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- 帆布のような丈夫な黒い布でできた袋に入れられて首だけを出してわずかに膝を折り曲げて立っている秋山澪。体のラインに合わせた袋で、サイズは大きすぎず小さすぎない。足の先まで隙間なく包み込まれている。首の部分を紐で結んであり、そこから布が10センチほど顔の方へはみ出している。口にはガムテープを貼られている。
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- 1104 x 1824
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余
character: akiyama_mio
1girl, solo, akiyama_mio, black_hair, long_hair, straight_hair, hime_cut, blue_ribbon, black_eyes, full-body black canvas sack, sack fitted to body contours, only head visible, neck tied with cord, excess cloth protruding toward face, duct tape over mouth, tape gag, standing, knees slightly bent, arms bound inside sack, arms at sides inside canvas, full body, from side, profile, cowboy shot, looking to the side, sweatdrop, furrowed brow, strained expression, blush, canvas texture, coarse weave, studio void, single overhead light
Seen from the side in a full-length three-quarter shot, a girl with long straight black hair cut in a blunt hime fringe and a blue ribbon at the crown stands alone in an empty dark-grey void. Her whole body from the collarbones down is sealed inside a heavy black canvas sack, the fabric so closely tailored that it reads her shape through it: the slope of her shoulders pressing two soft ridges into the cloth, the inward curve of her waist, the slight outward push of her hips, the length of her thighs and the shape of her calves. It is neither baggy nor skin-tight — the canvas sits a hand's width from her body, stiff with its own weight, and each contour is drawn by tension lines radiating from where the fabric is pulled rather than by clinging. The sack runs unbroken to the floor, swallowing her feet entirely; only the faint forward point of her toes shows through the canvas as two rounded bumps at the very hem, and the hem pools with a small crease where it meets the ground. Her knees are bent a little, both of them, so the sack's front face bulges slightly forward at the thighs and the whole figure sinks a centimetre lower than a straight stand, weight settled unevenly onto her back leg.
At the throat the canvas gathers into a tight cinch, bound with a thin dark cord knotted twice; above the knot about ten centimetres of extra canvas stands up free of the neck and flares toward her face like a stiff open collar, its raw edge cutting a small shadow across her jaw and framing her chin. A strip of grey duct tape crosses her mouth corner to corner, its edges slightly wrinkled and lifting at one end, pressed flat over her lips so the line of her mouth disappears beneath it. Her cheeks are flushed, one brow drawn down and the other lifted, and a single sweatdrop runs at her temple; her eyes are turned hard to the side, away from the camera, staring at nothing in the empty air.
The light comes from directly overhead and slightly behind her, so the canvas's coarse weave catches a dull grey sheen on the crown of the sack, on the ridge of each shoulder and along the protruding collar of cloth, while the front of the sack and the underside of her chin fall into deep charcoal. Her long black hair, the only gloss in the frame, spills over the top of the cinch and hangs in a straight dark curtain down her back, and a loose strand at her cheek lifts slightly as she breathes. A soft contact shadow pools under the pooled hem, anchoring her to the seamless ground. The palette holds black canvas, a cold grey ground, her pale skin and the one small flag of blue ribbon — restrained, claustrophobic, quietly tense.
余命一万一日
余
character: akiyama_mio
1girl, solo, akiyama_mio, black_hair, long_hair, straight_hair, hime_cut, blue_ribbon, black_eyes, full-body black canvas sack, sack fitted to body contours, only head visible, neck tied with cord, excess cloth protruding toward face, duct tape over mouth, tape gag, standing, knees slightly bent, arms bound inside sack, arms at sides inside canvas, full body, from side, profile, cowboy shot, looking to the side, sweatdrop, furrowed brow, strained expression, blush, canvas texture, coarse weave, studio void, single overhead light
Seen from the side in a full-length three-quarter shot, a girl with long straight black hair cut in a blunt hime fringe and a blue ribbon at the crown stands alone in an empty dark-grey void. Her whole body from the collarbones down is sealed inside a heavy black canvas sack, the fabric so closely tailored that it reads her shape through it: the slope of her shoulders pressing two soft ridges into the cloth, the inward curve of her waist, the slight outward push of her hips, the length of her thighs and the shape of her calves. It is neither baggy nor skin-tight — the canvas sits a hand's width from her body, stiff with its own weight, and each contour is drawn by tension lines radiating from where the fabric is pulled rather than by clinging. The sack runs unbroken to the floor, swallowing her feet entirely; only the faint forward point of her toes shows through the canvas as two rounded bumps at the very hem, and the hem pools with a small crease where it meets the ground. Her knees are bent a little, both of them, so the sack's front face bulges slightly forward at the thighs and the whole figure sinks a centimetre lower than a straight stand, weight settled unevenly onto her back leg.
