Paris, Pastell und Papierkunst – kostenlose KI-Foto-Prompts im Wohlfühl-Look

Hast du diese verspielten Modefotos schon mal gesehen – echte Menschen, kombiniert mit bunten Kreidezeichnungen, die aussehen wie aus einem Kinderbuch? Genau dieser Look liegt gerade voll im Trend, und das Schöne daran: Du kannst ihn selbst mit KI nachbilden. In diesem Artikel teile ich mit dir eine Sammlung kostenloser Prompts, mit denen du ähnliche Bilder erstellen kannst – ganz ohne Kamera, Studio oder teure Ausrüstung. Ob Eiffelturm-Flair, verregneter Pariser Charme oder nächtliche Sternenhimmel-Vibes: Die Prompts sind so gestaltet, dass du sie direkt ausprobieren und nach Belieben anpassen kannst.

👉 Du willst tiefer einsteigen und professionell wirkende KI-Fotos erstellen?

Dann schau dir gerne SOULLENS an.

Prompt 1:

A full-length editorial cover frame at low three-quarter eye level captures a young woman standing centre-right against a high-key seamless bright white paper backdrop while a hand-drawn child’s illustration in oil pastel and black wax crayon dominates the upper two-thirds of the frame, her shoulders framed by a drawn Métro entrance arch. The world is constructed editorial mixed media — flat bright white paper cyc with no horizon line, no shadow seam, no magazine text or masthead anywhere on the page. Across the upper portion of the paper a Hector Guimard Art Nouveau Métro entrance is rendered in heavy black wax-crayon outline — two flowing organic stems curving up from below the frame and meeting in a delicate arch above her head, the stems filled in grass green oil pastel like climbing vines, two stylised lily-of-the-valley lanterns hanging from the stems coloured in butter yellow with vermillion-red highlights and small black accent dots, the central enamel sign reading “MÉTROPOLITAIN” hand-lettered in black wax capitals on a saturated vermillion-red background panel with a cobalt-blue border. Below the arch the word “ABBESSES” hand-lettered in smaller black crayon on a lemon-yellow rectangle. Around the base of the arch scribbled cobblestones in cool grey with small accents of pink and orange wax. A small drawn pigeon in cobalt-blue outline waddles at her feet. Hand-lettered in uneven crayon capitals along the bottom-left of the page, the words “PARIS T’ATTEND” appear in alternating sanguine red, cobalt blue, lemon yellow, ivy green and orange oil pastel, wax visibly bumpy on the paper grain. The person from the reference image is just clearing her brows, lips lifted in calm warm half-smile, eyes lifted slightly to read the Métro sign above her head. She wears a knee-length cobalt-blue trench coat — fine gabardine in saturated French-blue, double-breasted, belt knotted at the waist not buckled, collar popped, epaulettes at the shoulder — open over a fine cream cashmere knit and slim white tapered ankle trousers, with low scarlet-red leather pointed flats. A scarlet wool beret tilted over her right ear. Around her neck a small Hermès silk carré in butter yellow and grass green folded into a thin band and tied at the throat in a single neat knot, ends tucked. A single fine gold chain inside the knit, a small gold hoop at each ear. In her right hand she carries an Hermès Birkin 30 in Togo leather, Vert Cypress emerald green, palladium hardware — turn-lock clochette dangling, two rolled handles held flat in her grip, the bag riding at her hip. Her left hand pulls the trench collar slightly closer to her throat. The triangulation locks: the Métro arch’s two flowing green stems frame her head and shoulders so the arch reads as a colour-halo around her bob and red beret; the diagonal of her trench belt and the diagonal of the green Birkin handle counter the arch’s symmetry; the colour triangle — scarlet beret at the top, cobalt trench in the middle, emerald Birkin at the bottom — pulls the eye top-to-bottom; camera low three-quarter holds all three reads as one composition. Light is built from three named sources — a large overhead softbox throwing flat high-key flood across the paper and her shoulders in cool morning daylight, a beauty dish at three-quarter front raking warm soft light across her face and the Birkin so the Togo green reads full saturation, and a low fill from the front lifting the trousers and flats evenly with no hard shadow. The drawn arch and lanterns receive the same flat flood so wax pastel reads with real grain and bump. Full pore map across forehead cheekbones and nose bridge, fine lines at outer eye corner visible and earned, individual brow hairs sharp, lip texture full and natural, freckles registering as real pigment, subsurface scatter warm on lit cheek and cool on shadow side, gabardine showing real woven sheen, Togo leather showing genuine pebbled hide grain with palladium turn-lock catching a single sharp specular, silk carré showing real twill weave, wool beret showing real felted texture, oil pastel showing real wax bump on paper grain. Captured on Phase One IQ4 150MP at 8K, restrained analog grain, matte finish, photographic realism on the figure layered with hand-illustrated graphic overlay, looks shot and hand-drawn never generated, joyful editorial frame, Frame 2 of 10. No magazine text, no masthead, no logo, no page number.

