把潮汐折進手工紙的層層陰影
以象牙白紙層模擬潮線，讓邊緣厚度和真實投影構成畫面，不依賴顏色填滿資訊。
✍️ 紙雕最容易生成成一張平面漸變。把紙的厚度、層間縫隙和投影方向一起說清楚，層數反而不用太多。赤陶色只佔一小塊，能讓視線進入潮線，同時不破壞白紙的層次。
📋 提示詞 自然語言613 字元
An original tactile paper relief artwork photographed from a slightly oblique overhead angle, horizontal 3:2. Layered ivory handmade-paper curves form a sweeping tidal inlet, with a single muted terracotta crescent recessed near the lower edge. Visible delicate fibers and cut paper thickness, small consistent gaps between layers, crisp soft-edged shadows from upper-left raking daylight. Mounted on a pale warm-gray surface, ample calm margin. Minimal sculptural composition, physically layered paper rather than painted gradients. No text, numbers, logos, watermark, border, grid or collage of separate images.
📋 中文譯寫版 自然語言
從略微傾斜的俯視機位拍攝一件原創手工紙浮雕，橫向3:2。層層象牙白手工紙弧線形成蜿蜒的潮汐水道，下緣嵌入一彎低飽和赤陶色月牙。可見細小紙纖維與裁切厚度，各層之間保留均勻細縫，左上方掠射日光形成清晰而邊緣柔和的投影。作品放在淺暖灰表面，四周留出安靜空白。極簡雕塑構圖，必須是實體紙層而非繪製漸變。不要文字、數字、標誌、水印、邊框、網格或多圖拼貼。
