaster #cdb98e above, pipes, cable trays, doors, pinned notices. Light only from practicals every 2–3 m: warm caged tungsten bulbs, one cold flickering fluorescent tube, a red exit sign #ff2a1a; the far door glows. Mid-key: plaster light near lamps, never below mid-grey between them; floor visible. Wide lens (18–24 mm), slow sway (±1°), soft ambient occlusion, light bloom, fine grain (±3%). Over 20–40 s, in any order: lead the subject walking backwards, whip aside to a doorway, let it brush past the lens, turn and follow. Avoid: a locked-off camera, blank walls, repeated textures, a crushed dark frame.

实时 3D，仿摄影师埃马努埃尔·卢贝兹基（《鸟人》，2014），一条不断的手持长镜头。主体在窄而旧的通道里（默认后台走廊；户外题材放进最近的室内）：下三分之一是掉漆的血红搪瓷墙裙 #6e2a22，上面是带水渍的烟黄石膏墙 #cdb98e，头顶水管和桥架，墙上有门和告示。光只来自画内灯具，每两三米一盏：铁笼钨丝灯（暖）、一根在闪的日光灯（冷）、一盏红色出口灯 #ff2a1a；远处门外发亮。中等曝光：灯旁墙亮，灯间不低于中灰，地面看得清。广角 18–24 毫米，低频晃动约 ±1°，柔和环境光遮蔽、轻辉光、细颗粒（±3%）。运镜 20–40 秒，次序不限：倒退领路，甩向一侧的门洞，让主体擦过镜头，再转身跟上。避免：锁死机位、空白墙面、重复纹理、压得太黑。

A 2001 newspaper colour halftone on a library microfiche reader. Signature shot: the picture fills the frame, no headline or columns; lines and lettering inside it stay solid. CMYK screens at 15°, 75°, 0°, 45°, dots about 1/250 of frame width, 1 px misregistration. Convert to low-contrast phosphor-green monochrome, dots still clearly visible: film base #1b2320, frame gaps #0c110f, highlights no brighter than #a0dcaf. Only the story's one hero keeps its colour, whole figure (e.g. #D97757), screened and equally low-contrast; every light source turns green. Scan lines every 3 px, a faint scan bar every 4 s, a lamp hot-spot, dust, a hair, a light rounded hood vignette (outer ~5%), a small monospace fiche index. Scene changes slide the fiche sideways past a dark gap (0.5 s); slow push-ins. Avoid: newspaper layout, colour leaking, hard cuts.

2001 年报纸彩色网点，放在图书馆缩微胶片阅读机上看。招牌镜头：图片本身铺满画面，不要报头和文字栏；图里的线条和字（招牌、标签）保持实线。四色网点角度 15°、75°、0°、45°，网点约为画面宽度的 1/250，套色错 1 像素。整体转成低反差荧光绿单色，网点依然清楚可见：片基 #1b2320，帧间隙 #0c110f，高光不亮过 #a0dcaf。只有故事的主角整个人保留原色（如 #D97757），照样带网点，反差一样低；光源一律变绿。每 3 像素一条扫描线，每 4 秒滚过一道淡扫描带，一块柔和灯斑，玻璃上有灰和一根头发，圆角遮光罩只轻压外圈约 5%，一行小等宽胶片编号。换场把胶片横向滑过暗色帧间隙（0.5 秒）；镜头内慢推。避免：报纸版面、颜色外漏、硬切。

Night oil portraiture: smooth volumes repainted in two passes of short, low-contrast (±8% value) form-following strokes: broad (1/60 of frame width) on water, sky and cloth, fine (1/150) on faces, which stay smooth. Palette by role: sky, sea and far land mid blue-violet #32377a, about 60% of the frame; moonlit planes and sand pale lavender-blue; teal #128a91 in water and lit sides; magenta #7a2f86 rim; deepest shadows #07071c. Any skin takes blue top planes and a wet highlight, eyes open and lit. Default night: one key, a full moon with a broken glitter path on water; magenta only as a soft rim from a distant glow; other small light sources stay cyan-white points. Grain ±3%. Signature shot: the figure calm, ~2/3 of frame height. Slow push-ins. Reference: Barry Jenkins, *Moonlight* (2016). Avoid: coarse dabs, small dark statue eyes, a murky frame.

