2022年8月，Stable Diffusion 把人类几千年的视觉史塞进了一个 Latent Space。但问题来了——你总得知道你要什么，才能告诉 AI 你要什么。所以就有了这篇。

※ 本文所有配图均由豆包 AI 生成。

壹 · 肌理与质感

人类第一次在平面上留下纹理，是在肖维岩洞里蘸着赭石往墙上拍手印。三万七千年后，我们还在干同样的事——只不过换成了 GPU。

1. 半调网点

1873 年，德国人 Georg Meisenbach 用一块刻满细密网格的玻璃屏，把照片拆成了大小不一的圆点。报纸印刷的油墨只有纯黑纯白，网点是唯一的妥协方式。但 Lichtenstein 在 1961 年把这个妥协放大成了主角——他把漫画格涂在巨大的画布上，网点不再是印刷缺陷，变成了波普的视觉基因。

A striking pop art portrait rendered in bold halftone dot patterns, thick black comic-style outlines, high-contrast cyan, magenta, and yellow color separation, Ben-Day dots across skin tones, Roy Lichtenstein inspired, vintage newspaper rotogravure texture, slight misregistration of color plates, heroic comic book panel composition with speech bubble, bright studio lighting with crisp shadows, screen-printed pulp paper grain, retro 1960s advertising aesthetic --ar 2:3


半调网点

2. 颗粒噪点

说实话，数码相机工程师花了几十年消灭噪点，胶片摄影师却花了一辈子迷恋它。Tri-X 400 的黑白颗粒里有整个二十世纪的街头。森山大道说：“清晰是一种谎言。”

A contemplative street scene shot on Kodak Tri-X 400 pushed two stops, heavy grain structure visible throughout shadows and midtones, moody overcast afternoon light filtering through urban alleyways, subtle vignetting at frame edges, analog film texture with microscopic silver halide crystals, slight chemical staining on print edges, soft loss of shadow detail in deep blacks, nostalgic documentary photography style, Henri Cartier-Bresson compositional sensibility, worn leather jacket and cobblestone textures emerging from grain, accidental light leak bleeding in from upper right corner --ar 4:5


颗粒噪点

3. 厚涂

梵高在圣雷米精神病院画《星夜》，窗户是他唯一能看到天空的通道。他用刮刀把颜料堆上去——堆，不是涂。每一笔比前一笔高半毫米。你看原画的时候侧光会让每道笔触下的微影亮起来。厚涂就是把二维幻术做成三维事实。

An expressionist landscape with fiercely applied impasto oil paint, thick buttery strokes rising from the canvas like sculpted terrain, palette knife marks carving direction into every surface, Van Gogh's starry night energy swirling through cypress trees, deep ultramarine and cadmium yellow collide in raised ridges of pigment, side-lighting reveals the three-dimensional relief of each brushstroke, raw linen canvas peeking through unpainted gaps, the physical weight of paint palpable, museum gallery lighting casting micro-shadows across the textured surface, a single sunflower head built entirely from heavy dollops of chrome yellow --ar 16:9


厚涂

4. 水彩

水彩是唯一诚实的画种——颜料碰纸的那一刻，你就失去了一半的控制权。水往哪走，颜色就往哪晕。这种不可控，恰好是 AI 最不擅长的事。

A botanical illustration of wild roses executed in luminous watercolor, wet-on-wet blooms bleeding their petals into one another with uncontrollable grace, puddles of pigment pooling and drying in concentric rings, translucent washes of opera pink fading into pale sage green leaves, crisp dry-brush stem details contrasting with soft florals, 300gsm cold-pressed paper texture absorbing color unevenly, salt scattered onto wet pigment creating crystalline blossom effects, morning sunlight streaming through the paper fiber, delicate splatter from a flicked brush across the composition, float-mounted on cream mat board with deckled edges, studio window light --ar 3:4


水彩

5. 水墨

张彦远在《历代名画记》里写："运墨而五色具。"墨不是黑的——焦、浓、重、淡、清，五种灰度就是五种颜色。北宋范宽的《溪山行旅图》，一座山占了三分之二的画面，山脚下的人比蚂蚁还小。那不是透视法的问题，是世界观：人在山面前就该那么小。比西方的明暗法早了四百年。

