Prompt blocks

A hand-painted picture from a children's adventure game set in a Norwegian fairy-tale land. Everything is
painted by hand in big clear shapes: each surface is three or four close tones of its own colour, with no
photographic detail, no noisy fine texture and no flat vector fills; fine detail only at the one focal point.
Light is always warmer than shade, and shade always has a colour; nothing is grey or black, and the darkest
tone in the picture is a deep teal or violet. Everything built is handmade of wood, stone, turf and wool.
Every living thing has big, bright, readable eyes. Friendly, nothing scary. No text, no letters, no logos.

The fairy-tale look inside the town wall: storybook-cute, like a warm animated feature painted by hand. Soft
blended brushwork with strokes barely visible. Round, chunky, bread-loaf shapes; every corner bevelled; roofs
sag and walls bulge a little; props a little oversized; nothing sharp, thin, leaning or broken. Built things
carry painted rosemaling: curling flower scrolls in rose, butter yellow and blue. A light, bright palette with
soft blue-violet shadows. Folk and animals have a head one third of their height. An enclosed, cosy
composition framed on both sides, the far view closed by round trees, low hills or the honey-coloured town
wall.

A richly painterly animated-illustration style built on visible, confident brushstroke texture layered
directly into rendering rather than smoothed away, a fusion of hand-painted textural depth with clean
animation-ready linework, and a bold painterly-meets-graphic animation intensity that feels both illustrated
and alive. Influenced by: Fortiche Production, League of Legends concept-art tradition, painterly animation
technique, cinematic stylized character-design practice. The world outside the town wall. Surface: painted
like gouache poster art for an animated film, big simple shapes first; each object is built from three flat
tones (light, half-tone, shade) with hard cut edges and long visible square-brush strokes that follow the
form; almost no small detail, the sharpest edges and the only fine detail at the one focal point; far things
are single flat shapes. Thin linework in a darker shade of the colour it sits on, only on the silhouettes of
near things, never black. Space: three depth layers parted by pale haze (a deep-teal foreground frame, a lit
middle ground, a far layer close to the sky's colour) and one small figure against one very large shape.
Shapes: tall, tapered, leaning, asymmetric silhouettes, their corners still rounded. Bases are muted and cool,
with one small glowing accent colour. Built things carry carved ornament, unpainted: knotwork, a sun wheel or
a rune cut into wood or stone, never on rocks or trees. An open composition with a far horizon and a painted
sky of long level strokes. Brave and a little wild, still friendly.

Seen as the game shows it: a third-person camera five and a half metres behind the princess and two metres
above the ground, looking level over her head; she is small, in the lower middle of the picture, seen from
behind. A real-time game frame, so shapes are simple and few: low-detail models with hand-painted textures,
ground painted in broad patches of three or four tones, trees as a few big painted clumps, nothing finely
detailed.

a small princess of about eight with curly brown hair, a small gold crown, a red cape and a leather backpack

A small princess with curly brown hair, a gold crown, a red cape and a backpack, tiny in the frame and seen
from behind,

Scene: the village square of Solengen at eleven in the morning under a clear blue sky: clean white-gold
daylight, no orange glow, no sunset colours. A round stone well in the middle of a small square of big rounded
tan cobbles with grass growing between them and a green lawn round it; low cottages with thick green turf
roofs with daisies, a bakery with a carved pretzel sign and one sky-blue door painted with rosemaling flower
scrolls (the only painted ornament in the picture), flower tubs of rose and butter-yellow flowers, bunting,
lanterns on posts, a bench with a basket left on it, round apple trees. A small princess of about eight with
curly brown hair, a small gold crown, a red cape and a leather backpack stands by the well seen from behind at
three-quarter, talking to a friendly fox baker in an apron; a rabbit postman crosses the square. Half the
picture is yellow-green: turf roofs, grass and trees; then honey sandstone, cream plaster and warm timber;
small accents of rose and sky blue. Soft blue-violet shadows. Simplify: big clear painted shapes, cobbles in a
few tones, fur as soft masses.

Zone: Møllebakken, the mill hill inside the wall, on a breezy golden afternoon. A cobbled street climbing a
hill between tall upright half-timbered houses with steep red tile roofs and blue window frames, market stalls
with striped awnings, a round fountain, washing on a line, a windmill with turning sails at the top of the
hill, a goat lady selling cheese, a cat on a barrel. A small princess of about eight with curly brown hair, a
small gold crown, a red cape and a leather backpack walks up the street seen from behind. Half the picture is
tile red and cream plaster; then dark warm timber, window blue, butter yellow. Shape motif: the tall gable and
the turning wheel. Still round and chunky, only taller and tidier than the turf cottages of the square.

