Say Please 2

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, shot like a 1990s sportswear lookbook: clean even studio lighting, true fabric colour and garment weight, crisp catalogue finish.

CAMERA — each full-body view is photographed on an 85mm to 105mm lens from a good distance back, the camera level at her chest height, so her body is rendered with no perspective distortion at all: no wide-angle stretch, no enlarged head, no low or high angle, no foreshortened legs.

BUILD AND POSTURE — a real, naturally proportioned adult woman, slim and healthy, with the easy balanced build of a working model rather than an exaggerated or stylised figure. Her frame is what makes her head read small: the shoulders are the widest line of her upper body, roughly twice the width of her head, the collarbones long and level, the trapezius sloping low and clean so the neck rises long and unbroken out of the shoulder line, and the shoulder points softly squared rather than rounded or dropped. She stands tall and relaxed with her shoulders drawn back and down, weight even on both feet. Do not stretch, elongate or lengthen her legs or body — natural human proportions throughout.

HAIR — the same bleached platinum-blonde with the same visible dark regrowth at the crown parting as the attached reference: a clean centre part with the crown brushed flat and close to the skull, no lift and no teasing, the crimped-wave length worn loose and brushed out past the shoulders with a few pieces sweeping forward over her cheekbones. A narrow off-white cotton terry sports headband sits flat across the top of her forehead just at the hairline, the hair pulled smoothly back under it.

MAKEUP — a fresh sporty face with the colour carried by the mouth: skin left clean and lightly luminous with a soft matte finish through the centre, a warm apricot blush swept across the tops of the cheeks and just onto the bridge of the nose, brows brushed up in her natural shape, a thin wash of soft bronze shadow over the lids with no liner drawn on the lower lash line and only a fine brown line pressed into the upper lashes, defined brown-black mascara, and a glossy tangerine-coral lip with a soft edge and a wet shine in the centre. Her small cheek beauty mark preserved exactly. Short round nails in a clean sheer polish.

COMPLETE OUTFIT — an oversized boxy nylon half-zip anorak windbreaker in a 1990s colour block: a cobalt-blue body, an off-white yoke running across the chest and over the shoulders, and a thin bright-yellow piping line dividing the two, with a stand collar, a short chest zip left half open, a kangaroo pocket across the front, elasticated cuffs and a drawcord hem that gathers the boxy shape in at the hip, the nylon crisp and light with a faint sheen and honest crumple lines. Under it, a boxy white cotton short-sleeve T-shirt with a plain crew neck, the hem hanging just below the anorak's drawcord and the sleeves ending wide at the mid-upper arm. Light stonewashed ice-blue wide-leg jeans in rigid cotton denim, sitting high at the natural waist under the anorak and falling in a broad straight column from the hip with no taper, a soft vertical whiskering line down the front of each thigh, natural pale fading at the knees, copper rivets and warm gold contrast topstitching, and a long inseam so the hem stacks in loose folds over the shoes with slight fraying at the back edge. Chunky retro running sneakers in off-white and grey with cobalt-blue accents, a layered rubber midsole, mesh side panels and flat white laces, honestly scuffed. Short white cotton crew socks just visible above the collar of the shoe.

Worn accessories: small silver hoop earrings, one fine silver chain at the throat, two thin silver rings. Hands empty and relaxed at her sides in every view. No bag, no props, no watch.

The attached photo supplies facial identity only — bone structure, features, skin, eye colour and hair colour. Its hairstyle, its off-shoulder black top, its lip colour, its straight-on portrait crop, its expression and its flat frontal light must not carry over; the hair, makeup, wardrobe, framing, standing poses, white studio sweep and lookbook lighting all come from this sheet.

FACE INSET PANEL — shot dead-on: her head faces straight into the lens, chin level, eyes to camera, the camera at her eye height directly in front of her. Not turned, not tilted, not a three-quarter angle. Framed from the collarbones up so the headband, the centre part, the apricot blush, the glossy coral lip and the anorak's colour block all read clearly, calm neutral expression with a relaxed closed mouth.

Same woman, same outfit, same hair and same makeup in all four views and in the face inset. Crisp light nylon clearly readable against soft cotton jersey and dry rigid denim, visible seams where the colour blocks meet, the drawcord gathering the anorak hem into real folds, the denim holding its own stiff wide column with true weight, honest scuffing on the sneakers, real skin texture with true micro pores and natural catchlights in the eyes. 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, shot like a fashion lookbook turnaround: clean even studio lighting, true fabric colour and garment weight.

Subject: a woman with runway-model proportions, nine heads tall — a small head on a long neck, her legs accounting for well over half of her standing height. In each of the four views her whole figure stands at full height from the crown of her hair to the soles of her shoes and fills the panel from top to bottom, never compressed or scaled down to fit inside it. The trouser waistband sits at the natural waist and the long uninterrupted fall of the wide leg reads as extra leg length, never as bulk.

FACE INSET PANEL — shot dead-on: her head faces straight into the lens, chin level, eyes to camera, the camera placed at her eye height directly in front of her. Not turned, not tilted, not a three-quarter angle. Framed from the chest up so the hair, the makeup and the necklaces all read clearly.

HAIR: medium chestnut-brown, gathered into a low, softly messy twisted bun at the nape and tied with a pale pink satin ribbon whose tails hang loose, with wispy face-framing tendrils falling in front of both ears and fine baby hairs at the temples.

MAKEUP: dewy skin, a strong soft-pink blush blended wide and low across the cheeks and under the eyes, softly brushed brows, subtle brown lash-line definition with long lashes, and a glossy rose-pink lip. Pale blue-grey eyes exactly as in the attached reference.