A mist-shrouded mountain landscape in the manner of Northern Song monumental ink painting, layered peaks fading into emptiness through atmospheric perspective, pine trees clinging to cliffs rendered in decisive dry brush strokes, a solitary fisherman in a skiff on still water the size of a fingernail, five distinct tones of ink from jet black to barely-there ash grey, raw xuan rice paper with its natural absorption creating soft halos around each brushstroke, vast negative space where clouds and water become indistinguishable, red seal stamp in lower corner as the sole color accent, scroll format vertical composition ascending toward heaven --ar 9:16


水墨

贰 · 几何与构成

包豪斯的 Albers 讲过一句话：几何形态本身没意义，排列才让它活过来。

6. 低多边形

1996 年《古墓丽影》的劳拉只有几百个三角面。2014 年《纪念碑谷》把这件事做到极致——低多边形不再是没有预算的妥协，而是故意为之的美学语言。面数越少，辨识度反而越高。你用八个三角面搭一棵树的时候，只能留下它最本质的轮廓。

A majestic stag constructed entirely from faceted low-poly triangles, crystalline geometry catching light at every angle, warm amber and copper gradients across the angular plane surfaces, flat ambient occlusion shading with no textures, a misty forest clearing rendered in the same polygonal language behind it, soft volumetric god rays piercing through angular canopy, the stag's faceted antlers branching into increasingly smaller triangles, subtle chromatic aberration at polygon edges where warm and cool tones meet, rendered in a clean studio environment with three-point lighting, reminiscent of Monument Valley elevated to high art --ar 16:9


低多边形

7. 等距视角

三条轴各偏 120 度，没有消失点。你同时看到屋顶和地板，像一个拆了盖子的玩具屋。RPG 游戏对这个视角爱不释手，因为玩家需要上帝视角来做决策。

A lovingly detailed isometric diorama of a medieval alchemist's workshop, every object placed with obsessive precision on the 30-degree grid, copper alembic and glass retorts catching warm candlelight from a central workbench, shelves of leather-bound grimoires and ceramic jars labeled in tiny Latin script, a sleeping cat curled on a rug woven in geometric Persian patterns, the roof removed to reveal the cross-section like a dollhouse, warm amber ambient light with exaggerated drop shadows, handcrafted miniature aesthetic with visible wood grain on every plank, a spiral staircase descending through a circular cutout in the floor, crisp vector-like flat shading, Pixar-meets-medieval art direction --ar 1:1


等距视角

8. 像素风

1978 年《太空侵略者》，外星人不到 50 个像素，没人认错——人脑会自动补完。1990 年《时空之轮》把 16 位像素推到了艺术极限：32 色调色板、逐像素手工抖动、多卷轴视差。那不是一个技术限制下的产物，那是一种自律的美学，跟俳句只能十七音一样。

A breathtaking pixel art landscape at sunset, golden hour light breaking through a 16-bit forest canopy, dithering patterns creating the illusion of transparency in the atmosphere, a palette limited to 32 carefully chosen colors from a retro console era, crisp hard-edged pixel clusters forming silhouettes of ancient ruins on a distant hill, a small cloaked traveler leaving a trail of 4-frame animated pixel dust, parallax-scrolling layers of mountains in progressively lighter blues, scanline CRT monitor glow softening the image edges, reminiscent of Chrono Trigger and Secret of Mana environment design --ar 16:9


像素风

9. 故障艺术

1965 年，韩国艺术家 Nam June Paik 把一台电视机摔在地上，重新接错了线。画面坏掉了，但他觉得好看。2000 年代 Rosa Menkman 写书给故障艺术建了理论：Glitch 不是技术失败，是技术让我们看它的内脏。

A classical marble statue of Venus de Milo violently corrupted by cascading digital glitches, horizontal bands of RGB channel separation shifting the image into spectral duplicates, scanline artifacts rippling across the surface like water disturbed by a dropped pebble, blocky compression artifacts blooming in the shadow areas where the algorithm lost data, a single frame of analog VHS tracking static frozen mid-scroll across the torso, pixel sorting algorithm dragging selected brightness values downward into chromatic streaks, the left portion replaced by cold magenta noise, the right portion bleeding cyan, only the face remaining hauntingly intact in the center, dark cyberpunk arrested decay aesthetic --ar 2:3


