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スタイルが少し違うかも?
LoRA作成時になんか雰囲気違うなと思った‥ 顔の崩し方はかなり好きだった
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- Original Prompt
- 1girl:upper body,purplelong straight hair,purple eye,navy gothic dress,
- Mode
- flash
- Size
- 1104 x 1824
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solo, 1girl, upper body, portrait, long straight purple hair, purple eyes, navy gothic dress, high collar, lace trim, synthetic cubism, collage-like elements, bold geometric patterns, flat color planes, mixed media, sharp angles, abstracted subject matter, multiple viewpoints, rich colors, geometric fragmentation, faceted surfaces, interlocking shapes, looking at viewer, neutral expression, bare ears, hair unadorned, large head-to-frame ratio, head turned in profile and three-quarter at once
The picture is built from a bust seen simultaneously from profile, three-quarter and slightly from below, so the girl's head is drawn twice in a single interlocking mass: a purple profile with the nose in a crisp wedge on the left, and a purple three-quarter face with both eyes on the right, the two planes butted together along one hard angular seam that runs from crown to jaw. Her long straight purple hair does not fall in strands but in flat vertical slabs, some deep violet, some lavender, some pale lilac, each cut as an acute trapezoid and stacked in overlapping registers so the hair reads as combed, segmented and straight at the same time; one slab swings out to the right and is cropped by the frame edge. The purple eyes are drawn as faceted almond shapes, one shown frontally with a circular pupil, one in profile as a narrow dark sliver, both ringed by a hard graphic lashline. Her navy gothic dress occupies the lower two-thirds: a high navy collar cut as a sharp chevron under the chin, the bodice broken into interlocking navy, indigo and black planes with a lace-trimmed edge drawn as a row of alternating notched triangles, and one tatted lace cuff at the throat rendered as a small dense pattern of white-inked arcs pasted over the paint. All edges of the figure are sharp and drawn, not softened.
The ground is a collage: torn and cut paper fragments in ochre, cobalt, vermilion and turquoise, glued in overlapping diagonal bands with visible deckled fibers and a faint shadow under each edge, one fragment drawn as music staves, one as a woven check that sets up the bold geometric patterns, all of them laid flat with no attempt at perspective behind her. Around the head, interlocking shapes lock like puzzle pieces: a brick red wedge behind the profile, a mustard triangle under the jaw, a teal quadrant behind the hair slab. Palette is disciplined and rich: navy, indigo and black in the dress; violet through lavender in hair and iris; ochre, cobalt, vermilion, turquoise and cream in the collage ground, with a single warm orange plane tucked under the chin to make the skin vibrate against the dark collar. Nothing here is lit by a real lamp: value contrast alone carries form, each flat plane sits at one value and the darkest blacks gather in the collar, the lashline and the seam between the two faces, so the picture is constructed, not modelled.
She looks straight out at the viewer from the frontal eye, chin slightly lifted in the profile side, mouth a short horizontal stroke set between the two views: a cool, self-possessed stare. The whole surface is faceted, cut-and-pasted, hard and forward, geometric and confident.
ぽみ (闇人零式)
1girl, solo, hyper close-up, eye focus, close-up on face, extreme close-up on eyes, gray hair, wolf cut, shaggy layered gray hair, choppy bangs, brown eyes, large brown iris detail, thick lashes, single off-shoulder gothic mini-dress, one bare shoulder exposed, black velvet bodice with lace trim, synthetic cubism, collage-like elements, bold geometric patterns, flat planes of color, mixed media, sharp angles, abstracted subject, simultaneous multiple perspectives, rich colorful palette, geometric fragmentation, interlocking shapes, looking at viewer, head tilted, one eye unobstructed wide and luminous, the other eye refracted into three stacked profile shards, angular jawline rebuilt as a polygon, neck cut into overlapping planes, shoulder line broken into a stepped ridge of shapes, dutch angle, from above, angled slightly to the side, abstract background of interlocking flat color planes, high contrast, cubist fragmentation of facial features
An extreme hyper close-up crops everything away but the girl's eyes and the mask of her face, shot from slightly above and tilted off level in a dutch angle, so the head fills the entire frame edge to edge and the collar of the dress just grazes the lower margin. Her gray wolf-cut hair is built as a mane of rigid triangular shards and interlocking diagonal planes of pale silver, ash and cool slate, layered short at the crown and falling to a jagged fringe of straight choppy bangs across the brow, each strand translated into a sharp-angled wedge of flat color with no soft blend. Her eyes are the subject and the whole image is composed to serve them: each is drawn with a big detailed brown iris, layered lashes and a hard white highlight, and each sits inside its own facet, so the left eye is seen straight on while the right eye and the bridge of the nose are simultaneously rendered in small overlapping side views and stacked profile slices, the profile of her nose and lips floating as a detached interlocking shape beside the frontal eye. Brows are flat black paper-cut bars, one tilted up more than the other with a faint arch of