イラスト

FLUX 3 anime prompt

A cel-shaded anime key-visual brief for FLUX 3, with the technique, shading limit and camera height each pinned to a phrase.

公開日 August 21, 2026

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プロンプト全文

¹Anime key visual of a teenage courier in a yellow rain cape steering a cargo bike through a coastal town at first light. ²Cel-shaded illustration with clean ink outlines of varying weight, ³flat colour fills and two levels of shadow only, ⁴hand painted skies with visible brush direction. Wide cinematic framing, ⁵low camera near the front wheel, wet cobblestones throwing long reflections, gulls and telegraph wires cutting the sky, ⁶warm sunrise against cool blue shade. Restrained palette of ochre, slate blue and off-white, subtle chromatic warmth in the highlights, ⁷film-still composition with room on the right for a title. ⁸No 3D render, no photo textures, no lens flare, no text, no watermark, no extra characters.

このプロンプトを使う

プロンプトとアスペクト比を入力済みの状態でジェネレーターを開きます。

プロンプトは英語のまま掲載しています。そのままジェネレーターに貼り付けられますし、書き換えるときも英語のままにしておくことをおすすめします。

プロンプトの構造

以下の語句は、上のプロンプトにそのままの形で現れ、それぞれがひとつの要素を決めています。組み合わせを変え、置き換え、削りながら、自分用の版を作ってください。

01
Anime key visual
Key visual is a specific artefact — the single promotional image for a series — and it carries composition conventions that anime illustration alone does not.
02
Cel-shaded illustration with clean ink outlines of varying weight
The technique, named. Varying line weight is what separates a drawn look from a traced look.
03
flat colour fills and two levels of shadow only
A hard cap on shading complexity. Left unstated, cel shading drifts toward soft airbrushed gradients and loses its character.
04
hand painted skies with visible brush direction
The classic contrast in this style: flat characters against painted backgrounds. Naming both halves is what makes it look like the real thing.
05
low camera near the front wheel
Camera height is a storytelling decision. Low puts the viewer in the street; eye level makes it a snapshot.
06
warm sunrise against cool blue shade
Colour contrast stated as a relationship rather than a list. Relationships survive style changes; lists do not.
07
film-still composition with room on the right for a title
Layout intent again. This is what makes the output usable as artwork rather than merely nice to look at.
08
No 3D render, no photo textures, no lens flare
The three contaminants that most often creep into stylised illustration and break the flat look.

このプロンプトについての質問

How do I stop it drifting toward a 3D look?

Keep phrases 2, 3 and 8 together. The shading cap and the explicit no 3D render are what hold the flat style; dropping either lets soft gradients back in.

Can I describe a specific existing series style?

Describe the technique rather than the title — line weight, shading levels, palette, background treatment. It produces a closer match and avoids leaning on someone else's protected work.

Why 16:9?

Key visuals are made for banners, thumbnails and title cards. The wide frame is also what gives the title space asked for in phrase 7.

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