故障艺术

10. 像素排序

2012 年，Kim Asendorf 用 Processing 写了一小段代码，按亮度重新排列每行像素。画面像冰川融化一样往下流淌。这种"数学摧毁"比任何人类手工都更冷、也更美。

A serene mountain reflection in a lake undergoing controlled pixel sorting dissolution, the brightest highlights of the snowcaps stretching vertically into luminous threads that descend into the water, midtone pixels rising upward like digital smoke fading into the sky, the horizon line remaining sharp as the only anchor of reality, color channels gently pulling apart at the edges like fabric fraying, the water surface transformed into vertical ribbons of reflected color, minimal and meditative data destruction, cool arctic blue and white palette, the destructive process creating unexpected beauty --ar 16:9


像素排序

叁 · 光影与色彩

人类花了十几万年走出黑暗，然后花了五十年把灯光做成艺术。

11. 霓虹灯

1910 年巴黎车展，Georges Claude 第一次展示霓虹灯管。观众的反应是恐惧——这东西发亮，像巫术。1923 年，第一块霓虹广告牌出现在洛杉矶。到《银翼杀手》时代，霓虹已经不是广告了，是城市的呼吸。

我每次用霓虹灯提示词都会加一句 rain-soaked pavement——湿地面把灯光反射成碎片，比灯本身更迷人。

A solitary neon sign glowing in a rain-soaked alleyway at 3am, the glass tubes filled with noble gases — argon casting ice blue, neon radiating hot coral pink, krypton pulsing pale lavender against the wet brick wall, each letter's reflection shattered into a thousand liquid fragments on the puddled asphalt below, steam rising from a subway grate and catching the colored light in its curling tendrils, the sign's transformer humming at the edge of hearing, bokeh circles of distant traffic lights dissolving into the fog, shallow depth of field focused on a single letter with the rest melting into soft abstraction, Wong Kar-wai chromatic sensibility, Blade Runner melancholia --ar 3:2


霓虹灯

12. 赛博朋克

高科技，低生活。六个字把整个赛博朋克装进去了。1982 年《银翼杀手》设定的 2019 年没有飞来飞去的汽车，但 Syd Mead 设计的城市像一座发光的水晶体，把人的情绪压缩成了街边一碗面的热蒸汽。

A vertigo-inducing upward gaze through the neon canyons of a cyberpunk megacity, mirrored skyscrapers climbing into low-hanging toxic cloud layer, holographic geisha advertisements fifty stories tall winking through the drizzle, flying taxi drones threading between buildings leaving trails of red and white light, street-level noodle bar with steaming broth lit by a single buzzing pink tube, a figure in a translucent raincoat with subtle cybernetic spine implants visible through the plastic, every wet surface reflecting a different color of neon — magenta from above, cyan from below, amber from the side, volumetric fog catching intersecting light beams, the architectural scale immense with human figures at street level barely visible specks, Syd Mead meets Masamune Shirow --ar 9:16


赛博朋克

13. 蒸汽波

2011 年的互联网角落突然涌出大量粉色紫色渐变、大卫石膏像、棕榈树、Windows 95 对话框。没人说得清这是什么风格，但有一种上头的力量——对从未经历过的 80 年代消费主义的想象性乡愁。

A classic vaporwave dreamscape anchored by a headless Hellenistic marble bust of Apollo on a chrome pedestal, behind it a sunset gradient melting from hot flamingo pink through lavender into digital cyan, the floor an infinite wireframe grid extending to an impossible vanishing point, a lone neon palm tree silhouette glowing magenta on the horizon, floating geometric shapes — a translucent crystal and a golden torus orbiting each other in the upper right, Japanese katakana text 「デジタル・ドリーム」 in bold outlined block letters across the sky, a pixelated cursor arrow from Macintosh System 7 frozen in the corner, VHS scanlines and slight chromatic aberration giving everything a tape-worn patina, nostalgia for a future that never arrived, Florida mall 1992 aesthetic --ar 1:1


蒸汽波

14. 双重曝光

胶片时代忘了过片就按第二下快门，两张照片叠一起——本来是废片，被 1960 年代的艺术家回收成语言。Jerry Uelsmann 用七台放大机在暗房里把一个人脸填满了森林。后来 HBO 的《真探》把它用到极致：每一帧片头都在把一个灵魂叠进一片荒原。