Prompt 2:

A full-length editorial cover frame at low three-quarter eye level captures a young woman standing centre-frame against a high-key seamless bright white paper backdrop while a hand-drawn child’s illustration in oil pastel and black wax crayon spans the lower half and right edge of the frame, her hands holding an open drawn book. The world is constructed editorial mixed media — flat bright white paper cyc with no horizon line, no shadow seam, no magazine text or masthead anywhere on the page. Across the lower-right portion of the paper a Parisian bouquiniste book stall is rendered in heavy black wax-crayon outline — a long rectangular wooden box mounted on a low parapet wall, the box hinged open to display its contents, the exterior coloured in saturated forestgreen oil pastel like the real Seine quai bookstalls, with brass-yellow corner brackets and a black hand-lettered sign reading “LIVRES ANCIENS” along the top edge. Spilling from the open box: a stacked riot of drawn books in every colour — sanguine red, cobalt blue, butter yellow, ivy green, hot pink, orange — each book with a small black-crayon spine title and a different patterned cover, some with drawn illustrations on the front (a tiny Eiffel Tower, a heart, a star, a fleur-de-lys). A few vintage postcards drawn in pastel pinks and yellows fanned out along the edge. A small drawn ginger cat in butter-yellow oil pastel with black wax stripes curls up on top of the book pile, eyes closed, content. Behind the stall a low scribbled stone parapet wall in cool grey wax, and beyond it a thin band of cobalt-blue Seine water with a small drawn tour boat in vermillion red sailing by. Hand-lettered in uneven crayon capitals along the upper-left of the page, the words “MILLE HISTOIRES” appear in alternating cobalt, hot pink, butter yellow, ivy green and vermillion oil pastel, wax visibly bumpy on the paper grain. The person from the reference image is just clearing her brows, lips lifted in a soft warm half-smile, eyes lowered toward an open drawn book in her hands as though just discovered. She wears a knee-length sleeveless shift dress in saturated hot pink — fine cotton poplin, mock-neck collar, fitted A-line cut, hem at the knee — paired with bare legs and cobalt-blue leather slingback sandals with a low block heel and a small grass-green bow at the toe. Around her neck a slim grass-green silk ribbon tied in a bow. A small gold hoop at each ear. A pair of round tortoiseshell sunglasses pushed up onto the top of her bob. Her hands are lifted at chest height holding a drawn open book, the book itself rendered in oil-pastel — pages in cream wax-resist, text suggested in tiny black crayon scribble, a single illustrated drawing of a Parisian rooftop on the right page in cobalt and butter-yellow — her real fingertips meeting the drawn page edge so photo and illustration tie together at her grip. Slung over her left forearm and tucked between her hand and the book sits an Hermès Birkin 30 in Togo leather, Bleu Saint-Cyr French blue, palladium hardware, turn-lock clochette dangling, two rolled handles draped over her arm. The triangulation locks: the drawn book stall’s long horizontal in the lower-right anchors the bottom of the frame; her standing line at three-quarter angle gives the vertical that crosses it at her hip; her open book held at chest height becomes the focal point where photo and drawing fuse; the colour triangle — hot-pink dress, cobalt sandals and Birkin, butter-yellow ribbon centres — sings against the rainbow book pile behind; camera low three-quarter holds all three reads as one composition. Light is built from three named sources — a large overhead softbox throwing flat high-key flood across the paper and her shoulders in cool late-morning daylight, a beauty dish at three-quarter front raking warm soft light across her face and the dress so the hot pink registers full saturation, a low fill from the front lifting the Birkin and ankles evenly with no hard shadow. The drawn stall, books, cat and Seine receive the same flat flood so wax pastel reads with real grain and bump. Full pore map across forehead cheekbones and nose bridge, fine lines at outer eye corner visible and earned, individual brow hairs sharp, lip texture full and natural, freckles registering as real pigment, subsurface scatter warm on lit cheek and cool on shadow side, cotton poplin showing real fine weave, Togo leather showing genuine pebbled hide grain with palladium turn-lock catching a single sharp specular, sunglasses showing real tortoiseshell pattern, sandal leather showing genuine soft hide grain, oil pastel showing real wax bump on paper grain. Captured on Phase One IQ4 150MP at 8K, restrained analog grain, matte finish, photographic realism on the figure layered with hand-illustrated graphic overlay, looks shot and hand-drawn never generated, joyful editorial frame, Frame 4 of 10. No magazine text, no masthead, no logo, no page number.

Prompt 3:

A full-length editorial cover frame at low three-quarter eye level captures a young woman standing centre-right against a high-key seamless bright white paper backdrop while a hand-drawn child’s illustration in oil pastel and black wax crayon spans the left half and upper portion of the frame, her right hand pressed to a drawn pastry-shop window. The world is constructed editorial mixed media — flat bright white paper cyc with no horizon line, no shadow seam, no magazine text or masthead anywhere on the page. Filling the left half and upper portion of the paper a Parisian pâtisserie window is rendered in heavy black wax-crayon outline — a tall rectangular shop frontage with a curved upper arch, the surrounding façade coloured in saturated mint-green oil pastel with butter-yellow and gold-wax decorative scrollwork around the window frame in the style of Ladurée’s classic exterior, gold-painted hand-lettering across the top arch reading “PÂTISSERIE” in tall black wax serifs on a butter-yellow ground. Inside the window a tiered display in full crayon riot: rows of drawn macarons in hot pink, lemon yellow, mint green, lavender, cobalt blue, vermillion red, coral orange, cream — each macaron with two domed cookie halves and a visible filling line, stacked in pyramids. A central tiered cake stand holds three drawn cakes — a strawberry millefeuille in pink and cream, a chocolate religieuse in chestnut brown topped with a small ivory ball, a lemon tart in butter yellow with a glossy black-crayon highlight. Around the display: a few drawn éclairs in cobalt-blue glaze, three croissants in butter-amber, a small drawn cake topped with a single sanguine-red strawberry. Beside the window a drawn Parisian sparrow in cool-grey wax pecks at a fallen crumb. Behind the shop in the upper-right a sliver of drawn Haussmannian rooftop in cobalt with a small black-crayon chimney. Hand-lettered in uneven crayon capitals along the bottom-right of the page, the words “JUSTE UN” appear in alternating hot pink, mint green, butter yellow, cobalt and lavender oil pastel, wax visibly bumpy on the paper grain. The person is just clearing her brows, lips lifted in a soft warm half-smile, eyes set toward the drawn macaron display in playful longing. She wears a two-piece skirt set in saturated mint green — fine cotton poplin sleeveless top with a small Peter Pan collar trimmed in white, mother-of-pearl button placket down the front, fitted at the waist, paired with a knee-length pleated mint-green skirt with knife pleats falling cleanly — bare legs, hot-pink leather pointed flats with a small vermillion-red bow at the toe. Around her neck a slim hot-pink silk ribbon tied in a bow. A small gold hoop at each ear. Her right hand is lifted at chest height, palm flat and pressed to the drawn window glass — fingers splayed gently, the real hand meeting the wax-crayon glass at the touchpoint, photo and illustration fusing at her fingertips, a soft fog of breath drawn in pale white wax around her hand. Her left hand carries an Hermès Birkin 30 in Togo leather, Vert Cypress emerald green, palladium hardware, turn-lock clochette dangling, two rolled handles held flat in her grip, the bag riding at her hip. The triangulation locks: the drawn pâtisserie window’s strong vertical rectangle in the left half anchors the frame; her right arm extended to the window glass makes the horizontal that crosses into the drawing; her standing line at three-quarter angle gives the diagonal; the colour triangle — mint set, hot-pink flats and ribbon, emerald Birkin — sings against the rainbow macaron display; camera low three-quarter holds all three reads as one composition. Light is built from three named sources — a large overhead softbox throwing flat high-key flood across the paper and her shoulders in cool late-morning daylight, a beauty dish at three-quarter front raking warm soft light across her face and the mint set so the green registers full bright saturation, a low fill from the front lifting the Birkin and ankles evenly with no hard shadow. The drawn window, macarons, cakes and sparrow receive the same flat flood so wax pastel reads with real grain and bump. Full pore map across forehead cheekbones and nose bridge, fine lines at outer eye corner visible and earned, individual brow hairs sharp, lip texture full and natural, freckles registering as real pigment, subsurface scatter warm on lit cheek and cool on shadow side, cotton poplin showing real fine weave with crisp pleat structure, mother-of-pearl buttons catching small specular highlights, Togo leather showing genuine pebbled hide grain with palladium turn-lock catching a single sharp specular, leather flats showing real soft hide creasing at the toe, oil pastel showing real wax bump on paper grain. Captured on Phase One IQ4 150MP at 8K, restrained analog grain, matte finish, photographic realism on the figure layered with hand-illustrated graphic overlay, looks shot and hand-drawn never generated, joyful editorial frame, Frame 5 of 10. No magazine text, no masthead, no logo, no page number.

Prompt 4:

