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UTAU
Parameter anzeigen
- Ursprünglicher Prompt
- 1번 그림의 손을 2번그림의 구도로 바꿔
- Modus
- pro
- Größe
- 928 x 928
- Sampling-Methode
- Euler
Prompt-Assistent
Verwendetes Modell und LoRA
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A sketchy drawing of a hand and wrist in the pose from image2, showing the back of the hand with fingers spread wide open and pointing upwards. The hand is rendered in white with rough, energetic blue outlines and loose hatching, set against a solid dark blue background. The style of the image remains faithful to image1.
로즈워드 차를로스 성
로차
Convert image1 to the style of a pencil sketch with visible graphite strokes, hatching, and textured shading, while keeping image1's composition — a top-down view of a human hand with spread fingers — and the plain dark blue background unchanged.
로즈워드 차를로스 성
로차
1 hand, human hand, close-up, back of hand facing viewer, dorsal side of hand, front view, centered, central composition, single subject, dark navy background, minimalist, flat vector illustration, clean lines, no text, cropped at wrist, fingers together, relaxed fingers, short clean fingernails, studio design piece
A single human hand fills the frame in close-up, seen straight from the front with the back of the hand turned flat toward the viewer, the composition centered so the wrist enters at the bottom edge and the fingertips stop short of the top. The hand is cropped at the wrist by the frame edge; the forearm does not continue past it. The fingers lie open and loose, together but not clenched, slightly splayed so the gaps show a sliver of the dark ground between them; the index and middle fingers sit a touch higher than the ring and little finger, catching the asymmetry of a resting hand. Slightly raised tendons run from the knuckles to the wrist, and the knuckle line reads as four separate small planes, each with its own soft facet of light. All five nails are visible, short and cleanly trimmed, catching a thin highlight. The thumb lies out to the side in a natural open angle, its edge and nail plane visible. Light comes from the upper left of the frame and nothing else: the top planes of the fingers and the ridge of the hand are lit, the underside facets and the webbing between the fingers fall into deeper shadow, and a single flat shadow is cast behind the hand onto the navy field so it sits slightly forward of the ground. The background is a flat, deep navy blue covering the whole frame, without gradient, texture or vignette. The palette is restricted to the navy field, three flat skin tones (a light, a mid, a shadow) and thin dark contour lines, nothing else. Everything is drawn as clean vector shapes — crisp closed contours of even weight, flat color fills, hard-edged shadow shapes, smooth curves, no grain, no hatch, no painterly stroke, no photographic noise. The hand is the sole subject and the skin design is the only detail: no rings, no bands, no bracelet, no watch, no nail polish, no tattoo, no sleeve — the wrist and fingers completely bare, the absence itself part of the minimalist economy. Quiet, graphic, effortlessly composed.
로즈워드 차를로스 성
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이름
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