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Rio Tsukatsuki, Blue Archive
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- Modus
- ultra
- Größe
- 960 x 1280
- Negativ
- worst quality, low quality, blurry, bad anatomy, deformed limbs, deformed hands, extra limbs, extra fingers, missing fingers, fused fingers, interlocked fingers, extra hand, phantom fingers, hand on her hip, hands on her hips, hand on the gown, holding her skirt, clutching the fabric, gripping the gown, fingers gripping fabric, fingers curled around fabric, hand resting on the bed, hand on the pillow, hands behind her back, hands clasped, arms bent, child, young girl, loli, petite, chibi, small breasts, flat chest, missing halo, curved halo, glowing halo, halo out of frame, blonde hair, light brown hair, short hair, bob cut, twintails, hair bun, updo, hair over her face, hair covering her eyes, bangs over eyes, hair over one eye, facial mole, hair hanging down her back, hair covering her back, hair spread across her back, hair tangled with her fingers, hair around her hand, school uniform, blazer, necktie, pleated skirt, id card, tablet pc, gun, weapon, white dress, white wedding dress, western wedding dress, bridal veil, veil, honggaitou, tiara, crown, phoenix crown, long sleeves, wide sleeves, wide flowing sleeves, detached sleeves, qipao worn closed, gown on her shoulders, high collar at her throat, mandarin collar fastened at her throat, frog buttons at her chest, visible panties, panties, thong, exposed nipples, visible nipples, topless, see-through clothing, transparent fabric, upskirt, skirt pulled up, exposed buttocks, bare buttocks, black stockings, black thighhighs, pantyhose, stockings, thighhighs, knee socks, garter straps, garter belt, visible feet, feet in frame, visible toes, bare feet, bare toes, toes at the bottom of the frame, visible toenails, high heels, shoes, boots, flats, sandals, anklet, ankle bracelet, toe ring, full body, full-length figure, the whole figure in frame, head to toe, standing, lying on her back, lying on her side, sitting on a chair, sitting on the edge of the bed, kneeling upright, up on her knees, rising off her heels, legs folded to one side, knees tipped to one side, cross-legged, leaning forward, on all fours, elbows on the bed, her body facing the camera, her torso turned to the camera, back fully clothed, fabric over her back, dudou covering her back, another person, male, second person, crowd, scenery, windows, daylight, outdoor, furniture beyond the daybed, four-poster bed, canopy bed, modern sofa, leather couch, chair, table, red lanterns, paper lanterns, flowers in hand, holding bouquet, decorations, fully lit body, waxy highlights, poreless airbrushed skin, plastic skin, photorealistic skin, silicone skin, 3d render, desaturated colors, dull colors, empty white background, text, watermark, signature, chinese characters, gold text
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An ultra-detailed 2.5D semi-realistic masterpiece illustration of Tsukatsuki Rio from Blue Archive sitting in seiza on a dark carved rosewood luohan daybed, her seat pressed down on her heels, her back to the camera and her face turned back over her shoulder, her bridal qipao pulled down off her shoulders to her waist over a crimson silk dudou that leaves her back bare, caught in a quiet, knowing moment.
Tsukatsuki Rio from Blue Archive, she has extremely long straight black hair falling past her waist with sleek parted bangs framing her face, piercing crimson ringed eyes with white pupils, and a sharp red geometric halo floating steadily above her head. She is a young woman in her early twenties with a tall, slender figure and smooth natural skin.
Beneath the fallen gown she wears a traditional Chinese dudou of deep crimson silk, a small halter bib that covers only her chest, tied at the nape of her neck by a thin red cord and again at the small of her back by two more, their short ends hanging loose in a small bow against her bare skin, its side edges trimmed with a narrow band of black lace. The dudou leaves her shoulders, arms and the whole of her back bare. Her bridal gown of deep crimson silk satin, woven through with fine gold thread and patterned with large gold phoenix and peony embroidery, bound at every edge in narrow black satin trim, has been pulled down off her shoulders; its sleeveless bodice is bunched in loose folds around her waist, while the fitted skirt below still sheathes her hips and thighs, its high side slits fallen open along the sides of her legs.