A full-length editorial cover frame at low three-quarter eye level captures a young woman standing centre-frame against a high-key seamless bright white paper backdrop while a hand-drawn child’s illustration in oil pastel and black wax crayon spans the entire upper two-thirds of the frame, her right hand resting on a drawn carousel pole. The world is constructed editorial mixed media — flat bright white paper cyc with no horizon line, no shadow seam, no magazine text or masthead anywhere on the page. Filling the upper two-thirds of the paper a Parisian carousel is rendered in heavy black wax-crayon outline — a circular tented canopy at the top with scalloped edges, the canopy striped in alternating saturated vermillion red and butter yellow oil pastel like a circus tent, the central column rising from below the frame, four drawn carousel horses arranged around the central pole at different heights mid-gallop. The four horses, each a distinct colour: front-left horse in pale powder-blue body with hot-pink mane and tail, gold saddle and cobalt reins; front-right horse in butter-yellow body with vermillion mane, mint-green saddle; rear-left horse in white wax body with cobalt-blue mane and vermillion saddle; rear-right horse in lavender body with butter-yellow mane and grass-green saddle. Each horse with a visible black-crayon eye, flared nostril, raised hoof mid-prance, and a thin spiral pole running through it. Around the canopy edge a string of drawn lights in alternating cobalt, vermillion, butter yellow and grass green wax dots. Above the canopy in the centre top a small drawn flag in vermillion red with a butter-yellow star. A few crayon birds drawn in flight in the upper corners. Hand-lettered in uneven crayon capitals along the bottom-right of the page, the words “TOURNE TOURNE” appear in alternating hot pink, butter yellow, cobalt, vermillion and lavender oil pastel, wax visibly bumpy on the paper grain. The person from the reference image is just clearing her brows, lips lifted in a soft warm half-smile turning toward open laugh, eyes lifted slightly toward the drawn canopy above her. She wears a knee-length babydoll dress in saturated lavender — fine cotton lawn, square neckline, short puffed sleeves, empire waist with a slim white ribbon tie just under the bust, full gathered skirt cutting at the knee — paired with white cotton over-the-knee socks pushed slightly down at the calf, and butter-yellow leather Mary Jane shoes with a small black grosgrain bow at the toe. Around her neck a slim vermillion-red silk ribbon tied in a bow. A small gold hoop at each ear. Her right hand is lifted at shoulder height, palm closed gently around the drawn carousel pole of the front-left blue horse — the real hand meeting the wax-crayon spiral pole at the touchpoint, photo and illustration fusing at her grip, as though she is about to step onto the carousel. Her left hand carries an Hermès Birkin 30 in Togo leather, Rose Confetti pink, palladium hardware, turn-lock clochette dangling, two rolled handles held flat in her grip, the bag riding at her hip. The triangulation locks: the drawn carousel’s circular canopy at the top of the frame anchors the world overhead; her right arm extended to the pole makes the diagonal connecting body to drawing; her standing line at three-quarter angle gives the vertical that crosses the canopy’s horizontal sweep; the colour triangle — lavender dress, butter-yellow Mary Janes, pink Birkin — sings against the rainbow carousel above; camera low three-quarter holds all three reads as one composition. Light is built from three named sources — a large overhead softbox throwing flat high-key flood across the paper and her shoulders in cool midday daylight, a beauty dish at three-quarter front raking warm soft light across her face and the dress so the lavender registers full saturation, a low fill from the front lifting the socks and Mary Janes evenly with no hard shadow. The drawn carousel, horses and birds receive the same flat flood so wax pastel reads with real grain and bump. Full pore map across forehead cheekbones and nose bridge, fine lines at outer eye corner visible and earned, individual brow hairs sharp, lip texture full and natural, freckles registering as real pigment, subsurface scatter warm on lit cheek and cool on shadow side, cotton lawn showing real fine weave with crisp gather, cotton socks showing real fine knit with slight slouch, Mary Jane leather showing genuine soft hide grain, Togo leather showing genuine pebbled hide grain with palladium turn-lock catching a single sharp specular, oil pastel showing real wax bump on paper grain. Captured on Phase One IQ4 150MP at 8K, restrained analog grain, matte finish, photographic realism on the figure layered with handillustrated graphic overlay, looks shot and hand-drawn never generated, joyful editorial frame, Frame 6 of 10. No magazine text, no masthead, no logo, no page number.

Prompt 5:

A full-length editorial cover frame at low three-quarter eye level captures a young woman standing centre-frame against a high-key seamless bright white paper backdrop while a hand-drawn child’s illustration in oil pastel and black wax crayon spans the entire upper two-thirds of the frame, a vast circular rose window centred directly behind her head. The world is constructed editorial mixed media — flat bright white paper cyc with no horizon line, no shadow seam, no magazine text or masthead anywhere on the page. Filling the upper portion of the paper a Notre-Dame rose window is rendered in heavy black wax-crayon outline — a perfect circle roughly the width of her shoulders extended outward, divided into twelve radiating petal-shaped segments meeting at a central round boss, with an outer concentric ring of twelve smaller circular medallions, all the lead-lines drawn in thick black wax. Each of the twelve large petal segments filled with saturated stained-glass colour in oil pastel — alternating cobalt blue, vermillion red, butter yellow, grass green, hot pink, lavender — the central boss in a deep cobalt with a small butter-yellow eight-pointed star inside. The twelve outer medallions filled with smaller stained-glass figures suggested in pastel scribble — tiny crayon saints in robes of orange, pink, and cobalt. Below the rose window a drawn Gothic stone arch in cool grey wax frames the lower edge, with two drawn flying buttresses suggested in black crayon along the upper-left and upper-right corners. At her feet on the white paper three drawn votive candles in butter-yellow flame on cream wax candle bodies, a soft halo of warm wax glow scribbled around each flame in butter and vermillion. Hand-lettered in uneven crayon capitals along the bottom-right of the page, the words “DOUCE LUMIÈRE” appear in alternating cobalt, vermillion, butter yellow, grass green and hot pink oil pastel, wax visibly bumpy on the paper grain. The person from the reference image is just clearing her brows, lips lifted in a soft warm half-smile turned reverent, eyes set forward into the camera in calm late-afternoon stillness. She wears a knee-length sleeveless A-line dress in saturated vermillion-red velvet — fine silk velvet with soft nap, scoop neckline, fitted bodice, A-line skirt cutting at the knee — paired with ivory cotton tights and butter-yellow leather Mary Jane shoes with a small cobalt-blue grosgrain bow at the toe. Around her neck a single fine gold chain with a small drawn medallion hanging at the sternum (the medallion rendered in butter-yellow wax — a tiny photo-meets-drawing accent). A small gold hoop at each ear. Her left hand is lifted at chest height holding a single small drawn votive candle in butter-yellow flame, the candle body in cream wax resting in her real fingers — photo and illustration meeting at her grip. Her right hand carries an Hermès Birkin 30 in Togo leather, Bleu Saint-Cyr French blue, palladium hardware, turn-lock clochette dangling, two rolled handles held flat in her grip, the bag riding at her hip. The rose window’s centre aligns precisely with the back of her head so the stained glass reads as a vast colour-halo radiating outward from her bob. The triangulation locks: the drawn rose window’s perfect circle behind her head is the radial anchor of the entire frame; her standing line at three-quarter angle gives the vertical that bisects the circle; her lifted candle held at chest height continues the vertical down the centre line, photo and drawing fusing at the flame; the colour triangle — vermillion velvet dress, butter-yellow Mary Janes and candle, cobalt Birkin — sings against the rainbow stained glass; camera low three-quarter holds all reads as one composition. Light is built from three named sources — a large overhead softbox throwing flat high-key flood across the paper and her shoulders in cool late-afternoon daylight, a beauty dish at three-quarter front raking warm soft light across her face and the velvet so the vermillion registers full saturation with rich nap shadow, a low fill from the front lifting the tights and Mary Janes evenly with no hard shadow. The drawn rose window, stone arch and candles receive the same flat flood so wax pastel reads with real grain and bump. Full pore map across forehead cheekbones and nose bridge, fine lines at outer eye corner visible and earned, individual brow hairs sharp, lip texture full and natural, freckles registering as real pigment, subsurface scatter warm on lit cheek and cool on shadow side, silk velvet showing real fine nap shifting between matte and lustre, ivory cotton tights showing real fine knit, Mary Jane leather showing genuine soft hide grain, Togo leather showing genuine pebbled hide grain with palladium turn-lock catching a single sharp specular, fine gold chain showing real metallic specular, oil pastel showing real wax bump on paper grain. Captured on Phase One IQ4 150MP at 8K, restrained analog grain, matte finish, photographic realism on the figure layered with hand-illustrated graphic overlay, looks shot and hand-drawn never generated, joyful editorial frame, Frame 8 of 10. No magazine text, no masthead, no logo, no page number.

