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1girl, solo, little girl, chibi proportions, large head-to-body ratio, lost child, halloween, night, autumn, shopping street, clinging to mother's shadow, solitary lit pumpkin, forgotten candies, footsteps, sinking, distant window, monochrome, faint orange accents, extra thin lines, cross hatching, minimal shading, white background, negative space, delicate, eerie atmosphere, cute and unsettling, dark fantasy, surreal, subcultural art, experimental design, extreme deformation, decorative composition, artbook style, from below, wide shot, dutch angle, standing, arms wrapped around, holding, looking down, head tilt, open mouth, :o, wide-eyed, vertical The view is a wide, low, tilted shot from just above the pavement, so the tiny girl towers at the frame's lower centre while the street recedes upwards and away behind her, and the whole plate tilts a few degrees off level so the horizontal stones run diagonally and nothing feels settled. She is a small child deformed into an extreme large-headed, short-limbed build: a huge round skull, a narrow little body, spindly legs, oversized hands and feet. Her hair is a blunt dark bob cut straight at the jaw, one strand pasted to her cheek, and her eyes are enormous, dark, ringed with thin ink lashes, pupils shrunk small, the whites left as bare paper. Her mouth is open in a small silent cry, and she stares down and to the left at the ground, not at the viewer. Both her arms are clamped around the hem of her own oversized coat — she clutches and bunches the fabric at her chest with both fists, knuckles drawn in cross hatch, elbows tucked in so the coat tent-poles around her and pulls her shoulders up. Her body leans heavily forward and to the right, weight on the front foot, as though the pavement is slowly taking her: her left foot and the hem of her coat are sunk a knuckle deep into the flagstones, the stone lips drawn around them, radiating hairline cracks in thin ink, and her right foot is half-lifted, last step unfinished. Small round-toed shoes, one laced, one strap loose. Behind her, the shopping street pulls away: shuttered shopfronts, hanging awning scallops, a lamp bracket, a bent bicycle — all drawn as airy linework with open white paper between the strokes, forms simplified to outline and a few rows of cross hatching so the boulevard reads as negative space with structure rather than a solid mass. Fallen autumn leaves are drawn flat and decorative in the foreground like a border pattern, some of them sunk in the stone. A trail of small footprints in the flagstones leads from the far street to her, the prints getting shallower and closer together toward her feet. On the street's centre line stands a single carved pumpkin, lit from inside, casting a long thin shadow toward her; the pumpkin is the sole warm shape, its ribs and lid drawn in crisp thin lines. At her left, just at the edge of her shadow, sit three small wrapped candies on the pavement, tipped over and half sunken — the forgotten ones. Her shadow is the wrong one and it matters: it stretches away from the pumpkin toward the right, and it is not a child's silhouette — it is tall, slim and adult, with a long coat and a hand held out, the mother's shadow cast by no visible body, its edges feathered with dense cross hatching, and the girl's own small shadow ends where it begins. High above the street, small and far, a single lit window burns in a dark building face — the only other light — the panes drawn as a lattice, and the light from it falls in a narrow trapezoid down the wall, stopping mid-way, so the girls is left in the pumpkin's small pool. The only colour in the print is orange: the pumpkin's flame, the window, the candies' wrappers, and a faint orange wash bleeding at the edges of the mother's shadow. Everything else is black ink on white paper, cross hatching and stipple for shadow, minimal shading, the leaves uncoloured. Ink edges stay extra thin and wiry, broken where the pen lifted; the decorative composition arranges leaves, hatching and empty paper in a deliberate ornamental frame. Delicate, hushed, quietly wrong — the delicacy stays in the fine bled lines, the wrongness in the impossible shadow and the sinking stone. Delicate and eerie.
