러시아 아방가르드 포스터 속 서소영

A 9:16 vertical poster that fuses a Russian avant-garde Constructivist graphic composition with a photorealistic fashion editorial photograph.
Background: a flat, hard-edged arrangement of only three to five very large geometric shapes (diagonal bands, wedges, circles, half-discs, concentric rings, radiating rays), so large that the frame edges crop them, leaving broad calm fields of flat colour. No small decorative circles, dots or extra stripes. The shapes are printed in matte poster paint with a faint paper grain, in the spirit of El Lissitzky, Alexander Rodchenko and the Stenberg brothers, but with no lettering, numbers or symbols at all.
Strict four-colour palette shared by the graphics AND the clothing: vermilion red #C24C35, deep teal #22596A, warm cream #E8D2B4, ink black #232221. No other hues anywhere except natural skin and hair.
Model: a young East Asian woman with a softly tousled, airy black bob, wispy loose strands and see-through micro bangs, natural makeup and real skin texture, calm editorial attitude.
Wardrobe: a 1960s mod A-line coat-dress with clean geometric colour blocking and oversized flat round buttons, cut only from the four palette colours, so the clothing reads as one more piece of the graphic composition. Black knee-high socks when the legs are visible.
The figure and the graphics answer each other. Low angle medium long shot from knee height, the frame cut at mid-shin. She leans into a strong diagonal like a dancer, one arm sweeping up and outward with a soft elbow, fingers open and spread and the palm turned outward toward the viewer, the arm exactly parallel to a broad black diagonal band that crosses the frame from lower left to upper right; vermilion and teal wedges fill the remaining areas. A large cream half-disc rises behind her hip and the wide flared hem of her cream coat repeats its curve; three oversized black round buttons down the front repeat the circle motif. She looks up along the band.
Lighting: soft diffused frontal light (01 Front Light softened into a large source), very low contrast, almost no cast shadows, so the photographed figure sits in the same flat plane as the printed shapes. Slightly muted, film-like colour with fine grain. A real fashion photograph of a real person set against crisp printed shapes. No text, no logos, no watermark, no frame.

# 2. 시선 끝에서 빛살이 터진다
Tight close-up from below: her face fills most of the frame width, placed left of centre, the back of her head cropped by the left edge, the frame cut at the upper chest. Her head is tilted back and she looks up toward the upper right. A fan of thin vermilion, black and cream rays radiates from a point just beyond her eyes to the upper right corner, as if her gaze emits them. A large cream circle sits behind her head like a halo against a teal field, with a black wedge at the lower left. She wears a vermilion coat with a rounded collar and large cream round buttons; the collar's curves echo the circle.

# 3. 기울인 고개가 동심원을 따른다
Tight close-up: her face fills most of the frame, slightly right of centre, her hair cropped by the left edge, the frame cut at the shoulders. Her head is tilted to one side and her cheek rests in her palm, and she gazes sideways at the viewer. Concentric rings of black, teal and cream surround her head like a target, and the tilt of her head follows the curvature of the rings. A solid vermilion circle sits just above and beside her head like a sun. A cream collar with one black round button over a teal coat shows at the bottom edge.

# 4. 손바닥이 붉은 면의 경계를 민다
Medium long shot from a slightly low angle, the frame cut at the knees. She steps sideways and stretches one arm to the upper left, palm flat as if pressing against the straight edge of a large vermilion plane at the top of the frame; teal and black rays fan out from that hand across a cream field. Her coat is split diagonally into teal and cream panels whose seam continues the direction of the background rays, with oversized black round buttons along the seam. She glances back over her shoulder.

