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Mostra parametri
- Dimensione
- 768 x 1280
- Passaggi di campionamento
- 20
- Metodo di campionamento
- Euler a
- Scala CFG
- 5
- Negativo
- worst quality, bad quality, low quality, lowers, scan artifacts, jpeg artifacts, sketch, (worst quality, bad quality:1.1), lowers, jpeg, artifacts, signature, username, text, logo, bad anatomy, artist name, artist logo, extra limbs, extra digit, extra legs, extra legs and arms, disfigured BREAK. missing arms, too many fingers, fused fingers, missing fingers, unclear eyes, blur, film grain, noise, loli, child, kid, bad eyes, bad mouth, bad tongue, bad face, bad teeth, bad ears, bad art, blurry, blurry image, bad feet, 6 toes, extra toes, extra feet, too many toes BREAK 7 toes, deformed feet, deformed toes, ugly feet, ugly toes, distorted, yellow filter, glowing hair, blur, depth of field, (muscular male: 1.4), (toned male: 1.5)
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t5
1girl, solo, white hair with black streaks, black eyes, four-pointed red star-shaped pupils, red star pupils, enormous bust, slim waist, large backside, wide hips, black sleeved shirt, long sleeves, white shorts, thick thighs, from behind, looking back, over-shoulder view, dutch angle, cowboy shot, standing, weight on one leg, hand on hip, head tilt, half-closed eyes, light smile, looking at viewer,
The camera sits low and slightly tilted behind her right hip, a dutch angle that cants the horizon line and pushes the perspective up her back, so the silhouette she cuts is a single unbroken curve — shoulders in, waist cinched narrow, hips and backside flaring wide — before the white shorts break it. She is turned three-quarters away from the lens, seen from behind and over her right shoulder, her torso twisted at the ribs: weight rides on her straight left leg, the right knee bent forward and relaxed, her right hand planted flat on her right hip with the fingers spread and pressing a small dimple into the black fabric, her left arm hanging loose with the knuckles brushing the outside of her thigh. Her head is turned back over the shoulder toward the viewer, chin tucked against the collar, cheek nearly against the black sleeve, so the hair swings forward in a heavy white curtain with two blunt black streaks — one slicing down past her left temple, one buried in the fall behind her ear — the ends lifting slightly off her shoulder. Both black eyes are half-lidded, the four-pointed red star pupils catching a thin highlight at their centers, one brow lifted a fraction higher than the other, mouth closed in a small lopsided smile that pulls one corner. Her gaze lands directly on the viewer, and the tilt of her chin answers it. The black shirt is a soft matte knit stretched taut across the enormous bust in front and pulled smooth down the narrow back, sleeves pushed to the wrists, the hem grazing the waistband of the white shorts, which sit high and hug the wide curve of her hips and backside, the fabric creasing in two short horizontal folds under each cheek and pulling tight where the seam runs up the middle. One light source, a hard warm key from high and to the left of frame, rakes across her shoulder blades and the top of her left arm and lays a crisp bright edge along the outer curve of her hip, while the whole right side of her body falls into cool shadow and her cast shadow drops forward and to the right across the seamless pale grey studio floor; beyond that the seamless studio sweep is empty, a completely plain light-grey field with no props and no horizon. The palette is held to three notes — white (hair, shorts, floor), black (eyes, streaks, shirt, the deepest shadow) and one saturated red spent only in the star-shaped pupils and one small distant reflection on her lip. Where the shirt is stretched tightest over the bust the knit shows its fine vertical ribbing, and the shorts’ white cotton takes a faint blue-grey bounce along their underside from the floor. Effortlessly confident, a little dangerous.
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