夜色油画肖像。平滑实心体积上，顺着形体用两遍短笔触重画，笔触反差小（明度 ±8%）：海、天、衣服用宽笔，约为画面宽度的 1/60；脸用细笔 1/150，保持平滑。按用途分色：天、海、远处陆地用中等明度的蓝紫 #32377a，约占画面六成；受月光的面和沙地提亮成淡薰衣草蓝；青绿 #128a91 用在水里和受光一侧；轮廓光用品红 #7a2f86；最深暗部 #07071c。任何肤色顶面都受蓝光、带湿亮高光，眼睛睁开有光。默认夜晚，唯一主光是满月，水面铺出碎光；品红只是远处光源的柔和轮廓光；其他小光源只是一小点青白光。颗粒 ±3%。招牌镜头：人物平静，约占画高三分之二。慢推。参照巴里·詹金斯《月光男孩》（2016）。避免：粗块笔触、石膏像小黑眼、发闷的近黑画面。

Real-time 3D, fully under water (land subjects sink into a flooded room or sunken place), in teal: background #041414, hemisphere light #5fb3a6 above and #0c2a24 below; teal fog, reds fading first with distance. A strong source above the surface projects moving caustics: bright cells about 1/20 of frame width on near surfaces, sliding over floor, walls and the subject. Shafts fan down; edges stay dark. Bubbles, motes, the rippled surface from below. Warm gold on 1–3 practicals, at least one large (a lit window or lamp ~1/10 of frame width), plus cyan bioluminescence. Smooth-shaded models, ambient occlusion, shallow focus, modest bloom, grain ±3%. Signature shot: low angle looking up, the subject half the frame height, off-centre beside the light; slow push-ins. Reference: Guillermo del Toro, *The Shape of Water* (2017). Avoid: flat water, caustics as sky stripes, tiny warm accents.

实时 3D，全在水下（陆上题材就沉进淹水的屋子或水下遗迹），泡在青绿里：背景 #041414，半球光上方 #5fb3a6、下方 #0c2a24，青绿雾，红色随距离最先消失。水面上方一个强光源投下流动焦散：近处表面上的亮格子约为画面宽度的 1/20，滑过地面、墙面和主体。光柱向下散开，画面四边保持暗。气泡、微粒、从下仰看的波纹水面。暖金色给一到三处实际灯光，至少一处要大（亮窗或灯，约为画面宽度的 1/10），加青色生物荧光。平滑着色，环境光遮蔽、浅景深、适度辉光、颗粒（±3%）。招牌镜头：低机位仰拍，主体约占画面高度一半，偏在光源一侧；慢推。参照吉尔莫·德尔·托罗《水形物语》（2017）。避免：平板的水、焦散画成天上的条纹、暖色点缀太小。

A 1950s–60s linen postcard, Curt Teich manner. Linen-weave card: ink only on raised threads, a fine crosshatch about 1/300 of frame width, white specks in the hollows. Saturated hand-separated colour, airbrush blends: sky blue #3fa0dc, grass green #4fae57, pink #f08cb0, teal #2fb5b8 for the main object or water, cream card #f6e4b8 for paper and border. The main object large, side-on, about half the card's height. Star glints on shiny surfaces; registration off 1–2 px. Big navy 3D block letters with white outlines across the top third spell the place or title (invent one if needed), a small scene in each letter, a red ribbon banner above. Open on the card on a desk, push in until it fills the frame and comes alive (water, figures move), then track sideways. Avoid: weave-less gradients, greyish colour, photographic perspective.

五六十年代亚麻纹明信片，柯特·泰希出版社那一路。平纹布纹卡纸：油墨只落在凸起的经纬上，形成约为画面宽度 1/300 的细格纹，凹处露白点。手工分色的饱和色，喷枪柔和过渡：天蓝 #3fa0dc、草绿 #4fae57、粉红 #f08cb0，主体物或水面用青绿 #2fb5b8，奶油卡纸 #f6e4b8 作底色和白边。主体物要大，正侧面，约占卡片高度一半。亮面加四角星闪光；套色错位 1–2 像素。藏青立体大字带白描边，横在卡片上三分之一，写地名或片名（没有就按题材编一个），每个字母里嵌一小幅风景，上方配红飘带。开场明信片放在桌上，推进到满屏后画面活过来（水在动、人在走），再侧向横移。避免：没有布纹的渐变、发灰的颜色、照片式透视。