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onion _ reverse 1999
Show Parameters
- Original Prompt
- masterpiece, best quality, ultra-detailed, cinematic lighting, detail illustration, vibrant colors, high quality, ultra detailed, 1girl, solo, wearing a (tailored dark brown blazer, white shirt, narrow dark tie, high-waisted rust-colored button-front trousers, leather belt with small pouch:1.2), (white gloves and small rectangular chest badge:1.1), no visible human facial features, paper-bag-headed woman, slender adult figure, crumpled pale paper bag head with folded crown, two dark circular eye holes, subtle drawn facial details, sharp_cel_style, cel shading, detailed lineart, dramatic lighting, strong shadow, high contrast
- Mode
- pro
- Quality Tag
- ﹝Prompts﹞
- Size
- 1408 x 1408
- Negative
- lowres, worst quality, low quality, bad anatomy, explicit
Prompt Helper
Model & LoRA used
Similar Images
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hitdress
tt
copyright: limbus_company
1girl, solo, faust (limbus company), long white hair, straight hair, blunt bangs, hair between eyes, pale pink eyes, pink eyes, emotionless stare, calm expression, closed mouth, tall slender build, white collared shirt, black necktie, dark grey high-waisted pencil skirt, black tights, dark brown leather gloves, black boots, white lab coat, long coat, coat open, standing, arms crossed under chest, one hand raised, finger against cheek, head tilt, contrapposto, weight on right leg, looking at viewer, from below, cowboy shot, dutch angle, asymmetrical composition, office interior, bookshelves, fluorescent lighting, cool green-white palette, stern, intellectual
The camera sits low and tilted a few degrees off level, so the tall figure of a slender woman in a white lab coat rears up against a recessed grid of ceiling lights. She stands with most of her weight on her right leg, the left knee bent and the left hip dropped, which throws the pencil skirt's hem and the long coat's left panel slightly out of plumb. Her arms are folded under her chest; the right forearm is tucked beneath the left, and the left hand rises free of the fold so that one gloved index finger rests against her cheek just below the cheekbone, the other gloved fingers loosely curled, the dark brown leather creasing at the knuckles. Her head is tipped a few degrees to her left, chin lowered, and her pale pink eyes come straight down the tilted axis at the viewer with no warmth and no hostility -- a flat, appraising stare, brows level, mouth closed, jaw set. Her long straight white hair hangs past her shoulders, blunt bangs cut level across the brow, a few strands falling between her eyes; the tilt of her head makes the right side of the bangs splay a little over her temple while the left side stays flat against the skin. The open white lab coat hangs from her shoulders and falls past her knees; beneath it the white collared shirt is buttoned to the throat with a black necktie knotted tight at the collar, the tie's blade disappearing behind the folded arms, and the dark grey skirt and black tights carry down to black boots planted wide enough apart to hold the low camera's perspective.
She stands in a narrow institutional office, shelves of identical dark binders filling the wall behind her and receding into a corridor of shadow at the right edge of the frame; the floor is pale grey tile that reflects a faint, cooler, softer double of her boots and the hem of her coat, the reflection blurred where the tile has been walked on. The overhead fluorescent fixtures are the only light source: they strike the crown of her head and the tops of her shoulders in a cold green-white, drop a hard shadow beneath her bangs across the upper half of her face while her eyes stay lit, and leave the underside of her chin, the inside of the coat's folds and the wall shelves in a flat greenish dusk; the far end of the room is darker still, so her white coat reads as the brightest shape in the frame. Her cast shadow falls forward and to the left across the tile, elongated by the low angle. The palette holds to white, charcoal grey, black and cold fluorescent green, with only the faint pink of her eyes admitted as warmth. The detail budget goes to the gloved finger against her cheek, the knot of the tie, the crisp collar points and the flat patience of her stare. Clinical, unimpressed.
Trái Táo Sắt
小豆沢こはね・図書館の名探偵
ぐりーん
tt
copyright: limbus_company
1girl, solo, faust (limbus company), long white hair, straight hair, blunt bangs, hair between eyes, pale pink eyes, pink eyes, emotionless stare, calm expression, closed mouth, tall slender build, white collared shirt, black necktie, dark grey high-waisted pencil skirt, black tights, dark brown leather gloves, black boots, white lab coat, long coat, coat open, standing, arms crossed under chest, one hand raised, finger against cheek, head tilt, contrapposto, weight on right leg, looking at viewer, from below, cowboy shot, dutch angle, asymmetrical composition, office interior, bookshelves, fluorescent lighting, cool green-white palette, stern, intellectual
The camera sits low and tilted a few degrees off level, so the tall figure of a slender woman in a white lab coat rears up against a recessed grid of ceiling lights. She stands with most of her weight on her right leg, the left knee bent and the left hip dropped, which throws the pencil skirt's hem and the long coat's left panel slightly out of plumb. Her arms are folded under her chest; the right forearm is tucked beneath the left, and the left hand rises free of the fold so that one gloved index finger rests against her cheek just below the cheekbone, the other gloved fingers loosely curled, the dark brown leather creasing at the knuckles. Her head is tipped a few degrees to her left, chin lowered, and her pale pink eyes come straight down the tilted axis at the viewer with no warmth and no hostility -- a flat, appraising stare, brows level, mouth closed, jaw set. Her long straight white hair hangs past her shoulders, blunt bangs cut level across the brow, a few strands falling between her eyes; the tilt of her head makes the right side of the bangs splay a little over her temple while the left side stays flat against the skin. The open white lab coat hangs from her shoulders and falls past her knees; beneath it the white collared shirt is buttoned to the throat with a black necktie knotted tight at the collar, the tie's blade disappearing behind the folded arms, and the dark grey skirt and black tights carry down to black boots planted wide enough apart to hold the low camera's perspective.
She stands in a narrow institutional office, shelves of identical dark binders filling the wall behind her and receding into a corridor of shadow at the right edge of the frame; the floor is pale grey tile that reflects a faint, cooler, softer double of her boots and the hem of her coat, the reflection blurred where the tile has been walked on. The overhead fluorescent fixtures are the only light source: they strike the crown of her head and the tops of her shoulders in a cold green-white, drop a hard shadow beneath her bangs across the upper half of her face while her eyes stay lit, and leave the underside of her chin, the inside of the coat's folds and the wall shelves in a flat greenish dusk; the far end of the room is darker still, so her white coat reads as the brightest shape in the frame. Her cast shadow falls forward and to the left across the tile, elongated by the low angle. The palette holds to white, charcoal grey, black and cold fluorescent green, with only the faint pink of her eyes admitted as warmth. The detail budget goes to the gloved finger against her cheek, the knot of the tie, the crisp collar points and the flat patience of her stare. Clinical, unimpressed.
Trái Táo Sắt
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