A delicate double exposure portrait, the left-facing profile of a young woman's silhouette filled entirely with a fog-shrouded redwood forest, ancient trees growing upward from her jawline and spreading canopies where her thoughts would be, a flock of starlings taking flight through her hair dissolving into the open sky, the forest floor visible in the space beneath her chin, morning mist threading between the tree trunks and softening the transition between face and foliage, monochromatic sepia tone with subtle split-toning — warm highlights cooling into blue shadows, the double exposure executed in-camera not composited, Sarah Moon meets Jerry Uelsmann --ar 4:5


双重曝光

15. 剪影

去掉面孔的表情、服装的纹理、皮肤的冷暖，剩下一个纯黑的轮廓。奇怪的是，越少的细节有时候说出越多的话。一棵树对着夕阳的剪影，可以同时是孤独、希望、开始和结束。

A lone acacia tree silhouetted against the most dramatic African sunset ever witnessed, the sky a symphony of burnt orange bleeding into blood crimson and fading to bruised purple, the sun a perfect molten gold disc bisecting the horizon, the tree's every branch and twig rendered in absolute jet black against the inferno behind it, a few distant birds suspended as punctuation marks in the orange glow, wispy cirrus clouds catching the last light and glowing like embers, the ground a simple flat black strip anchoring the lower edge, strictly following the rule of thirds composition, the emotional weight of an ending and a beginning happening simultaneously --ar 16:9


剪影

16. 梦幻柔焦

柔焦本来是镜头球差的缺陷，高光边缘溢出到暗部。1930 年代好莱坞人像摄影师发现这个缺陷让人的脸变得像裹了一层薄雾。他们把凡士林涂在 UV 镜上模拟这种效果——黛德丽和嘉宝的那些神光，隔着一层凡士林。

An ethereal portrait bathed in golden hour backlight with extreme soft focus bloom, the subject's hair catching rim light and dissolving into a halo of spun gold, a Petzval lens swirly bokeh spiraling the background into a creamy vortex, light spilling over the shoulders and wrapping around the silhouette, skin appearing luminous and almost translucent at the edges, a field of wildflowers behind rendered as soft white dots on an impressionist canvas, the entire scene shot through a stocking filter on a vintage medium format film camera, slight overexposure pushing the highlights into dream territory, the mood of a half-remembered summer memory, Deborah Turbeville meets early Sofia Coppola --ar 3:4


梦幻柔焦

肆 · 绘画与手绘

17. 浮世绘

Ukiyo-e，“浮世绘”——画这个浮动的、短暂的、不值得执着的人间。江户匠人用刀子把线条刻进樱木板，一色一板，一张画能刻十几块。北斋的《神奈川冲浪里》传到欧洲后，那些卷曲的浪尖直接长进了梵高的《星空》。两种文明隔着太平洋，被同一根海浪的线条连在一起。

A dramatic ukiyo-e woodblock print depicting a crescent moon over Edo Bay at midnight, fishing boats with square sails reduced to bold black silhouettes against a Prussian blue night sky, waves rendered in Hokusai's claw-like curling crests overlapping in rhythmic patterns, subtle bokashi gradient shading from deep indigo to pale sky at the horizon, the moon itself carved from the paper's natural white with a faint ivory tint, a bridge in the middle distance with tiny travelers carrying paper lanterns, the composition employing traditional Japanese asymmetrical balance with the moon placed far to the right, printed on handmade kozo washi paper with characteristic laid lines and uneven fibers, limited to the traditional five Edo period pigments --ar 2:3


浮世绘

18. 线稿素描

0.05 毫米的钢笔尖和 0.5 毫米的马克笔，在同一条纸上完全是两种语言。达·芬奇笔记本里的那些飞行器和解剖图，不只是发明了什么，更在于那些线条——试探的、自信的、犹豫的、确认的——就是思想的痕迹本迹。

An architectural study of a Gothic cathedral's flying buttresses rendered in obsessive fine-line pen work, every stone joint and weathering crack documented with surgical precision, cross-hatching building density in the shadow areas beneath the vaulted arches, the line weight varying from hair-thin 0.05mm for distant details to bold 0.5mm for foreground structural elements, a faint perspective grid ghosted beneath the ink suggesting the geometric scaffolding of the drawing, aged parchment background with subtle foxing spots, the drawing appearing torn from a Moleskine and pinned to a corkboard, a small pencil note in the margin, Da Vinci sketchbook energy with modern architectural draftsmanship --ar 3:4


