Bright stylised open world
Clean simplified geometry, saturated daylight and polished real-time materials.
Style transfer
One frame, 50 ways so far.
Every frame here began as the same photograph. What each prompt pins down is written into that prompt: most hold the pose, the person, the scene and the camera, and let the rendering do the rest. Some deliberately let go of more, because a depth map that kept its colour would not be a depth map. The point was never that nothing moves. It is that what moves gets decided before anything is generated, instead of being discovered in the output afterwards.
50 is where the set has got to, not where it stops. New transfers land here as I make them, and every number on this page is counted from what is actually on it.
The source frame
One photograph, 50 times over.
What the prompts pin down
- Environment and object placement43 of 50
- Pose and body orientation42 of 50
- Identity and likeness41 of 50
- Camera position and angle40 of 50
- Composition39 of 50
- Clothing and accessories31 of 50
- Crop and framing21 of 50
- Lighting and shadow15 of 50
- Colour relationships4 of 50
Counted from the preservation instructions in the 50 prompts themselves. Nothing is held across all of them, and it should not be: a wireframe has no lighting to keep and an x-ray has no palette to protect. Each frame lists its own.
The subject is my own character, generated and owned outright. That is why she can turn up this many times over with nobody’s permission but mine.
The set
50 transfers, grouped by discipline.
Open any one to wipe between the source frame and the transfer, and to read what that prompt was told to hold. Search by look, or narrow to a family.
Games and real-time 3D
Real-time engines across four console generations, from baked shadows to global illumination.
6 of 6
Crime-game open world
Current-generation open world at gameplay fidelity, with the street dressed as an in-game district.
Early-2000s console open world
Low-poly geometry, baked lighting and a draw distance that gives up early. The tower still reads.
Late-nineties platform game
Chunky low-detail forms, soft low-resolution textures and dreamy sunset light.
Modern open-world capture
Physically based materials, global illumination and screen-space reflections, rendered as though caught mid-session rather than posed.
Tropical open-world action
Dense tropical planting, warm natural sun and slightly dated real-time rendering.
Pixel, voxel and low-poly
Everything on a grid: sprites, cubes and faceted planes, where the resolution is the point.
7 of 7
Blocky avatar platform
Blocky avatar proportions, simple materials and a platform look that reads instantly to anyone under fifteen.
Eight-bit video game
A tight palette, chunky sprites and hard pixel edges, held to what an eight-bit tile set could actually draw.
Flat cartoon crewmate
Flat cartoon proportions, thick outlines and a visor where a face used to be.
Low-poly 3D
Faceted planes and visible triangles, with flat shading doing the work of detail.
Pixel art
Deliberate pixel placement with limited colour and clean dithering, at a resolution you can count.
Voxel art
Cubic volumes on a consistent grid, where the resolution is the whole aesthetic.
Voxel world, photoreal subject
The location rebuilt as cubes while the subject stays entirely photographic. The most interesting instruction in the set: one thing changes, one thing must not.
Animation
Frame-by-frame disciplines, drawn and built, from cel painting through to clay.
6 of 6
Clay stop-motion
Fingerprints in the clay, uneven surfaces and the slight wobble of a frame-by-frame build.
Hand-painted cel animation
Clean ink lines, flat fills and painted backgrounds sitting on a different plane to the figure.
Modern anime
Contemporary anime finish: precise linework, layered gradients and rendered light.
Nineties Japanese anime
Cel-era anime with hand-inked lines, limited palettes and painted skies.
Paper-cut animation
Cut paper on layers, hard edges, and visible shadow gaps between the planes.
Stop-motion puppet
A fabricated puppet with visible joints, real fabric and an armature under the surface.
Handmade and practical
Made with hands and materials, then photographed. Nothing here pretends to be digital.
7 of 7
Architectural scale model
Presentation-model finish: neutral materials, clean bases, scale figures and studio lighting.