Prompt 6:

A full-length editorial cover frame at low three-quarter eye level captures a young woman standing centre-frame against a high-key seamless bright white paper backdrop while a hand-drawn child’s illustration in oil pastel and black wax crayon spans the entire upper two-thirds of the frame and curves down both sides, her right hand gripping the curved handle of a drawn open umbrella above her head. The world is constructed editorial mixed media — flat bright white paper cyc with no horizon line, no shadow seam, no magazine text or masthead anywhere on the page. Filling the upper portion of the paper a single oversized open umbrella is rendered in heavy black wax-crayon outline — a wide dome canopy with eight visible panels meeting at a central tip, each of the eight panels filled with a different saturated oil-pastel colour: vermillion red, cobalt blue, butter yellow, grass green, hot pink, lavender, coral orange, mint green — a true rainbow umbrella. A black waxcrayon curved cane handle drops down to her hand. From below the umbrella’s edges drawn raindrops fall through the upper portion of the frame in saturated cobalt-blue oil-pastel teardrops, dozens of them in varying sizes scattered across the white paper around her, never touching her body — the umbrella keeps her dry inside its colour-dome. A few raindrops splash on the white paper at her feet in cobalt wax-crayon star-bursts. In the lower-left and lower-right corners drawn puddles in cobalt and turquoise wax with thin white wax-resist reflection lines suggesting wet pavement, two small drawn rubber boots floating as reflections in the puddles. A single drawn Parisian sparrow in cool grey shelters under a tiny crayon awning at the lower-right edge of the frame. Hand-lettered in uneven crayon capitals along the upper-left of the page above the umbrella, the words “IL PLEUT” appear in alternating cobalt, vermillion, butter yellow, hot pink and grass green oil pastel, wax visibly bumpy on the paper grain. The person from the reference image is just clearing her brows, lips lifted in a wide warm smile turning toward open delight, eyes lifted slightly to the underside of the rainbow canopy above her. She wears a knee-length classic trench coat in saturated butter yellow — fine cotton gabardine in bright lemon-yellow, double-breasted, belt knotted at the waist not buckled, collar popped, epaulettes at the shoulder — open over a fine cream cashmere knit and slim white tapered ankle trousers. On her feet glossy cobalt-blue rubber rain boots with a hot-pink rubber sole, mid-calf height, the rubber catching small specular highlights. Around her neck a small Hermès silk carré in hot pink and butter yellow folded into a thin band and tied at the throat. A single fine gold chain inside the knit, a small gold hoop at each ear. Her right hand is lifted above her head, fingers closed around the drawn black wax-crayon umbrella handle — the real hand meeting the drawn handle at the touchpoint, photo and illustration fusing at her grip, the entire rainbow canopy held by her actual fingers. Her left hand carries an Hermès Birkin 30 in Togo leather, Vert Cypress emerald green, palladium hardware, turn-lock clochette dangling, two rolled handles held flat in her grip, the bag riding at her hip — protected from the drawn rain by being inside the umbrella’s colour-dome. The triangulation locks: the drawn rainbow umbrella’s wide dome at the top of the frame is the radial anchor; her lifted right arm is the diagonal connecting body to drawing; her standing line at three-quarter angle gives the vertical that bisects the dome; the colour triangle — butter-yellow trench, cobalt rain boots, emerald Birkin — sings against the eight-colour umbrella above and the cobalt rain around her; camera low three-quarter holds all reads as one composition. Light is built from three named sources — a large overhead softbox throwing flat high-key flood across the paper and her shoulders in cool overcast daylight (slightly cooler than earlier frames to suggest rain-day light), a beauty dish at three-quarter front raking warm soft light across her face and the trench so the butter yellow registers full bright saturation, a low fill from the front lifting the rain boots and trousers evenly with no hard shadow. The drawn umbrella, raindrops, puddles and sparrow receive the same flat flood so wax pastel reads with real grain and bump. Full pore map across forehead cheekbones and nose bridge, fine lines at outer eye corner visible and earned, individual brow hairs sharp, lip texture full and natural, freckles registering as real pigment, subsurface scatter warm on lit cheek and cool on shadow side, gabardine showing real fine woven sheen, cashmere knit showing real soft fibre, rain boots showing real glossy rubber surface with crisp specular, Togo leather showing genuine pebbled hide grain with palladium turn-lock catching a single sharp specular, silk carré showing real twill weave, oil pastel showing real wax bump on paper grain. Captured on Phase One IQ4 150MP at 8K, restrained analog grain, matte finish, photographic realism on the figure layered with hand-illustrated graphic overlay, looks shot and hand-drawn never generated, joyful editorial frame, Frame 9 of 10. No magazine text, no masthead, no logo, no page number.