She sits in a proper seiza on a pad of crimson and gold brocade: her knees held together in front of her, her shins lying flat along the pad, the tops of her feet flat on the brocade beneath her with her toes pointing back, and her buttocks resting fully down on her heels, pressed down with no gap between them. Her back stays upright with only a gentle arch, so that the small of her back deepens a little while her weight stays sunk low, the round of her hips and buttocks settling full and round onto her heels, the fitted red skirt drawn taut and smooth across her seat, filling the lower half of the frame. Her hair is gathered forward over the shoulder away from the camera in one thick, contained fall, every strand swept to that side and hanging down in front of her chest, so that her nape and the whole long line of her bare back stay clear. Both her arms hang straight down at her sides, loose and entirely at ease, her hands hanging free in the open air just outside the line of her hips, a clear gap between her fingers and the red satin, her fingers softly relaxed and slightly apart, the backs of her hands turned outward — nothing held and nothing touched in either hand. Her face is turned back over the shoulder nearer the camera, her crimson ringed eyes resting on the camera, calm and faintly amused, one eyebrow lifted a touch, the corner of her mouth holding a small composed smile — collected even now, entirely at ease.
The background is a single perfectly uniform flat light-grey tone from edge to edge with no horizon line and no other props, one piece of furniture alone in the room: a traditional Chinese luohan daybed of dark carved rosewood, its low carved railings rising along the back and near end, its seat laid with a pad of crimson and gold brocade and a pair of long crimson silk pillows. The camera stands behind her and a little to one side, at the level of her shoulder, a natural distance away, catching her in a three-quarter rear view — a vertical 3:4 composition, her figure placed toward one end of the daybed with the grey backdrop breathing around it, the frame holding her from the clear air above her halo down to her folded legs, the rest of the daybed and everything below left out of the frame. Soft warm light falls from above and slightly to one side, raking across the satin so the woven gold catches a low liquid sheen, the dark rosewood glowing with a quiet deep polish, her fair skin rendered with a soft rosy warmth beneath a fine sheen, the crimson satin glossy and liquid with its gold embroidery reading as fine raised metallic thread, highly detailed fabric weave, the whole image in rich vibrant color, sharp focus on her turned face and the small bow of the dudou at her lower back.
Galaxy
An ultra-detailed 2.5D semi-realistic masterpiece illustration of Tsukatsuki Rio from Blue Archive kneeling upright on a dark carved rosewood luohan daybed, her back to the camera and her face turned back over her shoulder, her bridal qipao pulled down off her shoulders to her waist over a crimson silk dudou that leaves her back bare, caught in a quiet, knowing moment.
Tsukatsuki Rio from Blue Archive, she has extremely long straight black hair falling past her waist with sleek parted bangs framing her face, piercing crimson ringed eyes with white pupils, and a sharp red geometric halo floating steadily above her head. She is a young woman in her early twenties with a tall, slender figure and smooth natural skin.
Beneath the fallen gown she wears a traditional Chinese dudou of deep crimson silk, a small halter bib that covers only her chest, tied at the nape of her neck by a thin red cord and again at the small of her back by two more, their short ends hanging loose in a small bow against her bare skin, the bib's front panel woven with fine gold thread into a phoenix and peony pattern and finished along its lower edge with a narrow band of black lace. The dudou leaves her shoulders, arms and the whole of her back bare. Her bridal gown of deep crimson silk satin, woven through with fine gold thread and patterned with large gold phoenix and peony embroidery, bound at every edge in narrow black satin trim, has been pulled down off her shoulders; its sleeveless bodice is bunched in loose folds around her waist, its high mandarin collar folded down at her waist, while the fitted skirt below still sheathes her hips and thighs, its high side slits fallen open along the sides of her legs.