Zone: Skumleskogen, the spooky-funny wood inside the wall, in lilac twilight under its canopy. Curly trees
with plum-purple trunks whose branches end in spirals, lilac mist on the ground, round teal-glowing mushrooms,
fallen apples, a tipped flower cart. Four skumlinger: round fuzzy imps the colour of deep violet plums with
big glowing yellow eyes, tiny horns and goofy grins, one peeking from behind a tree, one running off with an
armful of apples, one laughing on the cart. A small princess of about eight with curly brown hair, a small
gold crown, a red cape and a leather backpack stands on the path with a wooden sword, seen from behind; far
off between the trunks the warm lit windows of the village. Half the picture is plum and lilac; then deep
violet, mushroom teal, the yellow of the eyes. Shape motif: the spiral. Funny, not frightening; no black.

Zone: the coast inside the wall, at bright noon. A small cove of pale warm sand with soft ripples, clear aqua
shallows over a clean blue sea, a beach camp with a striped tent, bunting, a campfire ring, a little rowing
boat pulled up, shells, a sandcastle, a crab, a bear in a yellow raincoat fishing from a rock; the honey-
coloured wall runs out into the sea at the right with a round tower and a water gate. A small princess of
about eight with curly brown hair, a small gold crown, a red cape and a leather backpack runs on the sand seen
from behind. Half the picture is sand cream and aqua; then sky blue, coral red and white stripes, driftwood
grey. Shape motif: the scallop and the wave arc.

Zone: Sørvika, the dunes and the spit south of the town, at windy bright midday under a very big sky that
fills half the picture, with fast streaked clouds. Pale sand dunes with wind-combed marram grass all leaning
one way, two wind-bent pines, a long sand spit curving out into teal sea to a weathered stone gate arch at its
tip, pink sea-thrift cushions, silver driftwood, white foam lines, gulls; the honey-coloured town wall small
in the far left. A small princess with curly brown hair, a gold crown, a red cape and a backpack, tiny in the
frame and seen from behind, on the dune crest, her cape blowing. Two thirds of the picture is pale sand and
pale sky; then sea teal, marram grey-green, thrift pink; gold sparkle on the water is the one glowing accent.
Shape motif: the wind-leaning crescent. The gentlest land outside: bright and open.

Zone: Sørmarka, farmland in late-afternoon harvest light. A long low red barn on a stone foot with a ramp to
its hay door, a small storehouse on pillars, a cream farmhouse, hay drying on long racks in rows across a
stubble field, striped fields of barley, rail fences, a windmill on a low hill, big round oak crowns, a slow
river; long shadows; on a far hill a ring of standing stones catching gold light, the one glowing accent. A
small princess with curly brown hair, a gold crown, a red cape and a backpack, tiny in the frame and seen from
behind, on the farm road with a hen. Two thirds of the picture is barley ochre and straw; then barn red, oak
green, earth umber, cream. Shape motif: long low horizontals and parallel rows.

Zone: Fjellfoten, the old forest Gammelskogen, under a closed canopy at midday, no sunset colours. Enormous
ancient spruce trunks as plain tall shapes and one giant tree with roots like arches, a deep moss floor,
ferns, rust-red fallen needles, boulders shaped like hunched sleeping trolls with moss on their backs and kind
sleeping faces, pale mist filling the depth between the trunks so the far trunks are pale blue-green shapes,
three broad shafts of pale green-gold light falling on the path and the moss, a small log hut with a turf roof
and one warm window far in. A small princess with curly brown hair, a gold crown, a red cape and a backpack,
tiny in the frame and seen from behind, on the sunlit path between the roots. A mid-value picture: the moss in
the light is a bright spring green, the shade is a mid teal, and nothing is darker than a deep teal; no black,
no heavy dark foreground. Two thirds of the picture is moss green and teal; then rust red and pale green-gold
light; small cyan-glowing mushrooms are the one glowing accent. Shape motif: massive trunks and hunched,
round-backed shapes. Hushed and old, and a child would still walk in.

Zone: Nordalen, the summer valley of the north, on a cool clear morning, no sunset colours. A wide mirror-
still lake fills half the picture; slender white birches; on a stony shore three small boathouses of dark
tarred wood with turf roofs on stone feet, nets drying on poles, a rowing boat pulled up, a thin column of
smoke from a smokehouse with an ember-orange glow in its hatch, the one glowing accent; far off on a headland
a white lighthouse with a red band; blue mountains behind as flat hazy shapes. A small princess with curly
brown hair, a gold crown, a red cape and a backpack, tiny in the frame and seen from behind, on the shore
path. Two thirds of the picture is lake blue and cool birch green; then birch white, deep tar brown, a little
buttercup yellow. Shape motif: tall slender verticals and their mirror image in the water.