Prompt 7:

A full-length editorial cover frame at low three-quarter eye level captures a young woman standing centre-frame against a high-key seamless bright white paper backdrop while a hand-drawn child’s illustration in oil pastel and black wax crayon spirals from the upper-right corner down across the entire frame and pools at her feet, a cascade of stars and night sky. The world is constructed editorial mixed media — flat bright white paper cyc with no horizon line, no shadow seam, no magazine text or masthead anywhere on the page. Spiralling from the upper-right corner of the paper a great Van-Gogh-spiral night sky is rendered in saturated cobalt-blue and ultramarine oil pastel — wide curling brushstrokes of layered cobalt wax that swirl in concentric arcs across the upper third of the frame, the white paper showing through in places like wax-resist clouds. Embedded in the cobalt swirl, dozens of stars in butter-yellow oil pastel, each star a small five-point with a radiant halo of butter and white wax around it. A large drawn crescent moon in butter yellow with a soft hot-pink interior glow sits in the upper-left, eyes closed in a small smiling face drawn in black crayon. The cobalt sky cascades down from the upper-right toward her in a flowing river of stars, the swirl tightening as it pours past her shoulder, individual stars trailing behind her like a comet’s tail, the whole night-sky-river bleeding off the bottom-left of the frame in a final sweep of cobalt and yellow wax. A single drawn shooting star streaks across the upper-centre with a long butter-yellow tail. At her feet on the white paper the spilled stars pool in a small drift of butter-yellow wax dots, three of them clearly settling into her open palm. Hand-lettered in uneven crayon capitals along the upper-left of the page, the words “LA VOIE LACTÉE” appear in alternating butter yellow, cobalt, hot pink, grass green and lavender oil pastel, wax visibly bumpy on the paper grain. The person from the reference image is just clearing her brows, lips lifted in a soft warm wonder, eyes lowered toward her open right palm where three drawn butter-yellow stars rest as though caught from the sky. She wears a fitted white cotton tee in fine jersey — round neck, short sleeves, tucked tight at the waist — paired with a saturated cobalt-blue full ball-gown skirt in tulle and satin, knee-length, the skirt dramatic and voluminous like a midnight sky around her hips. Bare legs, metallic silver leather pointed flats with a butter-yellow grosgrain bow at the toe. Around her neck a slim butter-yellow silk ribbon tied in a bow. Small gold hoops at each ear. Her right hand is open and lifted at chest height, palm up, three drawn butter-yellow stars resting on her fingers — the real hand cradling the wax-crayon stars, photo and illustration fusing in her cupped palm. Her left hand carries an Hermès Birkin 30 in Togo leather, Bleu Saint-Cyr French blue, palladium hardware, turn-lock clochette dangling, two rolled handles held flat in her grip, the bag riding at her hip — the cobalt Birkin echoing the cobalt night sky. The triangulation locks: the drawn night-sky cascade pours diagonally from upper-right to lower-left across the entire frame; her standing line at three-quarter angle counters the diagonal with a soft vertical; her open right palm catching three stars at chest height is the photo-meets-drawing fusion point that pins the entire composition; the colour triangle — white tee, cobalt skirt and Birkin, butter-yellow stars and ribbon — sings against the rainbow night sky pouring around her; camera low three-quarter holds all reads as one composition. Light is built from three named sources — a large overhead softbox throwing flat high-key flood across the paper and her shoulders in cool evening daylight, a beauty dish at threequarter front raking warm soft light across her face and the cotton tee so the white registers clean and the cobalt skirt holds full saturation, a low fill from the front lifting the flats and ankles evenly with no hard shadow. The drawn sky, moon, stars and shooting-star receive the same flat flood so wax pastel reads with real grain and bump. Full pore map across forehead cheekbones and nose bridge, fine lines at outer eye corner visible and earned, individual brow hairs sharp, lip texture full and natural, freckles registering as real pigment, subsurface scatter warm on lit cheek and cool on shadow side, cotton jersey showing real fine knit, tulle and satin skirt showing real volumetric crinkle and soft sheen, silver leather flats showing real metallic shimmer, Togo leather showing genuine pebbled hide grain with palladium turn-lock catching a single sharp specular, oil pastel showing real wax bump on paper grain. Captured on Phase One IQ4 150MP at 8K, restrained analog grain, matte finish, photographic realism on the figure layered with hand-illustrated graphic overlay, looks shot and hand-drawn never generated, hero cover frame, alternate Frame 10 closer. No magazine text, no masthead, no logo, no page number.