Show Parameters
Original Prompt
1girl, aged down, little girl, lost child, halloween, night, shopping street, solitary lit pumpkin, forgotten number of candies, clinging to, autumn, footsteps, sinking, mother's shadow, distant window, monochrome, faint orange accents, ink drawing, extra thin lines, cross hatching, minimal shading, white background, negative space, delicate, eerie atmosphere, cute and unsettling, dark fantasy, surreal, subcultural art, experimental design, extreme deformation, large head-to-body ratio, high design, decorative composition, artbook style, masterpiece, ultra detailed, high resolution, illustration, no text
Mode
pro
Style
Retro Glam Anime
Quality Tag
﹝Prompts﹞
Size
1104 x 1824
Sampling Method
Euler
Negative
lowres, worst quality, low quality, bad anatomy, explicit, flat chest,
Style: Retro Glam Anime
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Model & LoRA used

Tsubaki.3 - AI Model cover image

PixAI DiT.3

Tsubaki.3
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AI artwork
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1girl, solo, little girl, chibi proportions, large head-to-body ratio, lost child, halloween, night, autumn, shopping street, clinging to mother's shadow, solitary lit pumpkin, forgotten candies, footsteps, sinking, distant window, monochrome, faint orange accents, extra thin lines, cross hatching, minimal shading, white background, negative space, delicate, eerie atmosphere, cute and unsettling, dark fantasy, surreal, subcultural art, experimental design, extreme deformation, decorative composition, artbook style, from below, wide shot, dutch angle, standing, arms wrapped around, holding, looking down, head tilt, open mouth, :o, wide-eyed, vertical The view is a wide, low, tilted shot from just above the pavement, so the tiny girl towers at the frame's lower centre while the street recedes upwards and away behind her, and the whole plate tilts a few degrees off level so the horizontal stones run diagonally and nothing feels settled. She is a small child deformed into an extreme large-headed, short-limbed build: a huge round skull, a narrow little body, spindly legs, oversized hands and feet. Her hair is a blunt dark bob cut straight at the jaw, one strand pasted to her cheek, and her eyes are enormous, dark, ringed with thin ink lashes, pupils shrunk small, the whites left as bare paper. Her mouth is open in a small silent cry, and she stares down and to the left at the ground, not at the viewer. Both her arms are clamped around the hem of her own oversized coat — she clutches and bunches the fabric at her chest with both fists, knuckles drawn in cross hatch, elbows tucked in so the coat tent-poles around her and pulls her shoulders up. Her body leans heavily forward and to the right, weight on the front foot, as though the pavement is slowly taking her: her left foot and the hem of her coat are sunk a knuckle deep into the flagstones, the stone lips drawn around them, radiating hairline cracks in thin ink, and her right foot is half-lifted, last step unfinished. Small round-toed shoes, one laced, one strap loose. Behind her, the shopping street pulls away: shuttered shopfronts, hanging awning scallops, a lamp bracket, a bent bicycle — all drawn as airy linework with open white paper between the strokes, forms simplified to outline and a few rows of cross hatching so the boulevard reads as negative space with structure rather than a solid mass. Fallen autumn leaves are drawn flat and decorative in the foreground like a border pattern, some of them sunk in the stone. A trail of small footprints in the flagstones leads from the far street to her, the prints getting shallower and closer together toward her feet. On the street's centre line stands a single carved pumpkin, lit from inside, casting a long thin shadow toward her; the pumpkin is the sole warm shape, its ribs and lid drawn in crisp thin lines. At her left, just at the edge of her shadow, sit three small wrapped candies on the pavement, tipped over and half sunken — the forgotten ones. Her shadow is the wrong one and it matters: it stretches away from the pumpkin toward the right, and it is not a child's silhouette — it is tall, slim and adult, with a long coat and a hand held out, the mother's shadow cast by no visible body, its edges feathered with dense cross hatching, and the girl's own small shadow ends where it begins. High above the street, small and far, a single lit window burns in a dark building face — the only other light — the panes drawn as a lattice, and the light from it falls in a narrow trapezoid down the wall, stopping mid-way, so the girls is left in the pumpkin's small pool. The only colour in the print is orange: the pumpkin's flame, the window, the candies' wrappers, and a faint orange wash bleeding at the edges of the mother's shadow. Everything else is black ink on white paper, cross hatching and stipple for shadow, minimal shading, the leaves uncoloured. Ink edges stay extra thin and wiry, broken where the pen lifted; the decorative composition arranges leaves, hatching and empty paper in a deliberate ornamental frame. Delicate, hushed, quietly wrong — the delicacy stays in the fine bled lines, the wrongness in the impossible shadow and the sinking stone. Delicate and eerie.