skeptical attention. One bare shoulder is exposed where the dress's single off-shoulder neckline slides off, that shoulder painted as a clean glowing plane catching the light; the other shoulder is occluded by the frame edge and the angular fall of hair. The black velvet bodice appears at the bottom edge as sharp black planes with lace trim resolved into a repeating zigzag of white triangular notches. Skin is not modeled but built: warm ochre, salmon and cream planes abut each other along crisp angular seams, and the shading of the cheek is a hard-edged rust polygon. A collage logic runs through the surface — newsprint-printed paper texture, torn-edge cream, a scrap of patterned blue, an opaque block of cadmium red pasted over one temple, all with visible cut edges and a shallow pasted-down shadow so the layering reads as physical. The palette is rich and colorful despite the gray hair: silver, ash and charcoal for the wolf cut, deep saturated browns and amber in the irises, warm ochre and salmon in the skin planes, black velvet and white lace at the collar, with vivid red, cobalt and teal geometric shards breaking through the interlocking background planes. The background is a simple abstract mosaic of flat interlocking color shapes pressed almost flat against her face, blurred only in that it carries no subject at all, so nothing competes with the gaze; the only light is a hard planar light from the upper left that lays a bright white facet across the left brow and iris and throws a cut-out shadow polygon falling from the nose plane down across the cheek. Her chin is tipped down and her eyes come up under the shaggy fringe to meet the viewer directly, lashes heavy, holding the look. Bold, fractured, unblinking.
ぽみ (闇人零式)
最初の作品
ミカン_Zerin
1girl, solo, front view, upper body, light-purple hair, light-purple eyes, half-up braided hairstyle, light-purple gothic dress, high ruffled collar, black lace trim, synthetic cubism, collage elements, bold geometric patterns, flat planes of color, mixed media, sharp angles, abstracted subject, simultaneous multiple-perspective face, rich colorful palette, geometric fragmentation, interlocking shapes, pasted-paper edges, palette-knife planes, looking at viewer, faint closed-lip smile, head tilted slightly, one shoulder raised
A single girl shown from the front, framed at the upper body, the head and shoulders filling most of a vertical canvas. Her face is broken into interlocking flat planes and shown from more than one angle at once: a near-profile wedge at the left cheek cut hard against a straight-on eye block, the two light-purple eyes set at slightly different heights and widths so the face reads as seen from two viewpoints simultaneously, one eye larger and more frontal, the other compressed into a narrow almond pasted on a side-facing plane. Her expression splits the same way: the right half of the mouth curls up in a faint closed-lip smile while the left corner stays flat and cool, one brow arched high on a pale plane, the lower lid of the left eye lowered a touch. Every plane holds its colour flat, bounded by a hard dark contour, no blending.
Her light-purple hair is built from overlapping cut-paper shapes, pale lilac, cool mauve and a deeper violet in the shadow planes, swept back from the forehead in angular slabs that lock together like folded card. The half-up braid runs along the upper left of her skull as a stair-step of quadrilateral segments, each one a slightly different tone of light purple, tapering behind her ear and hanging forward past her cheek after a loose purple ribbon; stray sharpened wisps jut out at the crown. The rest of the hair drops behind her shoulders in broad faceted locks that break the outer silhouette into straight cut edges.
The light-purple gothic dress fills the lower half of the frame: a high ruffled collar of pale lilac planes fanning up around her jaw, each ruffle a separate stiff lobe with a dark rim, and beneath it the bodice resolved into interlocking violet and mauve polygons. Black lace trim runs along the collar edge and the neckline as a row of dark half-round notches, and one shoulder is cut away to show the braid's ribbon against bare skin. A pasted collage fragment of printed lavender-and-black lace sits slightly proud of the painted surface at the collarbone, its torn white edge visible, casting a thin real shadow down onto the canvas beneath it; a sliver of newsprint and a rectangle of dull gold paper are glued into the dress's shadow planes with visible scissor-cut corners lifted a fraction off the board.
The ground behind her is a shallow relief of muted ochre, dusty rose and pale teal planes fitted edge to edge, with a curved guitar-like arc and a striped vertical band lending shallow depth without becoming a room. The only light is a raking, low-angle illumination from the upper left, which throws hard cast shadows to the right of every pasted shape -- the collage patches, the ruffles, the braid's ribbon -- so the picture's depth comes from the real thickness of the glued paper rather than from modelling; the painted planes themselves stay flat and unshaded. The palette is disciplined and rich: light purple in three registers (pale lilac, mauve, deep violet) across hair, eyes and dress, black at the contours and lace, tempered by ochre, dusty rose, pale teal and a single scrap of gold. Texture is a matte primed board with visible bristle drag in the ochre passages and dry-brush edges on the darkest contours. Bold, fractured, effortlessly cool.
ぽみ (闇人零式)
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