Prompt 8:

A full-length editorial cover frame at low three-quarter eye level captures a young woman seated at a small bistro round marble table set centre-right against a high-key seamless bright white paper backdrop, while a hand-drawn child’s illustration in oil pastel and black wax crayon dominates the upper two-thirds of the frame. The world is constructed editorial mixed media — flat bright white paper cyc with no horizon line, no shadow seam, no magazine text or masthead anywhere on the page. Across the upper portion of the paper the Eiffel Tower is rendered in heavy black waxcrayon outline, the four iron legs splayed and meeting at three drawn arch tiers, lattice work suggested in scribbled cross-hatching, the spire pushing nearly to the top edge of the page. The tower’s three tier panels are filled with bold oil-pastel colour — vermillion red on the top tier, French ultramarine on the middle, lemon yellow on the lower — wax visibly bumpy on the paper grain. Around the tower’s base scribbled grass green strokes suggest the Champ-de-Mars. Top-right corner: a fat sanguine-red wax sun with butter-yellow rays radiating outward and a smiling face in black crayon. Drifting across the upper sky two small puffy clouds in cobalt blue outline with white interior. Flying past the tower’s mid-tier a single hand-drawn red bird in flight. Hand-lettered in uneven crayon capitals across the upper-left of the page the word “BONJOUR” appears in alternating colours — B in vermillion, O in ivy green, N in cobalt, J in sanguine, O in lemon yellow, U in orange, R in grass green — wax visibly bumpy. The person from the reference image is just clearing her brows, lips lifted in a soft warm half-smile, eyes lifted slightly toward the drawn tower. She wears a sleeveless A-line shift dress in saturated sunshine yellow — fine cotton poplin, square neckline, cap shoulder, fitted at the waist, hem cutting at the knee — paired with bare legs and tan leather Mary Jane shoes with a low block heel. A small grass-green silk ribbon tied in a bow around her neck. A small gold hoop at each ear. She is seated on a folding wicker bistro chair, one elbow on the marble table top, the other hand lifting a small white porcelain espresso cup to her lips, pinky naturally curled, steam reading as a faint warm wisp. On the marble before her: a small saucer with a single sugar cube, a folded copy of Le Figaro, and a half-eaten butter croissant on a paper liner. Beside her right foot, leaning against the leg of the chair, sits an Hermès Birkin 30 in Togo leather, Rose Confetti pink, palladium hardware, turn-lock clochette dangling, two rolled handles upright. The triangulation locks: the Eiffel Tower’s vertical centreline aligns with the rim of the espresso cup at her mouth so spire and cup share one axis from top to bottom of the frame; her seated diagonal — knees angled left, torso angled right, lifted cup completing the line — counters the tower’s perfect vertical; the pink Birkin grounds the bottom-right corner against the yellow dress and the multi-coloured tower so the three brightest objects form a triangle; camera at low three-quarter holds it all as one composition. Light is built from three named sources — a large overhead softbox throwing flat high-key flood across the paper and her shoulders in cool morning daylight, a beauty dish at three-quarter front raking soft light across her face and the cup so the yellow dress registers full bright saturation, a low fill from the front lifting the marble and croissant evenly with no hard shadow. The drawn tower receives the same flat flood so wax pastel reads with real grain and bump. Full pore map across forehead cheekbones and nose bridge, fine lines at outer eye corner visible and earned, individual brow hairs sharp, lip texture full and natural, freckles registering as real pigment, subsurface scatter warm on lit cheek and cool on shadow side, cotton poplin showing real fine weave, Togo leather showing genuine pebbled hide grain with palladium turn-lock catching a single sharp specular, croissant showing real flake and butter sheen, marble showing real cool veining, oil pastel showing real wax bump on paper grain. Captured on Phase One IQ4 150MP at 8K, restrained analog grain, matte finish, photographic realism on the figure layered with hand-illustrated graphic overlay, looks shot and hand-drawn never generated, joyful editorial frame, Frame 1 of 10. No magazine text, no masthead, no logo, no page number.