线稿素描

19. 波普艺术

1962 年，安迪·沃霍尔在纽约展出了 32 幅《金宝汤罐头》。媒体的标题一片骂声——"这不是艺术，是商店目录。"沃霍尔说，对，我要的就是这个。波普问了一个简单的问题：如果超市货架和美术馆画布没有区别，什么叫艺术？

A Warholian four-panel silk-screen portrait grid repeating the same face in four explosive color treatments, top left panel in acid yellow skin with electric blue shadows and hot pink hair, top right in candy apple red skin with lime green shadows and orange hair, lower panels inverted and distorted, each panel's registration deliberately off by two millimeters creating ghosted color halos, the coarse mesh of the silkscreen visible under magnification, ink bleeding slightly at the edges where the squeegee pressed too hard, acrylic paint on raw unprimed canvas, the subject's expression blank and iconic, the repetition transforming a single image into a meditation on celebrity and serial reproduction, 1964 The Factory era authenticity --ar 2:3


波普艺术

20. 扁平插画

最早可以追溯到 1950 年代的瑞士国际主义设计。但扁平真正成为大众语言是在数码时代——当屏幕分辨率终于够高了，设计师发现没有渐变没有阴影的图形在任何设备上都清晰得惊人。Instagram、Google Material、Airbnb 引导页——扁平是数字时代的普通话。

A vibrant flat illustration of a busy weekend farmers market, layered geometric shapes forming canvas awnings in alternating mustard yellow and terracotta, produce stalls overflowing with circles suggesting apples and oranges in bold vermilion and tangerine, figures reduced to essential silhouettes with rounded proportions — a mother carrying a baguette, a child holding a balloon, a vendor weighing vegetables — no facial features, no shadows, pure shape language, a color palette of exactly seven harmonized hues drawn from mid-century modern poster art, the entire scene floating on a warm cream background, Charley Harper minimalism meets contemporary illustration style, vector art aesthetic with crisp edges --ar 16:9


扁平插画

伍 · 摄影与 3D

21. 胶片摄影

Kodak Portra 400，光这个词就能让胶片玩家心跳。Portra 的乳剂配方 1998 年 Kodak 熬了三年——暗部微绿，高光带暖桃，反差低到像一层薄雾。2022 年 Kodak 涨了三次价，因为用的人太多排产跟不上。胶片死了无数回，从来没死成。

An unhurried afternoon moment captured on Kodak Portra 400, a sunlit kitchen with dust motes dancing in a shaft of window light, the warm amber cast of golden hour filtered through sheer linen curtains, a half-peeled clementine on a worn wooden table with the spiral of peel curling outward, soft muted pastels in the Portra color space — the green of a potted herb rendered as sage, skin tones as warm peach, shadows tinted faintly olive, the characteristic Portra grain structure visible in the midtones holding detail beautifully, a subtle light leak blooming cyan in the bottom left corner, the quiet beauty of an ordinary Tuesday afternoon that will never happen again --ar 4:5


胶片摄影

22. CinemaScope 电影感

1953年，20世纪福克斯推出宽银幕。当时电视是 4:3 的小方框，电影需要一种电视永远模仿不了的东西——答案就是宽度。2.35:1 的画幅让你同时看到悬崖有多高、海有多大、人有多孤独。罗杰·迪金斯的每个镜头都在说：宽度不是奢侈，是叙事。

A lone figure standing at the edge of a windswept cliff at dawn rendered in full CinemaScope grandeur, the 2.35:1 anamorphic frame stretched wide to capture the immensity of the ocean below, teal shadows in the cliff face and orange rim light catching the figure's silhouette from a low sun behind, anamorphic lens flare streaking horizontally across the frame in cool blue, shallow depth of field with the foreground grass blades blurred into soft abstraction, the atmosphere thick with sea spray catching the morning light, film grain from a 35mm print adding texture to the gradients, the color grade a precise teal-and-orange split, Roger Deakins compositional rigor with Terrence Malick's reverence for natural light --ar 21:9