She kneels upright on a pad of crimson and gold brocade, her weight settled on her knees, her thighs held together, her lower back arched so that the small of her back deepens and the curve of her hips fills the fitted skirt below the bunched satin at her waist. Her hair is gathered forward over the shoulder away from the camera in one thick, contained fall, every strand swept to that side and hanging down in front of her chest, so that her nape and the whole long line of her bare back stay clear and unbroken. Both her arms hang straight down at her sides, loose and entirely at ease, her hands hanging free in the open air a little beside her hips, a clear gap between her fingers and the red satin, her fingers softly relaxed and slightly apart, the backs of her hands turned outward — nothing held and nothing touched in either hand. Her face is turned back over the shoulder nearer the camera, her crimson ringed eyes resting on the camera, calm and faintly amused, one eyebrow lifted a touch, the corner of her mouth holding a small composed smile — collected even now, entirely at ease.
The background is a single perfectly uniform flat light-grey tone from edge to edge with no horizon line and no other props, one piece of furniture alone in the room: a traditional Chinese luohan daybed of dark carved rosewood, its low carved railings rising along the back and near end, its seat laid with a pad of crimson and gold brocade and a pair of long crimson silk pillows. The camera stands behind her and a little to one side, at the level of her shoulder, a natural distance away, catching her in a three-quarter rear view — a vertical 3:4 composition, her figure placed toward one end of the daybed with the grey backdrop breathing around it, the frame holding her from the clear air above her halo down to her knees, the rest of the daybed and everything below left out of the frame. Soft warm light falls from above and slightly to one side, raking across the satin so the woven gold catches a low liquid sheen, the dark rosewood glowing with a quiet deep polish, her fair skin rendered with a soft rosy warmth beneath a fine sheen, the crimson satin glossy and liquid with its gold embroidery reading as fine raised metallic thread, highly detailed fabric weave, the whole image in rich vibrant color, sharp focus on her turned face and the small bow of the dudou at her lower back.
Galaxy
An ultra-detailed 2.5D semi-realistic masterpiece illustration of Tsukatsuki Rio from Blue Archive standing against a seamless flat grey backdrop in a deep crimson and gold Chinese bridal qipao, her arms raised behind her head, in a three-quarter-length portrait.
Tsukatsuki Rio from Blue Archive, she has extremely long straight black hair falling past her waist with sleek parted bangs framing her face, piercing crimson ringed eyes with white pupils, and a sharp red geometric halo floating steadily above her head. She is a young woman in her early twenties with a tall, slender figure and smooth natural skin.
Her bridal gown is a deep crimson silk satin qipao cut for a wedding, the satin woven through with fine gold thread, its smooth surface patterned with large gold phoenix and peony embroidery flowing across the fabric in calm, evenly spaced sprays, every edge of the gown bound in narrow black satin trim. A high mandarin collar stands closed at her throat, fastened by a short vertical column of small gold frog buttons running from her collar down over her chest, the last of them ending at her sternum, and two slim gold tassels hang from that final button, resting against the satin. The gown is sleeveless, her shoulders and arms completely bare. Through its high side slits, cut from the hem up past her hip bones, her legs show in white lace-trimmed thighhigh stockings held by narrow crimson garter straps, the pale lace cuffs and the straps reading clearly against the dark red satin at her upper thighs.
She stands in an easy contrapposto, her weight on one leg, the other hip lifted, her chest raised high. Both her hands are tucked behind her head with her elbows flared wide and held low, well clear of the halo above, the pose lifting her chest and opening both her bare armpits fully to the front, the soft hollow of each armpit smooth and clean with a faint natural crease at its base.
She looks straight into the camera with her calm, faintly knowing look — one eyebrow a touch raised, the corner of her mouth holding a small composed smirk.
The background is a single perfectly uniform flat light-grey tone from edge to edge with no horizon line and no props, a faint soft shadow pooling at her feet. The camera stands at her eye level facing her directly from a natural distance, framed from mid-thighs up in a vertical 3:4 composition, her figure dominating the canvas, the frame holding her tightly from the clear air above her halo down to the lace cuffs of her stockings at her thighs. Soft neutral light falls from above and slightly to one side, raking across the satin so the woven gold catches a low liquid sheen, laying a quiet gloss along her bare shoulders and arms, her fair skin rendered with a soft rosy warmth beneath a fine sheen, the crimson satin drinking the light in a rich liquid gloss with its gold embroidery reading as fine raised metallic thread, highly detailed fabric weave, the whole image in rich vibrant color, sharp focus on her face and the gold work at her chest.