Zone: Fjellet, the high mountains, in cold clear afternoon air. Jagged blue-grey peaks with snow and lavender
shadows, wind blowing streamers of snow off the tops, a narrow path to a rope bridge over a gorge, a thin
waterfall, dwarf birch and heather turned wine-red, three reindeer on a shoulder, a stone cairn with a small
flag and a lit ember-orange lantern, the one glowing accent. A small princess with curly brown hair, a gold
crown, a red cape and a backpack, tiny in the frame and seen from behind, on the path before the bridge. Two
thirds of the picture is rock blue-grey and snow white; then lavender shadow, wine-red heather, yellow-green
lichen. Shape motif: the triangle and the diagonal.

Zone: Alvheim, a small elf village on a mountain shelf, in blue dusk under a rising moon with a faint green
and violet northern light in the sky. Only five huge pale silver-barked trees, each carrying one round tree
house with a spiral stair, lanterns hung from the boughs on long threads; in the middle an open court of pale
flagstones with a low carved moonstone well whose water glows blue-violet and a leaning crescent-shaped
moonstone horn over it; deep teal moss in broad shapes, a few small glowing flowers; much open ground and open
sky, a snowy peak behind as one flat shape; two tall graceful elves in long cloaks with leaf collars, kind
faces. A small princess with curly brown hair, a gold crown, a red cape and a backpack, tiny in the frame and
seen from behind, at the edge of the court. Two thirds of the picture is silver, deep teal and dusk blue;
violet and cyan glow are the accents. Shape motif: the crescent and the pointed leaf. Quiet and spare, not a
city.

The sky carries a wide band of northern lights in green-teal and violet over the mountains, and their colour
lies faintly on the lake. The land is deep blue and teal, every shape still readable, nothing black. A
traveller's campfire burns by the cart, the only warm thing in the picture: its ember-orange light falls on
the nearest things in a small pool. Two thirds of the picture is night blue and teal; the green-teal and
violet of the sky are the second colour; the fire is the one warm accent.

Every window and six lanterns glow warm butter-yellow and make soft pools of light on the cobbles; the sky is
rose and violet with the first stars; the shade is blue-violet and the ground keeps its colour: the cobbles
are still tan and the grass still green, only deeper. Nothing is dark or empty.

Stylised 3D character for a cosy Norwegian fairy-tale video game for young children, in the look of a warm
hand-painted animated film: soft rounded shapes, painted textures, warm storybook colours, a Kittelsen and
John Bauer folk-tale mood made friendly and cute, nothing scary, a big head and big kind eyes.

Exactly three heads tall: the head is one third of the whole height. Short limbs, mitten-like hands, eyes set
low, a small nose, a smile. Soft blended paint with no outlines and no hard shadow shapes. Light warm colours
and one painted rosemaling trim on the clothes.

A richly painterly animated-illustration style built on visible, confident brushstroke texture layered
directly into rendering rather than smoothed away, a fusion of hand-painted textural depth with clean
animation-ready linework, and a bold painterly-meets-graphic animation intensity that feels both illustrated
and alive. Influenced by: Fortiche Production, League of Legends concept-art tradition, painterly animation
technique, cinematic stylized character-design practice. A character for a Norwegian fairy-tale adventure game
for children: muted cool base colours with one or two glowing accent colours, thin coloured linework and no
heavy black outlines, big bright readable eyes, friendly and brave, not scary, no weapons pointed at the
viewer, no blood, no bared teeth.

A hand-painted 2D illustration, not a 3D render. Stocky and sturdy, exactly four and a half heads tall: a
large head, a short neck, a long body and short strong legs. Eyes as big and bright as an animated-film hero,
strong expressive eyebrows, a friendly face. A tapered silhouette with rounded corners. Painted like gouache:
every form in three flat tones (light, half-tone, shade) laid as broad flat brush planes with hard edges, the
edges of the strokes left visible, no smooth gradients, no mosaic, no pixel pattern, no fine fabric texture.
The painted light comes from above and in front, so shade lies only under the chin, the arms and the folds.
One clear colour of their own for the whole figure, and one small accent.

Presented in a neutral A-pose as a clear character reference for 3D model generation: standing upright, facing
directly forward, arms angled a little away from the body, legs shoulder-width apart, hands fully visible and
empty, the whole figure readable from head to toe with a margin around it. Chunky solid shapes, no thin or
loose parts, no loose hair strands.