Prompt 9:

A full-length editorial cover frame at low three-quarter eye level captures a young woman standing centre-right against a high-key seamless bright white paper backdrop while a hand-drawn child’s illustration in oil pastel and black wax crayon spans the entire upper two-thirds and curves into the lower-left quadrant of the frame, her left foot planted on a drawn cobblestone step. The world is constructed editorial mixed media — flat bright white paper cyc with no horizon line, no shadow seam, no magazine text or masthead anywhere on the page. Filling the upper portion of the paper Sacré-Cœur basilica is rendered in heavy black wax-crayon outline at the top of a hill — three domed white wax-crayon towers, the central main dome larger and rounder, two smaller domes flanking, each capped with a small black cross, the basilica body coloured in cream wax-resist with cobalt-blue shadow lines. Below the basilica a green-pastel hill of grass slopes down with scribbled grass-green strokes, dotted with hot-pink and butter-yellow wildflowers. A flight of drawn cobblestone stairs in cool grey wax descends from the basilica down through the centre of the frame toward her feet, each step outlined in black crayon. To the left of the stairs an artist’s easel drawn in butter-amber wood wax holding a small painted canvas in vermillion and cobalt scribble — a tiny self-referential drawing-of-a-drawing. A drawn caricature artist in striped Breton shirt and beret stands beside the easel with a drawn paintbrush. To the right two drawn sparrows perch on the railing in cool grey. Around the lower-left base of the stairs a few crayon Montmartre vines in grass green with hot-pink wisteria blooms. Hand-lettered in uneven crayon capitals along the bottom-right of the page, the words “MONTE LA COLLINE” appear in alternating cobalt, vermillion, butter yellow, grass green and hot pink oil pastel, wax visibly bumpy on the paper grain. The person from the reference image is just clearing her brows, lips lifted in a soft warm half-smile, eyes lifted slightly to the basilica above. She wears a coral-orange wrap blouse in fine silk — saturated coral, long puffed sleeves gathered at the wrist, V-neck wrap front tied at the waist in a soft knot — tucked into a knee-length cobalt-blue A-line skirt in cotton sateen with a slim hot-pink leather belt at the waist. Bare legs, butter-yellow leather pointed flats with a grass-green grosgrain bow at the toe. Around her neck a small Hermès silk carré in cobalt and butter yellow folded into a thin band and tied at the throat. A small gold hoop at each ear. Her left foot is raised one step higher than her right, mid-climb, weight transferring up the drawn cobblestone stairs — her real shoe planted on a wax-crayon step so photo and illustration tie together at her feet. Her right hand carries an Hermès Birkin 30 in Togo leather, Jaune Citron lemon yellow, palladium hardware, turn-lock clochette dangling, two rolled handles held flat in her grip, the bag riding at her hip. Her left hand lifts the hem of the cobalt skirt slightly, the gesture of a woman climbing stairs. The triangulation locks: the drawn cobblestone stairs descending from upper-centre to her feet establish the strong diagonal pulling the eye top-to-bottom through the frame; her climbing line — left foot higher, body angled three-quarter — moves the same diagonal; the basilica’s three domes at the top crown the composition; the colour triangle — coral blouse, cobalt skirt, lemon Birkin — sings against the green hill and white domes; camera low three-quarter holds all reads as one composition. Light is built from three named sources — a large overhead softbox throwing flat high-key flood across the paper and her shoulders in cool early-afternoon daylight, a beauty dish at three-quarter front raking warm soft light across her face and the coral blouse so the orange registers full saturation, a low fill from the front lifting the skirt and flats evenly with no hard shadow. The drawn basilica, stairs, easel and sparrows receive the same flat flood so wax pastel reads with real grain and bump. Full pore map across forehead cheekbones and nose bridge, fine lines at outer eye corner visible and earned, individual brow hairs sharp, lip texture full and natural, freckles registering as real pigment, subsurface scatter warm on lit cheek and cool on shadow side, silk blouse showing real warp-and-weft sheen, cotton sateen skirt showing real soft drape, leather belt showing genuine hide grain, Togo leather showing genuine pebbled hide grain with palladium turn-lock catching a single sharp specular, leather flats showing real soft hide creasing, silk carré showing real twill weave, oil pastel showing real wax bump on paper grain. Captured on Phase One IQ4 150MP at 8K, restrained analog grain, matte finish, photographic realism on the figure layered with hand-illustrated graphic overlay, looks shot and hand-drawn never generated, joyful editorial frame, Frame 7 of 10. No magazine text, no masthead, no logo, no page number.

Und wenn du merkst, dass du Lust auf mehr bekommst – also auf eine richtig durchdachte Prompt-Sammlung mit Seasonal Collections, Portrait-Prompts und sogar einem Video-Prompt-Generator – dann könnte SOULLENS* genau das Richtige für dich sein. SOULLENS* ist ein System, das ich selbst nutze, um schnell hochwertigen visuellen Content zu erstellen, ohne ewig an Formulierungen zu tüfteln.

Aber erstmal: Viel Spaß mit den kostenlosen Prompts! 🎨

PS: Falls du nach dem Ausprobieren merkst, dass du dir eine größere, wachsende Sammlung wünschst – SOULLENS* lohnt sich wirklich einen Blick.