CinemaScope 电影感

23. 黏土风

Aardman 工作室的 Nick Park 在 1989 年捏了一只叫 Gromit 的狗。每秒 24 帧，一部 90 分钟的片子等于 129600 次手工微调。AI 版的黏土保留了圆润和指纹，但没有那种手腕的酸痛。有些东西是物理性的，算法永远缺这个。

A charming claymation diorama of a tiny hedgehog bakery, a plump hedgehog chef in a miniature apron rolling out dough on a flour-dusted counter, fingerprints visible in the green plasticine of his body and the brown clay of the countertop, a tiny oven glowing warm orange from within, fresh bread cooling on a rack each loaf showing the slight asymmetry of hand-sculpting, window light streaming in through a crooked frame, the entire scene shot in stop-motion with the characteristic 12-frames-per-second judder frozen into a single image, matte non-reflective surfaces everywhere, Aardman Animation warmth, the set about the size of a shoebox, macro photography capturing the wondrous detail of tiny things made by hand --ar 4:3


黏土风

24. 玻璃拟态

2020 年 macOS Big Sur 和 Windows Vista Aero（2006），隔了 14 年做了同一件事：让半透明面板有厚度。背景模糊透过来，加上 1 像素的白边，就像一块磨砂玻璃悬在空气里。一个 UI 风格的诞生，两代操作系统，十五年的轮回。

A product showcase of a minimalist smartwatch floating in a void of soft gradient light, the watch face rendered as a frosted glass panel with the background colors bleeding through in diffused abstraction, thin 1-pixel white borders defining the edges of the glass, subtle rainbow caustics where light bends through the curved display, the digital numerals on the watch face appearing to float above the surface with a gentle drop shadow, a soft radial blur behind the glass emphasizing the transparency effect, the watch band a perfect matte silicone in muted sage green, studio product photography lighting, a large softbox reflection curving across the glass face, Apple keynote elegance merged with modern glassmorphism --ar 1:1


玻璃拟态

25. Octane 写实渲染

2010 年新西兰公司 OTOY 发布 Octane Render，第一个能在消费级 GPU 上追踪光线的渲染器。之前追踪一束光的反射折射需要一台服务器。Octane 把照片级真实从电影公司特权变成了任何人的右键导出。

A hyperrealistic 3D render of a dewdrop-laden peony in full bloom, every petal modeled with subsurface scattering catching and transmitting light like living tissue, hundreds of micro-droplets of water behaving with physically accurate refraction bending the petal colors within each sphere, the flower emerging from total darkness lit by a single dramatic key light at 45 degrees, the depth of field so precise that the forward petals are razor-sharp while the back petals dissolve into creamy bokeh, the material properties of the petals impossibly convincing — velvety matte at the base transitioning to glossy at the tips, pollen grains scattered on the anthers rendered as individual geometry, Octane Render pathtracing eliminating all noise, the line between CGI and photography obliterated --ar 3:4


Octane 写实渲染

陆 · 手工与混合

26. 剪纸

Hari 和 Deepti 用彩纸、刀片和光造出了深海。一张纸叠在另一张纸上，隔 3 毫米，侧光一照，每层在下一层上投下影子。看起来像水里发光的珊瑚礁，实际上是纸和光的合谋。

An exquisite multi-layer paper cut illustration of a coral reef ecosystem, the foreground a bright orange clownfish peeking from anemone tentacles cut from cream paper, a layer of sea fans in crimson cardstock behind them, a sea turtle swimming in the middle distance cut from mottled green paper, each layer separated by a 3mm gap casting thin crisp shadows onto the layer below, the paper fibers visible at every cut edge — the slight roughness of the blade's path through the stock, the deepest layer a dark navy ocean background with die-cut holes revealing "light" from behind, the entire composition inside a shadow box frame with warm gallery lighting from above, Hari and Deepti light box aesthetic --ar 4:5


剪纸

27. 丝网印刷

丝网印的灵魂在偏差。手工印的 T 恤上，蓝和黄套色偏了 0.5 毫米——那个微小的偏移比精准的数码校准有生命力。独立乐队的演出海报几乎全是丝网印的，不是他们不用数码打印机，而是丝网印的墨是真压进纸纤维里的，你摸得到。