AHM
AI artwork
a
1girl, solo, little girl, chibi proportions, large head-to-body ratio, lost child, halloween, night, autumn, shopping street, clinging to mother's shadow, solitary lit pumpkin, forgotten candies, footsteps, sinking, distant window, monochrome, faint orange accents, extra thin lines, cross hatching, minimal shading, white background, negative space, delicate, eerie atmosphere, cute and unsettling, dark fantasy, surreal, subcultural art, experimental design, extreme deformation, decorative composition, artbook style, from below, wide shot, dutch angle, standing, arms wrapped around, holding, looking down, head tilt, open mouth, :o, wide-eyed, vertical The view is a wide, low, tilted shot from just above the pavement, so the tiny girl towers at the frame's lower centre while the street recedes upwards and away behind her, and the whole plate tilts a few degrees off level so the horizontal stones run diagonally and nothing feels settled. She is a small child deformed into an extreme large-headed, short-limbed build: a huge round skull, a narrow little body, spindly legs, oversized hands and feet. Her hair is a blunt dark bob cut straight at the jaw, one strand pasted to her cheek, and her eyes are enormous, dark, ringed with thin ink lashes, pupils shrunk small, the whites left as bare paper. Her mouth is open in a small silent cry, and she stares down and to the left at the ground, not at the viewer. Both her arms are clamped around the hem of her own oversized coat — she clutches and bunches the fabric at her chest with both fists, knuckles drawn in cross hatch, elbows tucked in so the coat tent-poles around her and pulls her shoulders up. Her body leans heavily forward and to the right, weight on the front foot, as though the pavement is slowly taking her: her left foot and the hem of her coat are sunk a knuckle deep into the flagstones, the stone lips drawn around them, radiating hairline cracks in thin ink, and her right foot is half-lifted, last step unfinished. Small round-toed shoes, one laced, one strap loose. Behind her, the shopping street pulls away: shuttered shopfronts, hanging awning scallops, a lamp bracket, a bent bicycle — all drawn as airy linework with open white paper between the strokes, forms simplified to outline and a few rows of cross hatching so the boulevard reads as negative space with structure rather than a solid mass. Fallen autumn leaves are drawn flat and decorative in the foreground like a border pattern, some of them sunk in the stone. A trail of small footprints in the flagstones leads from the far street to her, the prints getting shallower and closer together toward her feet. On the street's centre line stands a single carved pumpkin, lit from inside, casting a long thin shadow toward her; the pumpkin is the sole warm shape, its ribs and lid drawn in crisp thin lines. At her left, just at the edge of her shadow, sit three small wrapped candies on the pavement, tipped over and half sunken — the forgotten ones. Her shadow is the wrong one and it matters: it stretches away from the pumpkin toward the right, and it is not a child's silhouette — it is tall, slim and adult, with a long coat and a hand held out, the mother's shadow cast by no visible body, its edges feathered with dense cross hatching, and the girl's own small shadow ends where it begins. High above the street, small and far, a single lit window burns in a dark building face — the only other light — the panes drawn as a lattice, and the light from it falls in a narrow trapezoid down the wall, stopping mid-way, so the girls is left in the pumpkin's small pool. The only colour in the print is orange: the pumpkin's flame, the window, the candies' wrappers, and a faint orange wash bleeding at the edges of the mother's shadow. Everything else is black ink on white paper, cross hatching and stipple for shadow, minimal shading, the leaves uncoloured. Ink edges stay extra thin and wiry, broken where the pen lifted; the decorative composition arranges leaves, hatching and empty paper in a deliberate ornamental frame. Delicate, hushed, quietly wrong — the delicacy stays in the fine bled lines, the wrongness in the impossible shadow and the sinking stone. Delicate and eerie.
