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Kylee Violette (Kiy Chan)

Avatar image of Kylee Violette (Kiy Chan)

Kylee Violette (Kiy Chan)

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1girl, solo, light brown hair, very long hair, floor-length ponytail, red eyes, dark sunglasses, vampire costume, crimson velvet gown, black lace trim, high collar, off-shoulder neckline, very large breasts, curvy, wide hips, thick thighs, mature adult woman, aged up, cowboy shot, from below, three-quarter view, looking down at viewer, head tilt, one hand on hip, other hand lifting gown hem, standing on stone step, night, cold moonlight, warm lantern glow, deep crimson and black palette, elegant, aloof The camera sits low and close, looking up at a mature adult woman in a three-quarter view from below, so that her height and the sweep of the gown dominate the frame; the shot is a cowboy shot cutting just below the knees, and the single step of a worn stone staircase under her feet gives her the only purchase in the picture. Her light brown hair is gathered into one enormous ponytail that starts high at the crown, thickens through a wrapped band, and falls in a single heavy column past her hip almost to the back of her knees, its tail drifting slightly to the left with her weight shift. Dark sunglasses ride on her face, the lenses faintly reflecting the lantern below; the eyes behind them are red, and they look down past the tilted frame of the glasses straight at the viewer, chin lowered so the tilt of her head reads as appraisal rather than greeting. She wears a floor-length vampire costume gown in deep crimson velvet: a high standing lace collar frames her throat, the bodice is boned and close over a very large chest that pushes the neckline's black lace edging tight, and the skirt flares from a narrow waist into a wide bell that widens hips and disguises nothing of her curvy, mature figure. Her right hand rests flat on her hip, fingers spread over the velvet; her left hand pinches a fold of the hem and lifts it a hand's width, baring the toe of one black shoe on the step, and that lifted fold hangs in a stiff velvet curl instead of draping, because the fabric is heavy and holds the crease. The step's front edge catches the lantern's warm light from low and to frame right, so the stone is bright underneath and the gown's velvet swallows that light into a dark pool above it, the only specular highlights running along the lace trim, the ponytail's crown and the lenses; cold blue moonlight from behind and above rims her ponytail and shoulders from the far side, and her long shadow climbs the wall behind her, shortened by the low lantern angle. Beyond the step the background drops into unlit stone and ironwork with no other figure in it, lettering on the far wall reduced to illegible worn shapes. Palette limited to crimson velvet, black lace and stone grey, with the warm lantern amber quarantined to the step and the blue moonlight confined to the rim of her hair. Elegant, aloof.
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Original Prompt
a light brown hair longest ponytail and red eyes as wearing a vampire costume gown aged up and sunglasses, largest chest and curvy
Mode
pro
Size
1104 x 1824
Negative
lowres, worst quality, low quality, bad anatomy, explicit
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Avatar image of Kylee Violette (Kiy Chan)
1girl, solo, adult woman, mature female, light brown hair, very long ponytail, ponytail reaching past her hips, red eyes, sunglasses, dark oversized sunglasses, vampire costume, vampire gown, deep crimson velvet gown, high black lace collar, large breasts, curvy, wide hips, thick thighs, narrow waist, hourglass figure, from below, low angle, three-quarter view, standing on one leg, tiptoes, leaning back, one hand on hip, other hand lifting sunglasses, head tilted down, looking at viewer over sunglasses, smirk, one eyebrow raised, open mouth, fang, long fingernails, windblown hair, ponytail streaming sideways, velvet folds, dutch angle, full body, dim interior, candlelight, warm rim light, deep shadows, gothic atmosphere, dramatic, elegant, The camera looks up at her from knee height in a low-angle three-quarter view that runs slightly off-axis as a gentle dutch angle, so the long line of her body rises diagonally across the frame from lower left to upper right. She is one adult woman with a full, exaggerated hourglass figure โ€” large breasts, wide hips, thick thighs, a cinched narrow waist โ€” carried with the poise of a grown woman, no youthful softness left in the silhouette. Her dress is a vampire costume gown of deep crimson velvet that pours from a fitted bodice down to a floor-sweeping hem, velvet nap catching the light in long soft vertical folds and darkening to near-black in the creases, closed at the throat by a tall black lace collar whose scalloped edge stands up around her jaw. Her light brown hair is gathered high at the crown into a single ponytail of extreme length, the tie hidden, the tail falling in a heavy loose wave past her hips and curling at the tip, and the wind takes it sideways across the frame so it crosses in front of her right shoulder. Dark oversized sunglasses sit across her face, their lenses wide enough to swallow her brow line. Her weight is on her right leg, hip pushed out and the velvet bunching over that hip; her left leg is lifted, toe pointed down and hovering just off the floor, so the gown hangs unevenly and the hem swings. Her right hand rests flat on her waist, fingers spread against the velvet. Her left hand has come up to the top bar of her sunglasses and is tilting them down her nose, one long dark-nailed finger hooked over the frame, so the red of her left eye shows beneath the lowered lens in a bright crescent. Her head is tipped down toward the camera and her chin is tucked; she looks straight into the lens over the rim of the sunglasses with a lopsided smirk, one corner of her mouth pulled higher, a single pointed fang showing at the parting of her lips, one eyebrow arched above the frame. The floor beneath her is dark polished stone; her lifted toe hangs above it and her standing shoe presses into the gloss, and the reflection of the red gown smears downward in the polish, darker and softer than the fabric itself. The background is an unlit gothic hall that falls away into black โ€” the suggestion of a stone arch to the left, nothing more โ€” and the only light is a warm low source off to her right and slightly behind, a candle-warm rim that runs along the raised edge of her ponytail, the lace collar's points, the top curve of her shoulder and the leading fold of the velvet, while the front of her bodice and the underside of her jaw stay in cool shadow. Beyond that rim the darkness is absolute. The palette holds to deep crimson, black, warm candle amber on the highlights and the pale light brown of her hair, nothing else admitted. Quiet, dangerous glamour.