COMPLETE OUTFIT: a cream-white sleeveless ribbed-cotton crop tank with a high round neckline ending just above the navel, carrying a large hand-airbrushed graphic across the chest — two fluffy tabby kittens with blue eyes and small pink bows sitting on a soft green meadow under a yellow-and-green airbrushed halo, one pink feather drifting below them, the paint soft-edged and slightly faded like a real airbrushed tee, with no lettering anywhere in the artwork. Khaki-tan wide-leg trousers in mid-weight twill with a soft pleat at each side of the front, welt pockets at the back, and a long straight leg that puddles slightly over the shoes. A narrow dark brown leather belt with a small squared silver buckle and a tiny silver heart charm hanging from the belt loop. Off-white and beige low-top canvas-and-suede sneakers. Worn accessories: a fine pearl choker layered with a thin silver chain and a small silver heart pendant, small stud earrings, and a beaded bracelet on the right wrist. No bag, no props — both hands empty and relaxed at her sides in every view.

The attached photo supplies facial identity only — bone structure, features, skin, eye colour and hair colour. Do not copy its camera angle, its tight crop, its expression, its lavender backdrop or its flat frontal light; the framing, the standing poses, the white studio sweep and the lookbook lighting all come from this sheet.

Same woman, same outfit, same hair and same makeup in all four views and in the face inset. Soft clinging jersey rib clearly readable against smooth twill and canvas, visible topstitching along the trouser pleats, the airbrushed paint sitting slightly raised on the fabric weave, real skin texture with visible pores and natural catchlights in the eyes. Photorealistic, ultra-detailed, 4K. No text, no logo, no watermark.

Creature reference sheet: TWO views side by side on a clean white studio background — full-body FRONT view sitting upright on its haunches, and a large head-and-chest close-up. Subject — one real chubby orange ginger tabby cat with bold darker-orange mackerel stripes, a white chest bib and white front paws, big round amber eyes with a heavy-lidded smug aristocratic expression, plump round cheeks, damp pink nose, long white whiskers, plush dense fur with individual strands visible, a thick striped tail curled neatly around its front paws.

Full comedic wardrobe, worn over its fur with real cat anatomy: a tiny burgundy felt fez hat with a swinging gold tassel, sitting tilted at an angle between its upright ears so both furry ears stick out prominently on either side; OVERSIZED thick round tortoiseshell-frame glasses, far too big for its face, slipped halfway down its muzzle so it peers judgmentally over the top rims — the thick dark frames clearly visible against the orange fur, lenses catching a soft light reflection; a generously puffed paisley silk cravat in burgundy and gold stuffed at its throat, so voluminous it pushes up into the chin fur; a tiny quilted burgundy silk smoking jacket with a black satin shawl collar, gold twisted-cord piping and loosely rolled cuffs, worn open over the chest so the white bib shows; on its left front leg, a chunky 1990s grey digital calculator wristwatch with a worn rubber strap, sized for a cat. Honest fabric details — visible quilting stitches, slight satin sheen, tiny creases at the jacket elbows, fur pushing out around the cravat and under the fez.

Real cat anatomy and proportions, four legs, sits like a real cat, NOT anthropomorphic, no human posture, no human shoulders, no cartoon styling. Paws empty. Shot like a real studio animal portrait session — true fur grain, natural eye moisture, soft even lighting, sharp focus, subtle 35mm film grain. Photorealistic, ultra-detailed, 4K. Original animal, not resembling any existing film or brand character. No text, no logo, no watermark.

A location-scout photograph of an empty 1990s American multi-camera sitcom apartment living-room set, taken at a 3/4 angle from the main camera position, 9:16 vertical framing. EVENING: two windows on the back wall with cream venetian blinds half open, deep blue dusk sky and warm lit windows of the building across the street beyond them; inside is bright, warm and cosy — ceiling light, a brass floor lamp and a table lamp all on at once, high-key warm tungsten light, soft even fill, no dark corners. A large overstuffed forest-green sofa with soft rolled armrests faces the camera, mustard and cream throw pillows, a crocheted blanket over one armrest; a low wooden coffee table in front on a geometric rug in beige, rust and teal; a boxy wood-cabinet CRT television on a media stand at screen-LEFT, rabbit-ear antenna on top; open shelves crammed with paperbacks, board games, a fishbowl and trailing ivy plants; framed posters on warm cream walls with honey wood trim, hardwood floor. On the RIGHT side of the frame: a heavy wooden front door with a brass deadbolt and chain lock, a coat rack and a small key table beside it. Lived-in oddity: thin cables neatly zip-tied along the baseboards converging at a small homemade electronics hub blinking green under the coffee table, and a chunky grey universal remote lying on the sofa cushion. Real set architecture, physically grounded furniture, true light falloff, subtle 35mm film grain, slightly imperfect framing like a real scouting snap. Empty of people, no cat. NOT a 3D render, NOT CGI, NOT a matte painting, NOT AI-looking. No readable text, no logo, no watermark. Ultra-detailed, 4K.

A location-scout photograph of a 1990s American brick apartment building exterior at dusk, taken from street level across the street at a slight 3/4 angle, 9:16 vertical framing. Deep blue dusk sky above the rooflines, the last faint orange fading at the horizon. A classic red-brown brick walk-up with a stone stoop, arched entry, black iron fire escape zigzagging down the facade, and rows of double-hung windows. Several windows glow warm tungsten yellow; ONE second-floor window is the clear focal point — brighter and cosier than the rest, cream venetian blinds half open, warm lamplight spilling out, a hint of trailing ivy on its sill. Below, a quiet 90s street: a warm street lamp pool on the sidewalk, a boxy 1990s sedan parked at the curb, a fire hydrant, bare street trees. Every object period-correct for 1996 or earlier. Real architecture, true light falloff, subtle 35mm 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.