A bold gig poster for a fictional indie band screen-printed in exactly three colors on French Paper Company 100lb cover stock, the first pass a flood of electric yellow forming the background and the band name in massive block letters, the second pass a layer of midnight blue creating the illustration of a howling wolf silhouette, the third pass a strike of fluorescent orange adding the venue name and date, deliberate 1mm misregistration between the blue and yellow passes creating a ghosted third color at the edges, the slight ink starvation at the top of the print where the squeegee pressure was uneven, the tactile tooth of the paper gripping the ink, the poster pinned to a brick wall with a single rusted thumbtack, the raw energy of DIY printmaking, screenprinting squeegee drags visible in large solid color areas --ar 2:3


丝网印刷

28. 拼贴

达达派 1918 年把报纸碎片贴在画布上，被骂神经病。Hannah Höch 用杂志剪报拼出了二十世纪最有力的女性主义宣言，原标题长得像个玩笑：《用厨房刀切开德国最后一个魏玛啤酒肚文化时代》。拼贴的暴力在于，把一个东西从原来的语境里剪下来，塞进另一个语境，逼它说完全不同的话。

A surrealist analog collage built from vintage National Geographic pages, a woman's face assembled from different photographs — lips from a 1950s lipstick ad, one eye from a Renaissance painting, the other from a black-and-white portrait of an elderly man — each fragment cut with slightly trembling scissors leaving rough white borders, botanical illustrations of fern fronds inserted as her hair, a Victorian anatomical heart diagram pasted over her chest, the entire composition constructed on cream cardboard with visible glue-stick streaks and the faint graphite lines of planning sketches still visible, the elements sourced from different decades giving each fragment its own yellowing, Hannah Hoch Dada sensibility meets contemporary mixed-media collage --ar 3:4


拼贴

29. ASCII Art

1966 年 Bell Labs 的 Ken Knowlton 用 IBM 7094 打印出了第一张 ASCII 艺术——当时没有屏幕，输出介质是连续的折叠打印纸。后来终端变成了黑底绿字的 CRT，@、%、# 这些字符的密度拼出人脸，在绿色的磷光里有一种说不清的浪漫。黑客社区的暗号。

A detailed ASCII art portrait rendered entirely in monospaced characters on an amber phosphor CRT monitor, the face emerging from a dense grid of characters mapping precisely to the luminance values of a photographic source, a faint flicker of the monitor refresh rate visible as horizontal scanlines, the warm amber glow of the terminal spilling onto a dark desk and illuminating a pair of hands on a mechanical keyboard, the monitor bezel visible framing the character art, the aesthetic of a university computer lab at 2am in 1986, the sublime beauty of representing human emotion through an 80x25 character grid, text-mode art transcending its technical constraints --ar 4:3


ASCII Art

30. 非遗国风

景泰蓝的工序残忍——铜丝掐出蜂巢格子，珐琅釉料填进去，八百度高温烧。每烧一次颜色会变，反复十几遍。一只景泰蓝凤凰从设计到成品，匠人花的工夫够 AI 出上千万个版本。但铜丝掐出来的那 0.1 毫米的不完美，AI 做不到。我试过让它生成景泰蓝，它每次都把掐丝做得太齐太均，像机器而不是人的手。

A magnificent cloisonné enamel phoenix soaring through clouds, each feather a separate cell defined by delicate brass filigree wires, the cells filled with jewel-toned enamels — imperial vermilion, lapis lazuli blue, malachite green, and luminous turquoise — polished to a glass-smooth surface, the gold wires catching light and tracing the phoenix's flowing form with calligraphic elegance, traditional auspicious cloud patterns rendered in the same painstaking technique surrounding the bird, a subtle luminous glow emanating from within the enamel as if backlit, the entire piece set against a dark void that makes the colors sing, macro detail capturing the micro-texture of the polished enamel surface, thousand-year-old cloisonné tradition married to a contemporary composition, Jingdezhen craftsmanship, museum-quality presentation --ar 2:3


非遗国风

画质通用词

随手记在这里，不管你用哪个风格，末尾加一行不会错：

masterpiece, best quality, 8k, ultra detailed, volumetric lighting, trending on artstation

  • 收录 30 种视觉风格，6 大分类
  • 全图 Midjourney / Stable Diffusion 直出
  • 风格自由混搭："浮世绘 + 赛博朋克" = 赛博浪人，"水彩 + 剪纸" = 绘本插画
— 整理于 2026 年 5 月，持续更新 —