Kylee Violette (Kiy Chan)
AI artwork
Avatar image of Kylee Violette (Kiy Chan)
1girl, solo, adult woman, mature female, light brown hair, very long ponytail, ponytail reaching past her hips, red eyes, sunglasses, dark oversized sunglasses, vampire costume, vampire gown, deep crimson velvet gown, high black lace collar, large breasts, curvy, wide hips, thick thighs, narrow waist, hourglass figure, from below, low angle, three-quarter view, standing on one leg, tiptoes, leaning back, one hand on hip, other hand lifting sunglasses, head tilted down, looking at viewer over sunglasses, smirk, one eyebrow raised, open mouth, fang, long fingernails, windblown hair, ponytail streaming sideways, velvet folds, dutch angle, full body, dim interior, candlelight, warm rim light, deep shadows, gothic atmosphere, dramatic, elegant, The camera looks up at her from knee height in a low-angle three-quarter view that runs slightly off-axis as a gentle dutch angle, so the long line of her body rises diagonally across the frame from lower left to upper right. She is one adult woman with a full, exaggerated hourglass figure โ€” large breasts, wide hips, thick thighs, a cinched narrow waist โ€” carried with the poise of a grown woman, no youthful softness left in the silhouette. Her dress is a vampire costume gown of deep crimson velvet that pours from a fitted bodice down to a floor-sweeping hem, velvet nap catching the light in long soft vertical folds and darkening to near-black in the creases, closed at the throat by a tall black lace collar whose scalloped edge stands up around her jaw. Her light brown hair is gathered high at the crown into a single ponytail of extreme length, the tie hidden, the tail falling in a heavy loose wave past her hips and curling at the tip, and the wind takes it sideways across the frame so it crosses in front of her right shoulder. Dark oversized sunglasses sit across her face, their lenses wide enough to swallow her brow line. Her weight is on her right leg, hip pushed out and the velvet bunching over that hip; her left leg is lifted, toe pointed down and hovering just off the floor, so the gown hangs unevenly and the hem swings. Her right hand rests flat on her waist, fingers spread against the velvet. Her left hand has come up to the top bar of her sunglasses and is tilting them down her nose, one long dark-nailed finger hooked over the frame, so the red of her left eye shows beneath the lowered lens in a bright crescent. Her head is tipped down toward the camera and her chin is tucked; she looks straight into the lens over the rim of the sunglasses with a lopsided smirk, one corner of her mouth pulled higher, a single pointed fang showing at the parting of her lips, one eyebrow arched above the frame. The floor beneath her is dark polished stone; her lifted toe hangs above it and her standing shoe presses into the gloss, and the reflection of the red gown smears downward in the polish, darker and softer than the fabric itself. The background is an unlit gothic hall that falls away into black โ€” the suggestion of a stone arch to the left, nothing more โ€” and the only light is a warm low source off to her right and slightly behind, a candle-warm rim that runs along the raised edge of her ponytail, the lace collar's points, the top curve of her shoulder and the leading fold of the velvet, while the front of her bodice and the underside of her jaw stay in cool shadow. Beyond that rim the darkness is absolute. The palette holds to deep crimson, black, warm candle amber on the highlights and the pale light brown of her hair, nothing else admitted. Quiet, dangerous glamour.