A 9:16 vertical poster that fuses a Russian avant-garde Constructivist graphic composition with a photorealistic fashion editorial photograph.
Background: a flat, hard-edged arrangement of only three to five very large geometric shapes (diagonal bands, wedges, circles, half-discs, concentric rings, radiating rays), so large that the frame edges crop them, leaving broad calm fields of flat colour. No small decorative circles, dots or extra stripes. The shapes are printed in matte poster paint with a faint paper grain, in the spirit of El Lissitzky, Alexander Rodchenko and the Stenberg brothers, but with no lettering, numbers or symbols at all.
Strict four-colour palette shared by the graphics AND the clothing: vermilion red #C24C35, deep teal #22596A, warm cream #E8D2B4, ink black #232221. No other hues anywhere except natural skin and hair.
Image 1 is the identity reference of the character Seo Soyoung: keep exactly her face, her long black center-parted hair tied at ear level into low twin-tails with large dark glass-bead hair ties, and her dark beaded drop earrings. Do not change her hair length, parting or styling.
Image 2 is her head-angle sheet; use only the head angle of the cell captioned 'High Tilt (Chin Up)' (Row 2, Column 3). Image 3 is her FACS expression sheet; use only the expression of the cell captioned 'AU1+2 Brow Raiser' (Row 2, Column 1): raised brows, wide eyes, lips slightly parted in wonder. Ignore all captions, grid lines and the plain backgrounds of Images 2 and 3.
Wardrobe (replaces the outfit in Image 1): a 1960s mod A-line coat that borrows hanbok structure, a crossed jeogori-style collar edged with a cream dongjeong band and a short ribbon tie, clean geometric colour blocking and oversized flat round buttons, cut only from the four palette colours, so the clothing reads as one more piece of the graphic composition. Black knee-high socks when the legs are visible. Her large dark glass-bead hair ties are read as two more small circles of the composition.
The figure and the graphics answer each other. Tight close-up from below: her face fills most of the frame width, placed left of centre, the back of her head cropped by the left edge, the frame cut at the upper chest. Her head is tilted back and she looks up toward the upper right. A fan of thin vermilion, black and cream rays radiates from a point just beyond her eyes to the upper right corner, as if her gaze emits them. A large cream circle sits behind her head like a halo against a teal field, with a black wedge at the lower left. She wears a vermilion coat with a rounded collar and large cream round buttons; the collar's curves echo the circle.
Lighting: soft diffused frontal light (01 Front Light softened into a large source), very low contrast, almost no cast shadows, so the photographed figure sits in the same flat plane as the printed shapes. Slightly muted, film-like colour with fine grain. A real fashion photograph of a real person set against crisp printed shapes. No text, no logos, no watermark, no frame.
Seo Soyoung adaptation: her head is turned slightly three-quarter, and the dark glass-bead hair tie nearest the halo overlaps the cream circle's edge like a small planet.
Natural fresh skin and light makeup. Photorealistic, same face, hair, hair ties and earrings as Image 1.

# 1. 사선으로 뻗은 몸  (고개 각도 시트 없이 시드와 표정 시트 두 장만 넣었다)
Image 2 is her FACS expression sheet; use only the expression of the cell captioned 'AU0 Neutral' (Row 1, Column 1): a calm, composed neutral face. Ignore all captions, grid lines, the plain background and the head angles of Image 2; the body and head direction come from the text below.
Composition: Low angle medium long shot from knee height, the frame cut at mid-shin. She leans into a strong diagonal like a dancer, one arm sweeping up and outward with a soft elbow, fingers open and spread and the palm turned outward toward the viewer, the arm exactly parallel to a broad black diagonal band that crosses the frame from lower left to upper right; vermilion and teal wedges fill the remaining areas. A large cream half-disc rises behind her hip and the wide flared hem of her cream coat repeats its curve; three oversized black round buttons down the front repeat the circle motif. She looks up along the band.
Seo Soyoung adaptation: her body is seen from the side in three-quarter view, not facing the camera. She leans her whole torso along the black band toward the upper right, back slightly arched, one leg stretched behind her, so her body from back foot to fingertips forms one straight diagonal. Her face is in three-quarter profile turned up toward her raised hand, and both twin-tails swing out in the same diagonal direction as the band.

# 3. 동심원에 기댄 고개
Image 2 is her head-angle sheet; use only the head angle of the cell captioned 'Head Roll (Tilt)' (Row 3, Column 3). Image 3 is her FACS expression sheet; use only the expression of the cell captioned 'AU0 Neutral' (Row 1, Column 1): a languid, unhurried neutral face with a sideways glance. Ignore all captions, grid lines and the plain backgrounds of Images 2 and 3.
Composition: Tight close-up: her face fills most of the frame, slightly right of centre, her hair cropped by the left edge, the frame cut at the shoulders. Her head is tilted to one side and her cheek rests in her palm, and she gazes sideways at the viewer. Concentric rings of black, teal and cream surround her head like a target, and the tilt of her head follows the curvature of the rings. A solid vermilion circle sits just above and beside her head like a sun. A cream collar with one black round button over a teal coat shows at the bottom edge.
Seo Soyoung adaptation: her head is clearly tilted about twenty degrees so the axis of her face follows the curve of the rings, and one twin-tail falls along the inner ring's curve. The vermilion circle sits just beyond her upper hair tie, echoing the round bead.

# 4. 붉은 면을 미는 손  (고개 각도 시트 없이 시드와 표정 시트 두 장만 넣었다)
Image 2 is her FACS expression sheet; use only the expression of the cell captioned 'AU12 Lip Corner Puller' (Row 1, Column 2): a faint closed-mouth smile. Ignore all captions, grid lines, the plain background and the head angles of Image 2; the body and head direction come from the text below.
Composition: Medium long shot from a slightly low angle, the frame cut at the knees. She steps sideways and stretches one arm to the upper left, palm flat as if pressing against the straight edge of a large vermilion plane at the top of the frame; teal and black rays fan out from that hand across a cream field. Her coat is split diagonally into teal and cream panels whose seam continues the direction of the background rays, with oversized black round buttons along the seam. She glances back over her shoulder.
Seo Soyoung adaptation: her body is seen in three-quarter view facing left toward the vermilion plane she presses with her left hand, her right shoulder nearest the camera, her weight leaning into the push. Her head turns back over that right shoulder and she looks off-frame to the right, not at the camera, with a faint smile; her twin-tails fall along the diagonal seam of the coat.