Centered, symmetrical, a single isolated subject on a plain flat light-grey background, soft even lighting, no
ground shadow, no cast shadow, no scenery, no text.

Stylised 3D building for a cosy Norwegian fairy-tale video game for young children, in the look of a warm
hand-painted animated film: soft rounded bread-loaf shapes, every corner bevelled, a roof that sags a little
and walls that bulge a little, painted textures with soft blended brushwork, warm storybook colours, nothing
sharp or broken.

A richly painterly animated-illustration style built on visible, confident brushstroke texture layered
directly into rendering rather than smoothed away, a fusion of hand-painted textural depth with clean
animation-ready linework, and a bold painterly-meets-graphic animation intensity that feels both illustrated
and alive. Influenced by: Fortiche Production, League of Legends concept-art tradition, painterly animation
technique, cinematic stylized character-design practice. A building for a Norwegian fairy-tale adventure game
for children, outside the town wall: a tall, narrow, tapered, slightly leaning silhouette with rounded
corners; every surface in three tones with hard-edged painted shadow shapes and visible square brushstrokes
that follow the planks and stones; muted cool colours with one warm glowing window; weathered and lived-in,
friendly, not scary; thin darker-coloured linework, no black outlines.

A hand-painted 2D illustration, not a 3D render, painted like gouache in broad flat brush planes with the
stroke edges left visible; no gritty fine texture. Mid values only: the darkest wood is a mid slate teal,
nothing near black.

Chunky solid closed shapes with no thin, loose or see-through parts. A single isolated building, centered,
fully visible with a margin around it, 3/4 front view from slightly above eye height, standing on a thin round
pad of its own ground.

A full-body grandmother villager of the fairy-tale village: round and short, white hair in a chunky bun, rosy
cheeks, no glasses, a cream blouse, a rose-red wool shawl held by a round silver brooch, a sky-blue skirt and
a cream apron with one band of painted flower scrolls, brown felt shoes.

A full-body stylized illustration of a fisherman from a lakeside hamlet in the north: broad shoulders, a short
brown beard, a sea-blue knitted cap, a thick sea-blue wool smock with one woven band at the hem, a wide
leather belt with a round brass buckle, grey wool trousers, tall dark-brown boots, a short coil of chunky rope
fixed flat at the belt, and a small chunky lantern glowing ember-orange fixed at the belt. Worn-in,
functional, believable clothing.

A small village cottage: low and wide, as wide as it is tall, with a thick green turf roof that makes up half
its height and sags like a bread loaf, small daisies on the turf, a chunky stone chimney, bulging cream
plaster walls on a low foot of round honey-coloured stones, warm brown timber frames, a round-topped door
painted sky blue with rosemaling flower scrolls, two small round-cornered windows glowing warm with rose
shutters, a flower box of rose and butter-yellow flowers under each, a chunky bench by the door.

A hand-painted 2D illustration, not a 3D render, painted like gouache in broad flat brush planes with the
stroke edges left visible; no gritty fine texture. Mid values only: the darkest wood is a mid slate teal,
nothing near black. A fisherman's house by a northern lake: tall and narrow, one and a half times as tall as
it is wide, leaning a few degrees, on a high foot of big cold-grey stones; walls of tarred upright planks
painted in slate teal and umber; a steep turf roof with moss, a few buttercups and a chunky leaning stone
chimney; a carved sun wheel in the gable; one small window glowing warm amber; a plank door of faded sea blue
with a carved woven-band frame; a short chunky stone stair; a solid barrel and two solid wooden crates tight
against the wall.

Painted like gouache poster art for an animated film: big simple shapes, each in three flat tones with hard
cut edges and broad visible brushstrokes, thin dark-teal linework on near silhouettes, no black. Muted cool
colours, pale haze between three depth layers, one small glowing ember-orange accent. Tall, leaning, tapered
shapes with rounded corners. A Norwegian fairy-tale land for children, brave and friendly. No text.

Full-body character reference, the whole figure from cap to boots inside the frame with a margin, on a plain
flat light-grey background, standing upright facing forward in an A-pose, arms a little out, hands empty: a
stocky friendly fisherman four and a half heads tall, short brown beard, sea-blue knitted cap, sea-blue wool
smock with a woven band at the hem, leather belt with a brass buckle, grey trousers, brown boots, a small
glowing ember-orange lantern at the belt. Big bright eyes, strong eyebrows. Painted like gouache in three flat
tones with hard-edged shadow shapes and broad visible brushstrokes, thin darker-coloured linework, no black,
even light, no cast shadow, no text.