イラスト
FLUX 3 watercolor prompt
A loose watercolour brief for FLUX 3 built on paper choice, a stroke budget, granulation and the unpainted highlight.
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掲載するのは、ページに載っているプロンプトから実際に生成した画像だけです。この作例をレンダリングして確認するまでは、ブリーフそのものが展示物です。
プロンプト全文
1Loose watercolour illustration of a hillside village in early spring, 2painted on cold-pressed cotton paper with visible tooth. 3Wet-in-wet washes for the sky bleeding into the distant ridge, drier brushwork for the roofs and terraces, 4three or four confident strokes per building and nothing more. 5Granulating pigments settling into the paper texture, one hard edge where the nearest roof meets the light, 6generous unpainted white paper carrying the highlights. Muted palette of raw sienna, indigo and a single warm rose in the blossom. 7Slight cauliflower blooms where washes met, 8a faint pencil underdrawing still visible. 9No ink outlines, no digital brush texture, no text, no watermark, no oversaturation.
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
Loose watercolour illustration
Loose is the load-bearing word. Watercolour alone drifts toward tight botanical rendering, which is a different craft entirely.
- 02
painted on cold-pressed cotton paper with visible tooth
The paper is half the medium. Cold-pressed has texture that catches pigment; hot-pressed would be smooth and change the whole look.
- 03
Wet-in-wet washes for the sky bleeding into the distant ridge
A named technique tied to a named area. Assigning techniques to regions is how you get variety instead of one uniform effect.
- 04
three or four confident strokes per building and nothing more
A hard economy rule. Watercolour dies from overworking, and a stroke budget is the most effective way to prevent it.
- 05
Granulating pigments settling into the paper texture
Real pigment behaviour. Granulation is the physical detail that separates watercolour from a soft digital gradient.
- 06
generous unpainted white paper carrying the highlights
In watercolour the highlights are the paper. Say so, or the model paints white over everything and the luminosity disappears.
- 07
Slight cauliflower blooms where washes met
A named accident. Blooms are technically a mistake, and asking for a few is what makes the painting look painted by a person.
- 08
a faint pencil underdrawing still visible
Process left in view. This is the fastest way to make an illustration feel handmade rather than generated.
- 09
No ink outlines, no digital brush texture
The two contaminants that turn watercolour into a different, much more common style.
このプロンプトについての質問
Why does my watercolour look digital?
Almost always because the paper and the accidents are missing. Add the paper description, the granulation phrase and one or two blooms — those three do more than any style keyword.
How do I keep colours from going muddy?
Cap the palette to three pigments and name them, as phrase 8 does. Muddiness comes from too many colours mixing, not from the technique.
Can I use this for a whole picture book?
Keep the medium, paper, palette and economy phrases fixed across every spread and change only the scene. That is exactly how an illustrator maintains a book's visual identity.
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