2000년 여름 놀이공원

Character reference sheet as FOUR full-body views in a row on a clean white studio background — FRONT, 3/4, SIDE PROFILE, BACK — plus one large head-and-shoulders face close-up inset panel at the right.

IDENTITY, HAIR AND MAKEUP — strictly from the attached reference photo: the same facial features, bone structure and clear porcelain-fair skin, and the same hair and the same bare face, carried unchanged into every panel. The hair stays exactly as shown — glossy black, worn down, shoulder-length with a slight natural wave, parted off centre with the long grown-out fringe swept across the forehead and tucked behind one ear, the ends falling softly in front of both shoulders. The face stays exactly as shown — bare skin with no makeup, visible pores across the nose and cheeks, a soft natural sheen on the forehead and cheekbones, naturally full brows in a soft straight line, lips their own natural rose. Do not restyle, recolor, tie up, straighten or add anything to the hair; do not add makeup of any kind.
DO NOT COPY from the attached photo: its white collarless blouse, its tight head-and-shoulders crop, its straight-on ID-photo framing or its flat frontal studio lighting for the full-body views. The outfit, the four standing views and the lookbook lighting follow the description below.

OUTFIT — early-2000s Korean school summer uniform with her own clothes worn over it: a white short-sleeve school blouse in crisp lightweight cotton with a soft rounded collar, a simple front placket with small white buttons and a narrow navy piping trim finishing each sleeve hem; at the collar a small neat ribbon tie in a navy-based tartan check with fine wine-red lines and a hairline white stripe; a knee-length pleated skirt in exactly the same navy-and-wine tartan check, the pleats pressed sharp and falling evenly, a plain navy waistband sitting at her natural waist; over the uniform an open dusty rose-pink cotton zip-up hoodie in a standard hip-length cut, soft brushed jersey gone slightly fuzzy at the cuffs, the sleeves pushed up to mid-forearm, the ribbed cuffs stretched loose, a flat drawstring hanging unevenly with one end longer, the hood sitting soft and full behind her neck; white ankle socks folded over once, one a little lower than the other; white canvas low-top sneakers with a clean rubber toe cap, white laces gone slightly grey at the tips. Worn accessories: a butter-yellow fabric scrunchie on the right wrist, a thin red-string bracelet beside it, a small pearl-white plastic hair clip holding back one side of her hair, and a navy canvas backpack worn on both shoulders with a small plush keychain hanging from the zipper pull. Nothing else. Every garment is plain — no lettering, no numbers, no logo, no crest, no badge anywhere.
HANDS — empty in every view, arms relaxed at her sides, short unpainted nails, a faint ballpoint-pen mark on the side of one middle finger, the hands of a student who writes all day.

Same person, same hair, same bare face, same outfit in every view. The BACK view shows both backpack straps sitting flat over the hoodie shoulders, the hood pushed down full at the neck, and the skirt pleats hanging clean and even from the waistband. Each full-body view is photographed head to toe so her whole standing height fills the frame — tall runway-model proportions, about eight to nine heads tall, small head, long legs filling the lower half of every view, never compressed or shrunk to fit the panel. Neutral standing lookbook pose logic in all four views, arms relaxed, weight even.
THE FACE CLOSE-UP INSET — she faces the camera straight on, eyes looking directly into the lens, chin level, calm and unposed, the long swept fringe falling across the forehead exactly as in the attached reference.

Clean even studio lighting like a fashion lookbook turnaround, true tartan colour and weave, honest contrast between crisp thin cotton, soft brushed jersey, the crisp pressed pleats of the skirt and worn canvas, natural garment weight and drape, real skin texture with individual hair strands catching the light. Photorealistic, ultra-detailed, 4K. No text, no logo, no watermark.

Character reference sheet as FOUR full-body views in a row on a clean white studio background — FRONT, 3/4, SIDE PROFILE, BACK — plus one large head-and-shoulders face close-up inset panel at the right.

IDENTITY, HAIR AND GROOMING — strictly from the attached reference photo: the same facial features, bone structure and clear warm-neutral skin, and the same hair, carried unchanged into every panel. The hair stays exactly as shown — black with a healthy sheen, cut close at the sides and left longer on top, the front swept up and back off the forehead so the full hairline and brow line stay visible, a few strands standing at the crown. The face stays exactly as shown — clean-shaven with no stubble, matte skin with fine visible pores across the nose and forehead, straight thick brows sitting low, no makeup of any kind. Do not restyle, recolor, lengthen or flatten the hair; do not add makeup or facial hair.
DO NOT COPY from the attached photo: its plain collared shirt as shown, its tight head-and-shoulders crop, its straight-on ID-photo framing or its flat frontal studio lighting for the full-body views. The outfit, the four standing views and the lookbook lighting follow the description below.

