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Cat Mouth, Kemonomimi
Show Parameters
- Original Prompt
- @image1 キャラクターをSDキャラにする。
- Mode
- flash
- Size
- 1088 x 1824
Prompt Helper
Model & LoRA used
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1girl, solo, fluffy dog ears, fluffy dog tail, soft fluffy light brown hair, medium hair, green eyes, large breasts, dark green kimono, sheer see-through shoulders, bougainvillea decoration, red pink white orange yellow flowers, gold paint, gold foil stamping, japanese embroidery, zentangle pattern, red orange yellow spiral patterns, passionflower motif, obi, wave pattern line art, light brown and white obi, safflower decoration, vermilion lacquered geta, gold wave motifs on geta, holding wagasa, vermilion wagasa, gold decorated umbrella, white background, full body, from below, standing on one leg, head tilt, looking at viewer, light smile, one eye closed, tail wagging, arm up, dutch angle, simple background, no background elements,
A girl seen from a low three-quarter angle, the camera slightly below her hip line and tilted a few degrees so her vertical axis runs off-plumb and the umbrella's shaft cuts a long diagonal across the empty white field. She stands balanced on her right geta alone, the left leg lifted and bent back at the knee so the left geta hangs behind her calf, its lacquered sole catching a thin highlight; her weight drives through the right hip, the right shoulder dropping in answer, torso twisted a half-turn toward the lens. Her left arm is raised high and the vermilion wagasa rests across the open palm and curled fingers at shoulder height, canopy tipped back so its underside of gold wave motifs faces the camera in a shallow dome; her right hand sits flat against her own collarbone, fingers spread over the sheer shoulder panel, pushing the dark green silk slightly askew so the transparent fabric there shows the skin beneath and the embroidered bougainvillea behind it in two overlapping planes. Her head tips toward her raised hand, right ear perked upright and left ear flopped forward over her brow, both edges fuzzed with fine fur lit from the front; her fluffy light brown medium hair breaks into soft clumps around the ears and lifts at the ends as if caught mid-motion, one strand flicking across her cheek. She looks straight into the lens with her left eye wide and green, the right eye squeezed shut in a wink, mouth pulled into a small closed-lip smile with one corner higher, cheeks faintly warmed. A large fluffy tail curls out from behind her right hip, sweeping forward in a loose arc that ends level with her thigh, the fur separating into visible tufts at the tip where the pose's momentum has thrown it.
The kimono is dense with ornament: bougainvillea in saturated red, pink, white, orange and yellow clustered over the whole dark green ground, their papery bracts picked out by raised gold foil stamping and Japanese embroidery whose metallic thread ridges catch the light on each petal edge; between the flowers run zentangle bands of red, orange and yellow line work whose spirals turn tighter as the curve travels toward her waist, one large passionflower drawn out in that spiral idiom across the left sleeve. The obi at her waist is a light brown and white wave-patterned line-art band, its crests rolling horizontally, with safflower blooms laid over the waves in small repeated groups; the obi's knot sits at her back, visible as a shape behind her right hip where the twist of her torso has brought it round. The geta on her supporting foot are vermilion lacquer so glossy the studio white reflects in a hard bright patch along the sole's edge, their thongs disappearing between her toes, and the gold wave motifs on the platform flash where the light rakes across them. The wagasa's vermilion paper is taut between its bamboo ribs, gold wave painting riding over the curve of each panel, and the thin gold-and-red handle passes through her fingers.
One frontal studio light, cool and even, no second source; its presence reads only through soft contact shadows pooled under the supporting geta and a pale shadow of her lifted leg on the white floor, and through the gold threads and lacquer throwing brighter specular hits than the matte silk. The background is a completely empty white field with no horizon, no floor line, no props; she and the umbrella are the only shapes in it. Palette restricted to the deep green kimono ground, the warm red-pink-orange-yellow of the flower and spiral work, the metallic gold, her light brown hair and the white void. Playful, cleanly graphic.
NK
Convert image1 into a retro pixel art style, characterized by visible square pixels, sharp aliased edges, flat blocky shading, and a limited color palette, while keeping image1's composition — the fox-eared girl with a fluffy tail, wearing a green floral kimono and geta sandals, standing with one leg lifted while winking and holding an open red paper umbrella — and the plain white background unchanged.
NK
1girl, solo, fluffy dog ears, fluffy dog tail, light brown hair, medium hair, green eyes, dark green kimono, sheer see-through shoulder fabric, bougainvillea decoration all over kimono, red pink white orange yellow flowers, gold paint, gold foil, Japanese embroidery, zentangle pattern art, red orange yellow spiral lines, passion flower motif, light brown obi, vermilion red lacquered geta, gold wave motif on geta, white background, from below, cowboy shot, standing on one leg, leaning forward, looking at viewer, head tilt, one eye closed, open-mouth smile, arm up, full body, simple background, transparent background,
Low camera looking up at a single girl who balances on her left foot, the right knee lifted with the right foot tucked behind the left calf, so the vermilion lacquered geta on the raised foot turns its sole slightly toward the lens while the left geta plants flat on an implied floor and bears all her weight. She leans forward from the hips toward the lens, her fluffy dog tail sweeping up behind her hips in a wide arc away from the raised leg, its fur ruffled and parted by the lean. Her medium-length light brown hair falls forward past her cheeks with the tilt of her head, the bangs parting so both green eyes stay fully visible; the fluffy dog ears stand up from the crown of her head and tip forward with the same lean, their inner fur catching the light. The dark green kimono is cut with a wide collar laid back off the nape, and across both shoulders the fabric turns sheer and see-through, the pale skin of her shoulders and upper arms showing through the thin translucent band where it crosses the green. She raises her left arm high with the elbow slightly bent and the hand open, fingers spread; the right hand rests flat against her own hip just above the light brown obi, gripping the fabric so a shallow fold gathers under the fingers. The obi is a broad light brown silk band wrapped firmly and tied at the front in a flat knot, its weave matte beside the lacquer and gold of everything else.