Cardboard model
Corrugated edges, exposed flutes and hand-cut tabs. The city as a weekend project.
Hand-embroidered textile
Satin stitch, visible thread direction and a weave that shows through. The whole frame as needlework.
Interlocking toy bricks
Studded plastic, moulded hands and visible seams. Every surface becomes something you could stand on and regret.
Miniature diorama
A built miniature with real depth of field, where the tell is the scale of the dust.
Plush toy
Stitched felt, embroidered features and stuffed volume, with the street rebuilt as soft goods.
Practical model set
Built rather than rendered: foam, paint, glue and forced perspective, lit like a real set.
Drawn, printed and painted
Marks on a surface: ink, graphite, pigment, pressed plates and printing ink.
10 of 10
Architectural blueprint
White line on cyanotype blue, dimensioned and annotated like something meant to be built.
Coloured pencil
Layered coloured pencil, visible hatching direction and the tooth of the paper showing through.
Editorial fashion illustration
Wax crayon, oil pastel and charcoal on warm cream stock, worked fast and left rough.
Fine graphite pencil
Graded graphite, worked tone and paper grain, with highlights lifted rather than left.
Linocut print
Carved marks, hard black fields and the chatter of a blade in lino. Reduction printing, not filtering.
Loose pencil sketch
Fast, searching pencil work with the construction lines left in, and the confidence to leave them.
Minimal contour line
A single continuous contour describing the whole scene with the fewest possible marks.
Minimal monochrome ink
One weight of ink, no shading, no tone. The composition has to survive on line placement alone.
Risograph print
Misregistered spot colour, visible halftone and ink sitting in layers. Riso's happy accidents, on purpose.
Thick oil on canvas
Loaded brush, visible ridges, pigment sitting proud of the weave. Colour mixed on the surface rather than the palette.
Optical and capture
What different sensors and lighting actually see, from infrared through to radiography.
6 of 6
Backlit monochrome
Extreme backlight, blown highlights and a white rim separating the subject from near black.
Infrared photography
False-colour infrared: foliage goes white hot, sky goes deep, skin turns waxen.
Low-key editorial portrait
Near-silhouette exposure against a blown background, holding just enough detail to read.
Monochrome motion study
High-contrast black and white with motion smear, treating a still street as a study in movement.
Night vision
Image-intensifier green, blown highlights and sensor grain, as though shot through a scope.
X-ray
Radiographic inversion: dense material bright, soft tissue faint, everything reduced to what it stops.
Digital and technical
The renderer showing its work: depth, topology, viewports and the look of older hardware.
5 of 5
3D wireframe
Edges only. Structure, topology and the geometry underneath, with nothing shaded.
Early CGI
Gouraud shading, low texture resolution and the plastic sheen of rendering circa 1995.
Modelling viewport, solid mode
Solid-mode viewport: matcap shading, no textures, geometry read purely as form.
Monochrome depth map
Pure depth encoded as luminance. No texture, no colour, only how far away everything is.
Y2K digital futurism
Chrome gradients, lens flare and iridescent plastic. The future as it looked around 1999.
Material studies
One material substituted for everything, so the scene reads only through its surface.
3 of 3
Glass sculpture
Cast and polished glass: refraction, caustics and internal reflection where solid material was.
Polished chrome
Everything remapped to polished chrome, so the scene is legible only through what it reflects.
Stained glass
Leaded sections, saturated glass and light arriving from behind rather than in front.
Nothing matches that. Clear the search, or pick a family.
The rest of the same argument
Founding access
The set is the demonstration, not the product.
Every frame here came out of the same discipline Transora is built around: decide what has to survive before you generate anything, write it down, and hold the model to the list. Not all 50 hold the same things, and they should not. A wireframe has no lighting to keep.
What the 50 have in common is that the decision came first. Doing that by hand is a long prompt per frame, a lot of rejected output, and the discipline to write the list out again every single time. The product exists so the list is the default rather than the homework.