먹이 풀리면

Image 1 is the identity reference of the character Seo Soyoung: her gentle oval face, center-parted long black hair tied in low twin-tails at ear level with large dark glass-sphere hair ties, and dark beaded drop earrings. Image 2 is her full-body hanbok reference: a black layered hanbok with a dark floral pattern, violet inner lining and a grey patterned collar. Keep her recognizable through those features, but do NOT copy the outlined anime rendering, contour lines, pose or framing of either image.

Abstract watercolor wash of a young Korean woman in a black hanbok turning in a slow spin, loose oversized brushstrokes, broad flowing color shapes, minimal detail, soft pigment bleeding, expressive wet-on-wet texture, simplified forms, airy composition, no linework, no outlines, white background.

Series idea: close to her body the hanbok is wet black sumi ink with glimpses of violet lining; as the fabric leaves her body it dissolves into water and the black ink separates into pure pigment, the way ink does on wet paper.

Rendering: real transparent watercolor on cold-press cotton paper, with visible paper grain, blooms, backruns, feathered wet edges, dry-brush streaks and a few fine spatter drops. Her face and hands are the only resolved areas, modelled with soft tonal washes and no drawn contour lines. Everything else stays broad and unfinished: the hanbok is three or four big flat washes of black ink with its pattern barely suggested.

Brushwork: paint with a wide flat wash brush in a few confident single passes. Large strokes with clean wet edges that end in dry-brush tails, like a loaded brush dragged across the sheet. Avoid mottled salt texture, marbling, alcohol-ink veining, round circular blooms and round spatter dots; allow only a few tiny specks. At least half of the sheet is untouched white paper. No text, no signature, no seal, no frame.

Composition: Full shot, low angle. She turns mid-spin on the tips of her toes, seen from the front with her head tilted back (High Tilt, chin up), both eyes gently closed (AU43), mouth fully closed with the faintest private smile, calm rather than cheerful, lips the pale muted natural rose of image 1, no lipstick. One arm rises high with the long sleeve sliding down to the elbow, fingers relaxed; the other arm extends out to the left. Her twin-tails lift outward with the turn. From her waist the skirt opens into one enormous wet-on-wet bloom of crimson and rose that spreads to both sides, its inner folds still black ink and violet near the waist, its far edges breaking into long dry-brush streaks toward the lower right and soft petals of pigment on the left.
Placement across the width of the sheet: her head is at 50%, the raised hand at 58%, the extended hand at 36%, the bloom runs from 8% to 92% and stays pale and transparent at its ends, never touching the left or right edge of the sheet. One pointed foot shows below the bloom. No beaded sash at the waist, only a plain ribbon. The raised hand stays at least 8% below the top edge and the foot at least 7% above the bottom edge.

Color palette "Ruby Cherry": pale wash #F5BBB2, mid wash #E66A73, saturated pigment #B92F51, darkest #672D49, on white paper. Apply the palette to the bleeding wash only; her hair, skin and the hanbok near her waist keep the colors of the references.
Lighting: Backlight behind the bloom, so the center of the skirt glows with bare paper through the pigment.

# 청록
Composition: Full shot, exact 90-degree side profile, eye level. She walks slowly toward the right of the sheet, calm closed-mouth expression (AU0), gaze ahead. Her right hand holds a closed oiled-paper umbrella like a walking staff, its tip planted on the ground ahead of her at an angle; the umbrella is one long straight stroke of pale ochre. A steady wind comes from the right: her long skirt and wide sleeves stream backward to the left and dissolve into one huge wet wash of deep teal and viridian that crosses the left third of the sheet, breaking into torn feathered edges and spatter. A very faint sand-colored wash drifts along the ground far to her right. A thin pool of pigment sits under her feet.
Placement across the width of the sheet: the wash runs from 6% to 40%, her body from 38% to 60%, her head at 52%, the umbrella tip at 72%. The right quarter is nearly empty paper. Her head stays at least 10% below the top edge and her feet at least 8% above the bottom edge.

Color palette "Deep Sea Teal": pale wash #B6D3D0, mid wash #609E9C, saturated pigment #226D73, darkest #123F4B, on white paper. Apply the palette to the bleeding wash only; her hair, skin and the hanbok near her body keep the colors of the references.
Lighting: Ceiling bounce light, high-key and shadowless, as if the white paper itself gives the light.

Important correction for the hanbok: paint the black hanbok as smooth, continuous wet washes with soft gradation from deep black into grey, like one loaded brush laid down in long flowing strokes. No mosaic, no diamond or camouflage pattern, no angular fragments, no chipped or stained-glass texture anywhere in the cloth or in the wash. Do not transfer the patterned texture of the reference images.

# 다색
Composition: Cowboy shot from mid-thigh up, seen in three-quarter view from slightly behind her left shoulder, facing the right of the sheet. Head turned 40 degrees and tilted downward (3/4 Low Tilt), eyelids lowered toward the page, serene closed mouth (AU12 very faint). Both hands hold an open book at chest height, its pages fanning apart in pale ochre strokes; the book and her face are the only resolved shapes. Her sleeve and skirt are enormous overlapping brushstrokes: wet black ink at the shoulder, then vermilion, slate navy and warm ochre bleeding into each other down the body, then pale rose veils trailing toward the lower right. The bottom edge of the figure dissolves into bare paper.
Placement across the width of the sheet: her back begins at 22%, her head is at 42%, the open book at 56%, the last pale veils end at 74%. The right quarter of the sheet is empty paper. Scale: the figure is smaller than a usual portrait. Her head height is about 24% of the sheet height, and the crown of her hair is 11% of the sheet height below the top edge, with bare white paper above it. Do not crop the head.

Color palette "Classic Tricolore": warm ochre #CFC2AC, vermilion red #B4594F pushed to a saturated wet vermilion, slate blue #526A82, deep navy #263A54, on white paper. Apply the palette to the bleeding brushstrokes only; her hair, skin and the hanbok near her shoulder keep the colors of the references.
Lighting: Wall bounce light from the right, soft side gradation on her cheek, no hard shadows.

# 쪽빛
Composition: Long shot, side view, eye level. She rides a horse galloping toward the right of the sheet, leaning slightly forward with one hand on the reins, face in side profile with a steady gaze ahead, lips pressed lightly (AU23+24). The horse's head, mane and lower legs are the darkest, most resolved passages in indigo ink; its chest, belly and hindquarters are left open as pale blue-grey water and bare paper. Behind them, her skirt, the horse's tail and its hind legs merge and dissolve into one long horizontal wash that drifts off to the left. Her twin-tails and the mane fly back together as dry-brush streaks. A few spatter marks fall under the hooves.
Placement across the width of the sheet: this placement matters most. The trailing wash runs from 3% to 28%, the rider's body sits at 40%, her head at 44%, the horse's head at 68%, the leading hoof at 78%, and the right 18% of the sheet is empty paper. Her head stays at least 10% below the top edge, the hooves at least 8% above the bottom edge.

Color palette "Moonlight Navy": pale wash #C9D7E8, mid wash #8199BB, saturated pigment #405D85, darkest #1C2D4A, on white paper. Apply the palette to the horse and the bleeding wash; her hair, skin and the hanbok near her body keep the colors of the references.
Lighting: Ceiling bounce light, high-key and shadowless.

Important correction for the hanbok: paint the black hanbok as smooth, continuous wet washes with soft gradation from deep black into grey, like one loaded brush laid down in long flowing strokes. No mosaic, no diamond or camouflage pattern, no angular fragments, no chipped or stained-glass texture anywhere in the cloth or in the wash. Do not transfer the patterned texture of the reference images.