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Cutting room floor
Cutting room floor AI art by normalHumanBean on PixAI. Made with Vidrohแบฑh.
Show Parameters
- Size
- 848 x 1280
- Sampling Steps
- 17
- Sampling Method
- Euler a
- CFG Scale
- 2.5
- Negative
- lowres, worst quality, bad quality, bad anatomy, jpeg artifacts, old, oldest, watermark, anime screenshot, anime coloring, nostrils, nose, key, 1girl, 1boy, human, panties
Model & LoRA used
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Cutting room floor
normalHumanBean
Cutting room floor
normalHumanBean
1woman, adult, vertical, close-up, cropped shot, head out of frame, off-center, torso angled, relaxed posture, long hair, wavy hair, brown hair, tousled hair, hair over shoulders, hair on chest, kimono robe, satin robe, open robe, off-shoulder robe, plunging neckline, navy blue robe, floral print, muted red floral print, rust floral pattern, one arm at side, bare shoulders, bare collarbone, realistic fabric folds, natural skin texture, directional lighting, side lighting, light from right, window light, golden sunlight, highlights on skin, highlights on hair, low-key, moody, soft shadows, chiaroscuro, shallow depth of field, warm lighting, rich warm tones, analog film aesthetic, editorial fashion photography
A vertical, off-centre close-up framed intimately from the shoulders down to the upper thighs, with the woman's head cropped partially out of the frame so that the focus remains entirely on her upper body and torso. Her torso is angled slightly toward the right in a relaxed, natural posture, with her body shifted gently to one hip. One arm hangs loosely and relaxed along her left side, trailing down toward her thigh. Long, tousled waves of brown hair tumble unpinned over both shoulders and spill across her chest, catching the air in loose, layered strands. She wears a loose, open-front silky satin kimono robe tailored in deep navy blue, printed with muted rust and faded dark red botanical floral patterns. The robe slouches loosely off both shoulders to expose her collarbones and chest, parting down the front into a deep plunging neckline that reveals her sternum before the fluid fabric gathers naturally around her waist and hips in heavy, undulating folds. Directional, warm golden sunlight pours from a window positioned on the right side of the frame, striking the right edges of her wavy brown hair, the curves of her shoulder, and her bare collarbone with bright golden rim highlights. The raking sunlight casts the liquid sheen of the satin folds into sharp relief, while deep, soft shadows sweep across her left side and gather behind her in a moody, low-key chiaroscuro. The rich palette balances deep navy, earthy rust reds, and luminous golden skin tones against an indistinct, softly blurred background. Quietly intimate.
TonesBone
๏ฝโ
my paint brush texture, smudge effect, low opacity, textured brushstrokes, black paint, multiple repainted layers, visible brush marks, thick impasto streaks, silly, comical, dameppa, absurd, deadpan humor, ears, single person, from above, from below, frog perspective, dutch angle, looking up, leaning forward, crouching, outstretched arm, tilted head, women's lingerie, women's panties, bra, underwear, floating garments, clothes floating on their own, no humans, empty street, monochrome palette, dark hues, thirty-plus brightness levels, tonal gradation, gradients of similar hues, charcoal palette, ink black, graphite gray, ash gray, pale smoke, color palette, subtle warm undertone
The image is a single-frame absurdist tableau shot from a low, tilted frog-perspective angle, cranked into a dutch angle so the paved ground runs diagonally and the horizon cuts a slanted line across the upper third. There are no people anywhere in the frame. Instead, a pale gray pavement stretches away from the lens in deep perspective, and along it a scattered company of women's lingerie and women's panties has simply gone out for a walk on its own: a black lace bra hovering at waist height, its straps risen into the air as if lifted by a breeze, drifting toward the left edge; a pair of black panties further up the pavement, walking on nothing, one leg-hole dipping in a tiny stride as if mid-step; a second pink-tinted lingerie set hovering near the right-hand foreground, its cups turned toward the viewer; and more, receding in perspective down the street until they shrink to small dark, hovering shapes in the distant haze. Each garment hangs at its own uneven height above the pavement, casting small soft shadow blobs onto the gray ground beneath them -- the shadows sit directly below each floating piece, ellipses of darker gray with softened edges, tight and dark near the nearest bra, and fainter and more diffuse for the far ones. Nothing touches the ground; the shadows alone tell the eye where they float.
The paint treatment is the point: the whole scene is done as if painted over and over in black with smeared, textured brushwork, smudge strokes at low opacity dragging the values into one another, each repainted pass leaving thick edges where the brush lifted. The bra's cups have been repainted three or four times, so their dark mass goes dense and matte in the center and frays at the edges into wet-looking breaks and streaks, with a faint uneven ridge where the last stroke tore slightly through the layer beneath. The panties in the mid-pavement have their leg-holes smeared so the fabric looks half erased and half re-drawn, the paint drag pulling one leg-hole out of round. Every surface is in a family of blacks and grays -- one single hue drawn out through more than thirty separate brightness steps: pure black core where the lace is densest, glossy near-black along the lifted straps, cold graphite mid-tones through the cup seams, ash gray on the far garments dissolved by atmosphere, and the palest smoke-gray on the open pavement catching the sky, with the faintest warm undertone in the smudge where black paint thins. The tonal ladder is graded in tight visible bands, no jump between one value and the next allowed to read as a flat fill. Light comes from a hazy, low, diffuse source off-frame upper-left, so the top-facing surfaces of the garments are faintly paler and the undersides drop into blackness; the sky is a flat washed-out gray field with no sun disc, nothing else in it.
The comedy is the silliness: the bra leans forward slightly, as if craning to look down the street. The panties in the mid-pavement turns its waistband a little, as if cocking an attitude. The nearest lingerie set hangs absolutely still, facing the viewer with a blank, patient defiance. Sparse marks in the pavement -- a thin smeared line running down the center of the road in the same loaded brush -- give the empty street its one leading line, and the pavement's far garments near the vanishing point shrink into a smear of unreadable gray. Nothing in the frame is lettered. The mood is absurd, deadpan, and quietly funny.
๏ผญ๏ฝ๏ผโใใฟ '๏พ
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