Galaxy
An ultra-detailed 2.5D semi-realistic masterpiece illustration of Tsukatsuki Rio from Blue Archive lounging sideways on a dark carved rosewood luohan daybed in a deep crimson and gold Chinese bridal qipao, one hand buried in an embroidered pillow beside her cheek, her other hand lifting a closed folding fan up into the air, her eyes resting on it, caught in a quiet unposed moment.
Tsukatsuki Rio from Blue Archive, she has extremely long straight black hair falling past her waist with sleek parted bangs framing her face, piercing crimson ringed eyes with white pupils, and a sharp red geometric halo floating steadily above her head. She is a young woman in her early twenties with a tall, slender figure and smooth natural skin.
Her bridal gown is a deep crimson silk satin qipao cut for a wedding, the satin woven through with fine gold thread, its smooth surface patterned with large gold phoenix and peony embroidery flowing across the fabric in calm, evenly spaced sprays, every edge of the gown bound in narrow black satin trim. A high mandarin collar stands closed at her throat, fastened by a short vertical column of small gold frog buttons running from her collar down over her chest, the last of them ending at her sternum, and two slim gold tassels hang from that final button, resting against the satin. The gown is sleeveless, her shoulders bare. Its long skirt falls loose, both sides slit from the hem up past her hip bones.
Long red lace gloves cover both her arms from fingertip to above the elbows, their fine floral mesh fitting smoothly over her skin, so that her shoulders stay bare while her arms are sheathed in translucent crimson lace.
She lounges back at one end of the daybed, her weight settled on her hip, her far arm bent so that its gloved hand rests buried in a long pillow of crimson silk embroidered with gold thread, the pillow set beside her cheek, her forearm and the red lace sinking softly into it. Her legs stretch out along the wide seat toward the near corner of the frame, both relaxed and nearly parallel, the near leg crossing over the far one at the knee — a simple seated cross, nothing folded or twisted. Her near arm rises from her shoulder, lifted out and up to the side, its gloved hand holding a closed folding fan of crimson silk and slender gold ribs poised in the air beside her temple, her elbow angled out and low, well clear of the halo above, the fan held easily in a loose wrap of lace fingers. Through the opened slit of the near side, the whole line of that leg shows in white pantyhose of sheer nylon, its milky knit faintly warm where her skin tone breathes through it, its density even and unbroken from the shadow beneath her skirt down to the middle of her calves, the pale sheen of it catching the light along her thigh.
Her eyes rest on the raised fan, following its gold ribs, a small closed-mouth smile settling at the corner of her lips — she is not looking at the camera, absorbed in her own still moment.
The background is a single perfectly uniform flat light-grey tone from edge to edge with no horizon line and no other props, one piece of furniture alone in the room: a traditional Chinese luohan daybed of dark carved rosewood, its low carved railings rising along the back and near end, its seat laid with a pad of blue and gold brocade. The camera finds her from one side at a natural distance, at the level of her lowered gaze, catching her unposed — a horizontal 3:2 composition, her figure placed toward one end of the daybed with the grey backdrop breathing wide around it, the picture holding her from the clear air above her halo down to the middle of her calves, the rest of the daybed and everything below left out of the frame. Soft neutral light falls from above and slightly to one side, raking across the satin so the woven gold catches a low liquid sheen, the dark rosewood glowing with a quiet deep polish, her fair skin rendered with a soft rosy warmth beneath a fine sheen, the crimson satin glossy and liquid with its gold embroidery reading as fine raised metallic thread, the white nylon of her pantyhose and the lace of her gloves crisp and evenly dense, highly detailed fabric weave, the whole image in rich vibrant color, sharp focus on her face and the raised fan.
Galaxy
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