Profile-Wash Essentials

PROFILE-WASH ESSENTIALS INPUT SUBJECT Transform [PASTE A SUBJECT DESCRIPTION / ATTACH AN IMAGE / USE BOTH]. CONTEXT — OPTIONAL [Describe the feeling, relationship, idea or visual meaning the drawing should communicate. This guides the visual interpretation but must not appear as written text.] CAPTION — OPTIONAL [Enter the exact text that should appear beneath the drawing, or leave empty.] INK COLOUR — CHOOSE EXACTLY ONE 1. Carbon Black 2. Midnight Blue 3. Sepia Brown 4. Burgundy Red 5. Other: [NAME OR DESCRIBE THE COLOUR] MANDATORY INPUT CHECK Before generating the image, verify that exactly one INK COLOUR has been selected. If no colour has been selected, STOP and ask: “Which ink colour should the drawing use?” Present these choices: 1. Carbon Black 2. Midnight Blue 3. Sepia Brown 4. Burgundy Red 5. Other Do not generate the image until the user has chosen. If more than one colour is selected, ask the user to choose exactly one. Do not silently select or infer an ink colour from the reference image. CORE INTENT Act as a fashion-ink draughtsman and visual reduction art director. Reduce the subject to the smallest collection of expressive shapes, ink masses, contours and untouched paper needed to preserve its identity and emotional character. The goal is not to reproduce the photograph. The goal is to discover which visual information is essential. STRICT ONE-PIGMENT RULE The finished drawing must use one physical ink pigment only: the selected INK COLOUR. Every visible mark must belong to the same selected hue family. This rule applies to contours, brush marks, solid masses, diluted washes, splashes, facial details, clothing, objects, shadows, symbols and lettering. Lighter values may be created only by diluting the selected ink so that more white paper shows through. Do not add neutral grey, black, brown, skin tone or any secondary colour unless that is the selected ink colour. The natural white of the paper is the only other visual value. SOURCE COLOUR FIREWALL Colours in the reference image provide information about boundaries and objects only. They must never determine the colour of the finished drawing. A yellow hat, red shirt, blue eye, green decoration, skin tone or multicoloured logo must become: 1. the selected ink colour, 2. a diluted wash of the selected ink, 3. or untouched white paper. No source colour may survive—not even as a small accent, reflection, eye colour, logo, decoration or background fragment. A colourful reference must still produce a completely monochrome image. PHYSICAL MEDIUM Create the appearance of genuine wet ink or fluid gouache applied to a clean, slightly warm white sheet of paper. Use loaded brush strokes, dry-brush breaks, uneven pigment deposits, hard and feathered wash edges, controlled bleeding, small white gaps, occasional restrained ink splashes and visible changes in ink dilution. The marks should feel made by hand in one sitting. Preserve the texture of real paper and liquid pigment without turning the image into a simulated photograph of an art studio. Do not show brushes, palettes, frames, desks, clips or surrounding scenery. ANTI-FILTER RULE The result must not look like the source photograph passed through a watercolour, posterisation or edge-detection filter. Reconstruct the subject as a drawing. Do not preserve photographic micro-detail. Do not render individual pores, every eyelash, every beard hair, lens-like eye reflections, smooth photographic gradients, camera depth of field or continuous realistic skin modelling. If the image would still read as a photograph when converted to greyscale, simplify it further. SUBJECT REDUCTION Preserve only the features that carry recognition, character or meaning. For people, prioritise head and face silhouette, profile or characteristic facial geometry, hair or beard as simplified ink masses, distinctive eyewear, headwear, posture, gesture, relationship between figures and a few essential accessories. For animals, prioritise silhouette, head shape, ears, eyes as economical marks, muzzle, posture and relationship to nearby subjects. For objects or still lifes, prioritise silhouette, relative scale, recognisable geometry, negative space and only the details necessary for identification. Omit incidental clothing patterns, embroidery, labels, screen content, small decorations and surface noise. Do not mechanically reproduce every visible detail. FACES Faces must remain recognisable but unmistakably drawn. Construct each face from sparse contour fragments, selected dark masses and a limited number of diluted washes. Use white paper as part of the face. Eyes should be concise ink decisions, not photorealistic eyes. Hair, beard, glasses, profile and posture should carry more of the likeness than detailed facial shading. Avoid perfectly smooth symmetry. Avoid tracing every facial boundary. Leave some edges unresolved. CONTEXT If CONTEXT is supplied, express its meaning visually through composition, gesture, spacing, cropping or one restrained symbolic element. Do not write the CONTEXT in the image. Do not translate it into a literal caption unless the same words were separately supplied in CAPTION. Do not overcrowd the image with explanatory symbols. Prefer one clear visual idea over several competing metaphors. COMPOSITION Create one coherent, emblem-like drawing. Use a nearly square or slightly tall composition. Crop closely enough for emotional presence while retaining generous white space. The white field is an active part of the composition, not an empty background waiting to be filled. Remove rooms, landscapes, floors, furniture and environmental scenery unless one simplified element is indispensable to the supplied CONTEXT or to recognising the subject. Do not create a conventional painted background. CAPTION If CAPTION contains text, reproduce that exact text once beneath the drawing. Do not correct, rewrite, translate, shorten or embellish it. Render it as loose, confident and slightly uneven hand-lettering made with the same selected ink and the same physical drawing tool. The lettering must feel integrated with the artwork while remaining clearly separated from the subject by comfortable white space. Keep the caption legible. Do not place it across a face or important part of the drawing. If CAPTION is empty, leave the caption area blank. NO ACCIDENTAL TEXT The CAPTION is the only readable text permitted in the finished image. Do not reproduce brand names, logos, labels, clothing text, embroidery, screen text, signs or watermarks from the reference. Treat them as abstract shapes or omit them. Do not invent a title, signature, initials, date, monogram, slogan or additional caption. FRAMING AND OUTPUT Use a nearly square or slightly tall format. Show a straight-on view of the paper. No frame. No mockup. No studio environment. No photographic background. No cinematic lighting. The final image must unmistakably resemble a physical, expressive ink drawing on white paper. MANDATORY FINAL GATES Before producing the final image, inspect every visible element. COLOUR GATE For every mark, ask: “Is this either the selected ink pigment, a dilution of that same pigment, or untouched white paper?” If not, remove or convert it. ABSTRACTION GATE Ask: “Does this look drawn from observation, or does it look like a filtered photograph?” If it looks filtered or photographic, remove detail, break edges, enlarge brush decisions and restore areas of white paper. TEXT GATE Ask: “Is every readable word part of the supplied CAPTION?” If not, remove it. FINAL VISUAL CHECK 1. Exactly one ink pigment is present. 2. No source colours remain. 3. Every lighter tone is visibly a dilution of the same pigment. 4. The white paper functions as part of the drawing. 5. The subject remains recognisable through selected essential features. 6. Facial and surface micro-detail has been aggressively reduced. 7. The image feels physically inked rather than digitally filtered. 8. Incidental source decorations, logos and text have been removed. 9. The supplied CAPTION appears exactly once, or no text appears if CAPTION is empty. 10. No invented lettering, signature or watermark appears. EXCLUDE Multiple ink colours, contrasting colour accents, source-image colours, independent grey or black, realistic skin colour, coloured eyes, coloured clothing, coloured embroidery, coloured reflections, photorealistic rendering, photo-filter aesthetics, smooth digital gradients, airbrushed skin, pore-level detail, literal reproduction of every feature, full interiors, detailed landscapes, comic-book outlining of every edge, printed texture overlays, signatures, initials, monograms, watermarks, invented captions and readable source text.