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Kemonomimi, Japanese clothes
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- Mode
- ultra
- Size
- 1104 x 1824
- Sampling Method
- Euler
- Negative
- lowres, worst quality, low quality, bad anatomy, explicit
Model & LoRA used
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少女、ふさふさな犬の耳、ふさふさな犬のしっぽ。ゆるふわライトブラウンヘア。ミディアムヘア。
緑色の目。巨乳。
濃い緑色の和服。肩の部分が透けて見えるシースルーの服。
ブーゲンビリアの装飾（赤、ピンク、白、オレンジ、黄）が細かく和服全体に豪華に装飾されている。金彩（きんさい）、箔押し、日本刺繍。
ゼンタングルのパターンアート（赤、オレンジ・黄。線の動き：（動的パターン）螺旋・スパイラル。モチーフ：パッションフラワー
）。
ベニバナが装飾されたライトブラウンと白色の波模様のラインアートの帯。
波をモチーフにした金彩が装飾された朱色（赤）の漆塗りの下駄を履いている。
金彩が装飾された朱色（赤）の和傘を手に持っている。
ホワイトバックグラウンド。
NK
💐
ムミ
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
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