[Jing Yuan Cosplay] A Master Chess Player Avoids Showy Moves, but Let's First Freeze the Game

To prepare for this Jing Yuan shoot, from outfit styling to polishing poses, we ultimately chose two completely different scenes to complete this set of final photos.

First, let's talk about the outfit and styling—it looks simple, but the details are truly abundant. The white wig was styled several times to create a fluffy yet textured curve, and when paired with the red hair ribbon, the character's recognizability instantly stood out. For makeup, I intentionally avoided overly intense eyeshadow, instead using earth tones to deepen the contours, giving the eyes a look that was half-asleep yet naturally imposing. The texture of the costume itself was where the most effort went. The three-color tailoring of black, white, and red displays entirely different lines in dynamic and static states. In particular, the golden beast-head shoulder armor is much more three-dimensional in reality than on camera; several layers of EVA foam padding were used inside to support its weight without collapsing. The black parts of the bracers and belt were treated with subtle dark patterns, which, under the studio lights, reflected light in a mature, non-showy way. The boots were heavy-soled black leather with gold trim; they were actually very heavy, putting quite some pressure on the ankles when standing for long periods, but putting them on not only made me look taller but was also a key part of the character's powerful presence.

The prop greatsword was undoubtedly another protagonist of the shoot. I adjusted the weight distribution of this sword three times to ensure the center of gravity was stable when holding it with one hand. The blue and gold color scheme of the blade and the orb structure in the center are highly eye-catching; under dark-scene lighting, the reflections from the blue and gold areas beautifully outlined the prop's contour.

During the shooting process, I expressed different emotions in the two scenes. For the first set with a solid background, I specially chose a white fabric printed with calligraphy fonts as the backdrop, sitting and holding the sword in a somewhat casual pose, which perfectly echoed the calm composure of \"a master chess player avoids showy moves\"—not overly intense, but rather a settled sense of weighing and contemplation. The second set was a dark, black-and-red scene. I hung some metal iron chains in the background, paired with a mix of cool and warm red and blue lights, and scattered red petals on the ground to emphasize a tense feeling of being bound but ready to break free at any moment. The standing shot looking back actually took many tries because we had to ensure the cape's flutter in the back was just right, keep the tip of the greatsword from getting too close to the ground, and maintain a cold, sharp gaze in front of the lens. It was indeed exhausting, but the final photos turned out very satisfying.

The retouching approach for this shoot did not involve over-the-top liquefying or body alterations, preserving the natural silhouette advantages brought by the costume itself. I prefer this realistic yet cinematic visual texture. The lighting was deliberately set to highlight the metallic sheen of the shoulder armor and props, making the entire set look clean and cool without feeling flat. I hope this set conveys Jing Yuan's vibe of appearing lazy, yet actually having calculated everything and navigating the situation with effortless ease.