The kimono's ornament fills the whole garment in dense layers: bougainvillea blossoms in red, pink, white, orange and yellow cluster down the chest, crowd the sleeve edges and run along the hem, each papery bract drawn petal by petal, the white and yellow flowers paling against the green ground while the red and orange advance; between them the gold paint and gold foil catch the light in hard small sparks, gold leaf edges and gold-veined embroidery thread running over the blossoms in fine Japanese stitchwork, the gold sitting raised above the green cloth rather than printed on it. Over the lower skirt and up one sleeve, the zentangle pattern art takes hold in red, orange and yellow: tight ribboned spiral lines coil and unwind in dynamic spirals that thicken and thin along their curves, and at the centre of each spiral a passion flower opens in layered filaments. Because her hem is kicked out by the raised leg, the spiral bands on the skirt curve with it and are seen from below, their line weight shifting as the cloth pulls.
The lifted right foot's geta hangs in the foreground, its vermilion lacquer glossy and reflecting a hard small highlight along the strap and rim, and its gold-painted wave motifs curve across the sole platform. Both geta have thick lacquered platforms and dark thong straps gripped between the toes. One soft shadow falls beneath the planted left geta only, and a second, fainter shadow pools under the raised foot, offset by its height off the floor, which is the one tell that she is truly airborne on one leg.
The background is pure white and empty, unbroken behind her, with no horizon, no props and no floor line except the shallow contact shadow; her dark green silhouette and the gold sparks across the kimono hold the entire frame. The light comes evenly from the front and slightly above, catching the gold foil and the lacquer in clean specular points, darkening the shadowed underside of the raised hem and leaving the fur of her ears and tail soft and rimmed with light. Palette is the deep green of the kimono, the light brown of hair, obi and fur, and the hot reds, oranges, yellows and foil golds of the decoration against white, nothing else admitted. Bright, luxurious, playful.
NK
1girl, solo, fluffy dog ears, fluffy dog tail, light brown hair, medium hair, green eyes, large breasts, dark green kimono, sheer see-through fabric on shoulders, bougainvillea print, floral print, red flowers, pink flowers, white flowers, orange flowers, yellow flowers, gold paint detailing, gold foil, japanese embroidery, zentangle, spiral pattern, passionflower motif, obi, wave pattern, safflower motif, geta, vermilion lacquered geta, gold wave motif, holding wagasa, vermilion wagasa, gold decoration, white background, full body, from below, standing on one leg, looking up, light smile, wind, floating hair, dynamic angle,
Seen from a low camera placed near the floor, the girl rises against a pure white seamless void with no horizon line, no floor plane and no cast environment beyond a soft contact shadow tucked under her geta; the low angle lengthens her from the soles of her red-lacquered geta to the tips of her fluffy dog ears. She balances on her right geta with the left foot lifted and tucked slightly behind the right ankle, toes pointed, the raised wooden tooth of the left sandal catching the light; her weight rides through the right hip so her torso tilts in a gentle counter-curve, chest pushed forward and the dark green silk of the kimono drawn taut across her large breasts. Her right hand grips the bamboo shaft of the vermilion wagasa at shoulder height, fingers wrapped around the ribbed handle, the umbrella canopy open and tilted back over her head so its underside of red lacquer and gold wave motifs arcs above her and its ribs radiate outward; her left arm hangs loose with the sleeve swinging free, fingertips barely brushing the air.
Her head is tipped back, chin lifted, green eyes looking up along the shaft of the umbrella and past its paper rim toward the white nothing above; her mouth curves into a faint closed-lip smile, one eyebrow faintly raised, a fresh open curiosity rather than a pose for the lens. The fluffy light brown medium-length hair is stirred by a wind that also lifts the hem of her kimono: strands sweep sideways across her cheek and the blunt ends of the medium cut flick outward, while her two soft dog ears flop and bounce against that gust, and her fluffy tail swings up behind her hip, its plume splayed by the same gust. The dark green kimono is a full tapestry: sheer gauze panels at both shoulders let the white light pass through so the fabric floats translucent over her skin, and below them the whole garment is encrusted with bougainvillea in red, pink, white, orange and yellow, each papery bract stitched in Japanese silk thread and edged with gold foil and painted gold leaf that catches highlights; between the blossoms, zentangle line-art in red, orange and yellow coils into dynamic spirals and opens into passionflower motifs with their filaments drawn as fine radiating curls. The obi cinches her waist in light brown and white bands of continuous wave-pattern line art, small safflower rosettes scattered along the crests of the waves.
The wagasa's red lacquer canopy shows gold-painted wave motifs running over each rib; light passes through the paper so the ribs read darker against it, and the gold leaf on the outside glints only along the upper curve, a single-variable truth of a translucent surface lit from behind and above. On her feet, the vermilion lacquered geta shine with the same gold wave decoration across their platforms and thongs, one sandal planted, the other lifted with its tooth clear of the ground. The palette is held to dark green, vermilion red, light brown, white and the warm gold of the foil, with the bougainvillea's five colours breaking through as accents. Bright, ornate, buoyant.
NK
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