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View detailstapoyirixi74
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- Etiqueta de calidad
- ﹝Prompts﹞, masterpiece, best quality, amazing quality, very aesthetic, absundres
- Tamaño
- 768 x 1280
- Pasos de muestreo
- 28
- Método de muestreo
- Euler a
- Escala CFG
- 6.5
- Excluir de la imagen
- worst quality, bad quality, very displeasing, displeasing, bad anatomy, artistic error, lowres, bad hands, signature, artist name, multiple views, variations, old, oldest, missing fingers, excess fingers, extra hands, excess hands
Modelo y LoRA utilizados
Imágenes similares
Mostrar más1girl, black hair, long hair, half-up hairstyle, braid, hair ribbon, ahoge, checkered off-shoulder dress, smile, masterpiece, looking at viewer
yokyok
a
artist: konya_karasue, h4sh1rnoto, modare, nanoka_san, nanoka-san
1girl, solo, upper body, facing front, standing, long straight black hair, black hair, soft blunt bangs, hair past shoulders, light soft strands, bright purple eyes, gradation eyes, gentle gaze, looking at viewer, smiling, lips slightly parted, light smile, one hand raised, hand in own hair, tucking hair behind ear, white off-shoulder top, sheer chiffon, translucent fabric, subtle checkered pattern, white lace trim, layered frills, black ribbon bow, bow at chest, bare shoulders, collarbone, sky, forest, blurred background, depth of field, bokeh, backlighting, cinematic lighting, polished rendering, sharp focus, cel shading, clean line-art,
A front-facing upper-body shot, the girl square to the lens but not stiff: her weight settled on her left leg with the right hip eased slightly out, her right shoulder dropped a touch lower than the left, chin tilted a few degrees toward the ear she is touching so the jawline lengthens and the soft blunt bangs fall just above her brows, tips of the fringe brushing the tops of her eyelids. Her right hand is lifted to the level of her right ear, fingers half-curled, the index and middle finger sliding a thin lock of black hair back over the shell of the ear and behind it, the strands still lifted and separating between her knuckles; her left arm hangs relaxed with the elbow just bent, fingertips grazing the white frill at her hip out of frame. She looks straight into the lens with bright purple eyes that carry a soft vertical gradation — deep violet at the lid darkening to a luminous lilac at the lower iris, with two small distinct catchlights — and her gaze is gentle, lids a quarter lowered, one inner brow raised a hair higher than the other; her mouth is a small open smile, lips parted about two millimetres so a sliver of teeth shows at the corner, the smile weighted to her right side.
The white chiffon top sits off her shoulders, the neckline running straight across the upper arms so both collarbones and the tops of her bare shoulders are exposed; where the sheer fabric crosses the shoulder line you can see the skin's warm tone through it, and the faint check pattern — thin grey-white threads in a small square grid — reads strongest along the sleeve edge and weakest over the chest where the chiffon doubles. White lace scallops edge the neckline, and beneath it two layers of ruffled frill overlap and cast soft shadows into each other's folds; the black ribbon bow sits centre-chest, its loops crisp and slightly asymmetric, one tail hanging longer than the other, the satin catching a hard little highlight on the upper curve of the left loop. Through the translucent bodice and the moving curtain of her hair the soft shape of her shoulders goes ghostly; the lifted lock of hair swings out from her ear and the residual static lifts a few fine flyaway strands around her crown.
Behind her the depth of field breaks into blur: a pale bright sky at the upper third of the frame, a band of forest green and dark trunks in the middle distance, both softened into creamy bokeh discs. The light is a low warm backlight from behind and above her right shoulder, so a bright rim rides the outer edge of her hair, her right ear, her exposed shoulder and the chiffon's hem, while diffuse sky light fills her face frontally and leaves only a gentle shadow under her jaw and inside the frill layers. Fine airborne particles — dust and pollen — glitter inside the backlight near her hair. Vivid saturated colouring: black of the hair, lilac-violet of the eyes, the warm skin, the white of the chiffon and lace, the single hard black of the bow standing out against it, and the green-to-sky-blue wash of the out-of-focus background. Rendering is sharp focus on the face, fringe and lace with ultra-precise linework, clean cel shading over painterly gradation, and the background resolved into soft volume. Tender, luminous.
ashens
character: fern_(sousou_no_frieren), A medium shot of Fern, captured from a 3/4 view, standing in a serene outdoor setting. She has long purple hair with blunt bangs and purple eyes, looking at the viewer with a shy, slightly blushing expression. She is wearing her usual attire, consisting of a modest, long-sleeved white dress that clings to her noticeably large chest. Her hands are delicately clasped together in front of her in a timid gesture. The background is a peaceful meadow with soft green grass and distant trees under a clear, bright sky. The visual style is a high-quality anime illustration with clean line work, a soft color palette, and gentle natural lighting that enhances the innocent and sweet mood of the scene.
ウンマー
f
Fern
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character: eren_yeager, mikasa_ackerman
Mikasa Ackerman and Eren Yeager are captured in the middle of a desperate ODM maneuver above a ruined city street, with Mikasa much closer to the camera and Eren cutting across the background at a different angle. Mikasa twists her entire body sideways as she launches past the viewer, one arm extended forward with a blade in hand while the other reaches back toward Eren. Her black hair whips violently across the frame and her red scarf streams far behind her in a long sweeping curve. Eren is several meters behind her, angled sharply in the opposite direction as his ODM cables stretch from his gear toward a damaged rooftop, his green jacket and hair blown backward by the speed of the maneuver.
The perspective is extremely dynamic: Mikasa's outstretched hand and blade are large in the foreground while her body rapidly narrows toward the center of the image. Eren appears smaller but perfectly clear behind her, creating a strong diagonal connection between them. Their ODM cables slice through the composition as thin steel lines, crossing the image at different angles and disappearing beyond the frame. One cable passes extremely close to the camera, creating a dramatic foreground line.
The ruined city beneath them is not shown as a wide landscape. Broken rooftops, shattered windows, hanging masonry, and fragments of brick rush diagonally through the lower portion of the composition, giving the impression of immense speed. Several pieces of debris are suspended around Mikasa and Eren, each frozen at a different distance from the camera. Dust catches the sunlight in thin atmospheric streaks.
Mikasa's Survey Corps uniform is sharply detailed and windswept, with the cropped brown jacket open over the fitted uniform, harness straps pulled taut across her body, white trousers, tall boots, and the Wings of Freedom insignia clearly visible. Eren wears his recognizable Survey Corps uniform and green jacket, with his harness, ODM equipment, and boots rendered with precise mechanical detail.
A subtle graphic-design layer is integrated into the composition without overpowering the action: Wings of Freedom emblem are overlaid across the sky, Thin white directional lines follow the trajectories of Mikasa and Eren, while small restrained military-style markings and typography sit along the edges of the frame. The graphic elements reinforce the movement rather than becoming random decoration.
The entire image is frozen at one extraordinary instant: Mikasa's scarf curves through the air, Eren's jacket flares behind him, cables are pulled completely taut, debris hangs in the air, dust streams diagonally through the sunlight, and both characters are caught at different points of the same sweeping maneuver. Nothing feels static.
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