Kylee Violette (Kiy Chan)
AI artwork
Avatar image of Kylee Violette (Kiy Chan)
1girl, solo, adult woman, mature female, light brown hair, very long ponytail, ponytail reaching past her hips, red eyes, sunglasses, dark oversized sunglasses, vampire costume, vampire gown, deep crimson velvet gown, high black lace collar, large breasts, curvy, wide hips, thick thighs, narrow waist, hourglass figure, from below, low angle, three-quarter view, standing on one leg, tiptoes, leaning back, one hand on hip, other hand lifting sunglasses, head tilted down, looking at viewer over sunglasses, smirk, one eyebrow raised, open mouth, fang, long fingernails, windblown hair, ponytail streaming sideways, velvet folds, dutch angle, full body, dim interior, candlelight, warm rim light, deep shadows, gothic atmosphere, dramatic, elegant, The camera looks up at her from knee height in a low-angle three-quarter view that runs slightly off-axis as a gentle dutch angle, so the long line of her body rises diagonally across the frame from lower left to upper right. She is one adult woman with a full, exaggerated hourglass figure โ€” large breasts, wide hips, thick thighs, a cinched narrow waist โ€” carried with the poise of a grown woman, no youthful softness left in the silhouette. Her dress is a vampire costume gown of deep crimson velvet that pours from a fitted bodice down to a floor-sweeping hem, velvet nap catching the light in long soft vertical folds and darkening to near-black in the creases, closed at the throat by a tall black lace collar whose scalloped edge stands up around her jaw. Her light brown hair is gathered high at the crown into a single ponytail of extreme length, the tie hidden, the tail falling in a heavy loose wave past her hips and curling at the tip, and the wind takes it sideways across the frame so it crosses in front of her right shoulder. Dark oversized sunglasses sit across her face, their lenses wide enough to swallow her brow line. Her weight is on her right leg, hip pushed out and the velvet bunching over that hip; her left leg is lifted, toe pointed down and hovering just off the floor, so the gown hangs unevenly and the hem swings. Her right hand rests flat on her waist, fingers spread against the velvet. Her left hand has come up to the top bar of her sunglasses and is tilting them down her nose, one long dark-nailed finger hooked over the frame, so the red of her left eye shows beneath the lowered lens in a bright crescent. Her head is tipped down toward the camera and her chin is tucked; she looks straight into the lens over the rim of the sunglasses with a lopsided smirk, one corner of her mouth pulled higher, a single pointed fang showing at the parting of her lips, one eyebrow arched above the frame. The floor beneath her is dark polished stone; her lifted toe hangs above it and her standing shoe presses into the gloss, and the reflection of the red gown smears downward in the polish, darker and softer than the fabric itself. The background is an unlit gothic hall that falls away into black โ€” the suggestion of a stone arch to the left, nothing more โ€” and the only light is a warm low source off to her right and slightly behind, a candle-warm rim that runs along the raised edge of her ponytail, the lace collar's points, the top curve of her shoulder and the leading fold of the velvet, while the front of her bodice and the underside of her jaw stay in cool shadow. Beyond that rim the darkness is absolute. The palette holds to deep crimson, black, warm candle amber on the highlights and the pale light brown of her hair, nothing else admitted. Quiet, dangerous glamour.
Kylee Violette (Kiy Chan)
AI artwork
Avatar image of Kylee Violette (Kiy Chan)
1girl, solo, mature female, aged up, light brown hair, very long hair, high ponytail, ponytail reaching ankles, red eyes, sunglasses, dark oversized sunglasses, halloween gown, crimson velvet gown, black lace trim, large breasts, curvy, wide hips, thick thighs, hourglass silhouette, hourglass figure, from below, low angle, cowboy shot, looking at viewer, head tilt, hand on hip, contrapposto, hair blown to one side, night, moonlight, jack-o'-lanterns, wrought iron gate, dead trees, fog, floating embers, dark purple and black palette, crimson accent The camera sits low and looks up: a single adult woman stands just inside a wrought-iron gate on a fog-damp cobblestone walk, her figure towering slightly against a deep indigo night sky. Her weight rests on her back right leg with the left knee eased forward, hips canted so the crimson velvet of her gown pours over one hip in a heavy fold and clings across the other; the bodice is fitted and boned, the neckline squared low over a full bust, black lace edging the sleeves and the flounced hem that pools a little on the stones. Her left hand sits flat on her hip, thumb hooked at the waist seam, fingers spread against the velvet; her right arm hangs loose, rings catching a thin edge of moonlight, nothing in that hand. Her very long light brown hair is gathered high at the crown into one thick ponytail that falls past her waist and swings out to her right, its tip brushing the lace of her hem; the fine loose strands at her temple lift in a cross-breeze, and the whole rope of hair lags a beat behind the wind because of its weight. Dark oversized sunglasses cover her eyes, their lenses catching two small cold moon-reflections and a faint rim of red where the night light grazes the cheek behind them; her chin is tipped down toward the viewer, the corner of her mouth pulled into a slow, knowing one-sided smirk, one eyebrow arched above the glasses' upper edge. Environment and light: the moon is the only strong source, high and behind her left shoulder, so it rims the top of the ponytail, the shoulder line and the velvet's pile in cold blue-white, throws her shadow forward across the stones toward the camera, and leaves the front of the gown in a deep wine-dark tone lifted only by the warm orange spill of two carved pumpkins flanking the gate. Fog hangs at knee height; a thin skein of it curls around the hem. The pumpkins' light reveals that the velvet's nap catches differently along every fold โ€” bright where the nap faces the moon, near-black where it turns away. Palette is held to deep indigo, black, wine-crimson and pumpkin orange, with light brown hair and the red lens sheen the only other notes. Mood: glamorous midnight mischief.
Kylee Violette (Kiy Chan)

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