At the throat the canvas gathers into a tight cinch, bound with a thin dark cord knotted twice; above the knot about ten centimetres of extra canvas stands up free of the neck and flares toward her face like a stiff open collar, its raw edge cutting a small shadow across her jaw and framing her chin. A strip of grey duct tape crosses her mouth corner to corner, its edges slightly wrinkled and lifting at one end, pressed flat over her lips so the line of her mouth disappears beneath it. Her cheeks are flushed, one brow drawn down and the other lifted, and a single sweatdrop runs at her temple; her eyes are turned hard to the side, away from the camera, staring at nothing in the empty air.
The light comes from directly overhead and slightly behind her, so the canvas's coarse weave catches a dull grey sheen on the crown of the sack, on the ridge of each shoulder and along the protruding collar of cloth, while the front of the sack and the underside of her chin fall into deep charcoal. Her long black hair, the only gloss in the frame, spills over the top of the cinch and hangs in a straight dark curtain down her back, and a loose strand at her cheek lifts slightly as she breathes. A soft contact shadow pools under the pooled hem, anchoring her to the seamless ground. The palette holds black canvas, a cold grey ground, her pale skin and the one small flag of blue ribbon — restrained, claustrophobic, quietly tense.
余命一万一日
余
character: akiyama_mio
1girl, solo, akiyama_mio, black_hair, long_hair, straight_hair, hime_cut, blue_ribbon, black_eyes, full-body black canvas sack, sack fitted to body contours, only head visible, neck tied with cord, excess cloth protruding toward face, duct tape over mouth, tape gag, standing, knees slightly bent, arms bound inside sack, arms at sides inside canvas, full body, from side, profile, cowboy shot, looking to the side, sweatdrop, furrowed brow, strained expression, blush, canvas texture, coarse weave, studio void, single overhead light
Seen from the side in a full-length three-quarter shot, a girl with long straight black hair cut in a blunt hime fringe and a blue ribbon at the crown stands alone in an empty dark-grey void. Her whole body from the collarbones down is sealed inside a heavy black canvas sack, the fabric so closely tailored that it reads her shape through it: the slope of her shoulders pressing two soft ridges into the cloth, the inward curve of her waist, the slight outward push of her hips, the length of her thighs and the shape of her calves. It is neither baggy nor skin-tight — the canvas sits a hand's width from her body, stiff with its own weight, and each contour is drawn by tension lines radiating from where the fabric is pulled rather than by clinging. The sack runs unbroken to the floor, swallowing her feet entirely; only the faint forward point of her toes shows through the canvas as two rounded bumps at the very hem, and the hem pools with a small crease where it meets the ground. Her knees are bent a little, both of them, so the sack's front face bulges slightly forward at the thighs and the whole figure sinks a centimetre lower than a straight stand, weight settled unevenly onto her back leg.
At the throat the canvas gathers into a tight cinch, bound with a thin dark cord knotted twice; above the knot about ten centimetres of extra canvas stands up free of the neck and flares toward her face like a stiff open collar, its raw edge cutting a small shadow across her jaw and framing her chin. A strip of grey duct tape crosses her mouth corner to corner, its edges slightly wrinkled and lifting at one end, pressed flat over her lips so the line of her mouth disappears beneath it. Her cheeks are flushed, one brow drawn down and the other lifted, and a single sweatdrop runs at her temple; her eyes are turned hard to the side, away from the camera, staring at nothing in the empty air.
The light comes from directly overhead and slightly behind her, so the canvas's coarse weave catches a dull grey sheen on the crown of the sack, on the ridge of each shoulder and along the protruding collar of cloth, while the front of the sack and the underside of her chin fall into deep charcoal. Her long black hair, the only gloss in the frame, spills over the top of the cinch and hangs in a straight dark curtain down her back, and a loose strand at her cheek lifts slightly as she breathes. A soft contact shadow pools under the pooled hem, anchoring her to the seamless ground. The palette holds black canvas, a cold grey ground, her pale skin and the one small flag of blue ribbon — restrained, claustrophobic, quietly tense.
余命一万一日
余
澪ちゃん拘束
余命一万一日
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