AHM
AI artwork
a
1girl, solo, little girl, chibi proportions, large head-to-body ratio, lost child, halloween, night, autumn, shopping street, clinging to mother's shadow, solitary lit pumpkin, forgotten candies, footsteps, sinking, distant window, monochrome, faint orange accents, extra thin lines, cross hatching, minimal shading, white background, negative space, delicate, eerie atmosphere, cute and unsettling, dark fantasy, surreal, subcultural art, experimental design, extreme deformation, decorative composition, artbook style, from below, wide shot, dutch angle, standing, arms wrapped around, holding, looking down, head tilt, open mouth, :o, wide-eyed, vertical The view is a wide, low, tilted shot from just above the pavement, so the tiny girl towers at the frame's lower centre while the street recedes upwards and away behind her, and the whole plate tilts a few degrees off level so the horizontal stones run diagonally and nothing feels settled. She is a small child deformed into an extreme large-headed, short-limbed build: a huge round skull, a narrow little body, spindly legs, oversized hands and feet. Her hair is a blunt dark bob cut straight at the jaw, one strand pasted to her cheek, and her eyes are enormous, dark, ringed with thin ink lashes, pupils shrunk small, the whites left as bare paper. Her mouth is open in a small silent cry, and she stares down and to the left at the ground, not at the viewer. Both her arms are clamped around the hem of her own oversized coat — she clutches and bunches the fabric at her chest with both fists, knuckles drawn in cross hatch, elbows tucked in so the coat tent-poles around her and pulls her shoulders up. Her body leans heavily forward and to the right, weight on the front foot, as though the pavement is slowly taking her: her left foot and the hem of her coat are sunk a knuckle deep into the flagstones, the stone lips drawn around them, radiating hairline cracks in thin ink, and her right foot is half-lifted, last step unfinished. Small round-toed shoes, one laced, one strap loose. Behind her, the shopping street pulls away: shuttered shopfronts, hanging awning scallops, a lamp bracket, a bent bicycle — all drawn as airy linework with open white paper between the strokes, forms simplified to outline and a few rows of cross hatching so the boulevard reads as negative space with structure rather than a solid mass. Fallen autumn leaves are drawn flat and decorative in the foreground like a border pattern, some of them sunk in the stone. A trail of small footprints in the flagstones leads from the far street to her, the prints getting shallower and closer together toward her feet. On the street's centre line stands a single carved pumpkin, lit from inside, casting a long thin shadow toward her; the pumpkin is the sole warm shape, its ribs and lid drawn in crisp thin lines. At her left, just at the edge of her shadow, sit three small wrapped candies on the pavement, tipped over and half sunken — the forgotten ones. Her shadow is the wrong one and it matters: it stretches away from the pumpkin toward the right, and it is not a child's silhouette — it is tall, slim and adult, with a long coat and a hand held out, the mother's shadow cast by no visible body, its edges feathered with dense cross hatching, and the girl's own small shadow ends where it begins. High above the street, small and far, a single lit window burns in a dark building face — the only other light — the panes drawn as a lattice, and the light from it falls in a narrow trapezoid down the wall, stopping mid-way, so the girls is left in the pumpkin's small pool. The only colour in the print is orange: the pumpkin's flame, the window, the candies' wrappers, and a faint orange wash bleeding at the edges of the mother's shadow. Everything else is black ink on white paper, cross hatching and stipple for shadow, minimal shading, the leaves uncoloured. Ink edges stay extra thin and wiry, broken where the pen lifted; the decorative composition arranges leaves, hatching and empty paper in a deliberate ornamental frame. Delicate, hushed, quietly wrong — the delicacy stays in the fine bled lines, the wrongness in the impossible shadow and the sinking stone. Delicate and eerie.
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character: kaname_madoka_(magical_girl), copyright: mahou_shoujo_madoka_magica Kaname Madoka from Puella Magi Madoka Magica, pink twin tails tied with deep red ribbons, wearing her iconic magical girl costume, white corset-like bodice with delicate back lacing, voluminous layered white and pale pink ruffled skirt, crimson ribbons flowing loosely around her body, viewed from behind at a three-quarter angle, seated with her back gracefully arched, both arms extending naturally downward behind her back, one hand gently holding the opposite wrist, clearly separated hands, relaxed slender fingers, five distinct fingers on each hand, natural finger spacing, anatomically correct wrists, elegant delicate hands, visible knuckles, softly curved fingers, hands clearly visible against the white skirt, unobstructed hand silhouette, accurate hand anatomy, head tilted far backward, chin raised toward the darkness, face mostly hidden, elegant elongated silhouette, delicate exposed shoulders, soft loose strands of pink hair, dramatic asymmetrical composition, close medium shot, large skirt filling the lower frame, dark almost black background, dramatic directional lighting, pale ivory highlights, muted dusty pink, cold gray shadows, rich crimson accents, strong contrast between luminous fabric and deep darkness, thick impasto oil painting, expressive visible brushstrokes, heavy layered paint, rough palette knife texture, sculptural paint strokes, painterly edges, textured canvas, loose gestural painting, rich tactile surface, dramatic chiaroscuro, melancholic atmosphere, haunting beauty, full bleed composition, edge-to-edge artwork, no borders, no frame, textured illustration, grainy texture, crayon texture, chalky brushwork, impasto strokes, bold color blocking, stylized anime, flat shading, dry brush effect, atmospheric lighting, soft glow highlights, rough painterly anime style, visible textured brushstrokes, heavy impasto texture, scratchy charcoal-like linework, expressive gestural strokes, smudged edges, desaturated base tones with aggressive high-contrast color, sketch style, rough brushstroke
リオ
3#Puella Magi Madoka Magica#Kaname Madoka#Puella Magi Madoka Magica
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