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Jesus Gonzalez (Ryōmen Geo)
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1girl, solo, chel \(the road to el dorado\), dark tan skin, long black hair, wavy hair, hair flowing over one shoulder, brown eyes, curvy figure, large breasts, narrow waist, wide hips, long legs, wide hips, bare midriff, gold armband, gold anklet, primitive tribal outfit, small strapless top, loincloth, loincloth skirt, bare shoulders, bare legs, coquettish smile, smirk, half-closed eyes, looking at viewer, hand on own hip, contrapposto, weight on one leg, standing, sexy pose, from above, three-quarter view, cowboy shot, ancient tenochtitlan, mesoamerican city, stepped pyramid, stone causeway, market stalls, canoes on canal, daytime, blue sky, strong sunlight, cast shadows, anime style, strong line art, watercolor wash, soft atmospheric perspective, soft haze, depth
The camera looks down from a raised terrace of pale cut stone in a slight three-quarter view, so the wide stepped pyramid of the sacred precinct stands behind her right shoulder in the midground and a second, lower temple and rows of flat-roofed adobe and stucco buildings recede into a bright haze behind it. The single figure stands on the sun-warmed flagstones of a broad causeway, hips pushed to her left, weight fully on her left leg, right knee bent and the right heel lifted so the calf angles back — the long legs draw one closed diagonal from hip to the ball of the foot, and the narrow waist above them reads as a hard inward curve because both hands are busy: her right hand presses flat on her right hip with the fingers spread and the thumb hooked into the waistband of the loincloth, her left hand rests on the opposite hip with the elbow flared outward. Her chest is lifted and turned a fraction toward the lens, shoulders a touch uneven. Her black hair falls in soft waves past one collarbone and down her back, the near side swinging slightly forward across her bare shoulder in an air current rolling up off the plaza; the fringed hem of her loincloth hangs still and vertical because the air is warm and slow. She smiles with one corner of the mouth pulled higher, chin dipped, eyes half-lidded and fixed straight on the viewer, telling them she knows exactly what she is doing. Sunlight comes from high and behind her left, so it rims the outer edge of her left arm, shoulder and hip in pale gold and drops the front planes of her torso, the underside of her jaw and the inner side of her right leg into warm brown shadow; crisp short shadows fall from her feet onto the stone. Behind her the buildings hold flat bleached ochre and turquoise-red plaster, the pyramid stairways fall into bands of shadow, and a soft haze dissolves the distant rooftops without blurring the figure, which stays crisply outlined in dark line against the pale stone and sky. The palette is warm sunlit sandstone, deep tan skin, black hair, turquoise, ochre and brick red, with the sky's pale blue washing out at the horizon. Loose watercolour bleeds pool under the building edges and along the causeway seams while the linework stays sharp on her body, and gritty stone texture shows on the causeway; a faint dust haze hangs in the still noon air. A single detail carries the physics: the causeway flagstones under and behind her feet are paler and drier than the ones in the shadowed lee of the terrace wall, where a dark damp strip still clings — the day has been baking long enough to wick the stone white right where she stands. Effortlessly sultry, sun-drenched.
FUERZASDRAGON 2
Chel
Kamui
Chel
Kamui
Chel
Kamui
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