OUTFIT — early-2000s Korean school summer uniform from the same school as the girl, with his own clothes worn over it: a white short-sleeve school shirt in crisp lightweight cotton with a pointed collar, a plain front placket with small white buttons and a narrow navy piping trim on the underside of the collar, one shirt tail left untucked at the side; knotted loose at the open collar with the top button undone, a necktie in a navy-based tartan check with fine wine-red lines and a hairline white stripe — the identical fabric as the girl's skirt and ribbon tie; straight-leg grey school trousers in a light summer suiting weave, a soft permanent crease down the front, the hem long enough to break once over the shoe, a plain black leather belt at the waist; over the uniform an open cobalt-blue nylon windbreaker with a matte papery finish and a faint dry sheen, a straight hip-length cut, the elastic hem sitting loose at the hip, both sleeves shoved up to mid-forearm, the collar standing slightly; white low-top canvas sneakers with the midsole rubber gone grey and the heel counters crushed flat from being stepped into without untying. Worn accessories: a plain black digital watch with a scratched resin face on the left wrist, and a black nylon backpack worn on both shoulders, its bottom corners rubbed pale from being set down. Nothing else. Every garment is plain — no lettering, no numbers, no logo, no crest, no badge anywhere.
HANDS — empty in every view, arms relaxed at his sides, short bitten-down nails, a faint tan line at the wrist where the watch sits, knuckles slightly dry.

Same person, same hair, same face, same outfit in every view. The BACK view shows both backpack straps sitting over the windbreaker shoulders, the windbreaker's flat unbroken back panel and its loose elastic hem, and the untucked shirt tail showing below it on one side. Each full-body view is photographed head to toe so his whole standing height fills the frame — tall runway-model proportions, about eight to nine heads tall, small head, long legs filling the lower half of every view, never compressed or shrunk to fit the panel. Neutral standing lookbook pose logic in all four views, arms relaxed, weight even.
THE FACE CLOSE-UP INSET — he faces the camera straight on, eyes looking directly into the lens, chin level, calm and unposed, the swept-back hair and the full hairline exactly as in the attached reference.

Clean even studio lighting like a fashion lookbook turnaround, true tartan colour and weave, honest contrast between crisp thin cotton, dry matte nylon, light grey suiting and worn canvas, natural garment weight and drape, real skin texture with individual hair strands catching the light. Photorealistic, ultra-detailed, 4K. No text, no logo, no watermark.

A location-scout photograph of the plaza in front of an old carousel in a Korean amusement park, taken at a 3/4 angle from just outside a snack stand looking across the open plaza toward the carousel, camera at standing height on a Canon EOS 5D with a 35mm lens. Late-summer afternoon, natural sunlight from the upper left, already low and warm, broken and filtered by the carousel canopy so soft-edged shadow shapes fall across the asphalt.

The carousel fills the right and centre of the background, close enough to read clearly: a wide painted canopy in mint and cream, the paint chalky and sun-bleached on the sun-facing side and flaking at the seams, dull brass poles polished smooth by hands at grip height, and a full row of wooden horses at varied heights on their poles — chipped muzzles, repainted saddles that do not quite match, some horses risen high and some dropped low so the row reads as mid-rotation. The carousel platform sits raised about a step above the plaza.

A low painted steel railing runs across the middle ground between the camera and the carousel, its mint-green paint flaked down to orange rust along the top rail. In front of that railing the ground is open and empty — cracked pale asphalt with a long tar seam and darker patches of old repair, a clear stretch of bare ground across the centre of the frame with nothing standing in it.

At the left edge of frame, cut off by the frame line, the corner of a parasol snack stand: a faded red-and-white striped canopy, a narrow serving counter worn down to bare wood, a step down onto the asphalt. Behind it and softly out of focus, a pale blue ticket booth with a cobalt-blue window frame. Dark green mature trees close in behind everything.

Lived-in detail everywhere: a faded ribbon knotted to the railing and gone pale at the folds, a crushed paper cup flattened into the asphalt near the base of the rail, an open can left standing on a planter ledge, a bicycle leaned against the railing with one pedal turned up, cigarette burns and old gum marks worn into the asphalt, a pale rectangle on the booth wall where a notice was peeled away.

Every object in frame is period-correct for 2004 or earlier — the ride hardware, the stand fittings, the signage shapes, the bicycle and the litter are all pre-2004.

The dominant colours are cracked pale asphalt, chalky mint and cream paint, dull brass and deep green foliage, with the faded red of the stand canopy and the pale blue of the booth as the only saturated notes. The sun is the only light source — no lamps, no lit signage, no bulbs burning anywhere in frame.

Real architecture, physically grounded objects, true light falloff, subtle film grain, slightly imperfect framing like a real scouting snap. Empty of people. NOT a 3D render, NOT CGI, NOT a matte painting, NOT AI-looking. No readable text, no logo, no watermark. Ultra-detailed, 4K.

Product reference sheet of a disposable film camera as four views on a clean light grey studio background: FRONT view showing the lens port and the small optical viewfinder window, BACK view showing the ridged plastic winder wheel and the round film-counter window, TOP-DOWN view showing the raised shutter button and the flash charge slider, and THREE-QUARTER view showing the depth of the body — plus ONE in-use inset showing two hands holding the camera at chest height, the right thumb mid-turn on the winder wheel, the index finger resting beside the shutter button.

Exact geometry: a squat rectangular cardboard-and-plastic body, roughly the width of two hands, its corners softly rounded, wrapped in a printed paper sleeve in butter yellow and white with a plain unlettered graphic band. True materials — matte printed paper over hard plastic, a small clear plastic lens cover, a translucent amber counter window, a black ridged thumb wheel. Fine surface wear from handling: a soft crease along one paper edge, a thumbprint smudge near the winder, a slightly lifted paper corner at the base.

Every detail is period-correct for 2004 or earlier.

Shot like a commercial product photo set, soft even light, razor-sharp focus, gentle true shadows. Photorealistic, ultra-detailed, 4K. No readable text, no logo, no watermark.