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Android

Arte IA «Android» di Simon Kennedy su PixAI. Creato con Tsubaki.3 Flash.

Pubblicato il Nov 4, 2026

Simon Kennedy

copyright: ghost_in_the_shell 1girl, solo, female android, mechanical parts, porcelain-like skin, synthetic skin, pale blue eyes, striking blue eyes, long straight hair, black hair, obsidian hair, hair over shoulders, single silver hoop earring, left ear, white and charcoal grey exoskeleton, biomechanical armor, weathered ceramic plating, micro-scratches, industrial grime, dirt on armor, exposed hydraulic pistons, complex wiring, cables, integrated chassis, tight medium shot, three-quarter view, leaning forward, slight forward lean, melancholic, serious, vacant stare, looking to the side, shallow depth of field, blurred background, industrial backdrop, steel and concrete, moody chiaroscuro, key light from upper left, rim lighting, metallic specular highlights, glossy armor, desaturated, whites, blacks, slate greys, warm lips, cinematic, 85mm, film grain, muted color grading, cyan shadows, A tight medium shot in three-quarter view, cropped from just above the crown to mid-chest, shot from a slightly low eye-level so the lens sits level with her collarbone. The female android leans slightly forward from the hips, weight carried on her far leg, near shoulder rolled a few degrees toward the lens; her spine stays angled, not bent, and the lean brings her face a hand's width nearer the camera than her sternum. Her head is turned a few degrees off the lens axis, chin dipped, pale blue irises aimed low and to the right of frame at something outside the shot — not at the viewer. Her lids are heavy, the upper lash line resting at half-mast, brows level and slack, lips shut with a faint downturn at the corners and the lower lip caught between a soft highlight and shadow; no smile. A strand of the long straight obsidian-black hair has slipped across the near cheek, the rest hanging flat and glossy over both shoulders and down onto the white ceramic shoulder plates, a few ends resting on the charcoal seams. The exoskeleton reads as an assembled machine fitted to a body: matte white ceramic plating over the collarbones and ribs, charcoal grey underplates at the seams, a small brass-grey hydraulic piston exposed at the near side of the throat where the plating pulls aside, and a bundle of thin dark wiring looping from the near jawline down into a port at the sternum, its sheathing faintly ridged. Micro-scratches cross the white plate in fine pale lines where a limb has brushed it, dark grime collects in the panel gaps and along the underside of the collar, and a scuffed crescent at the near elbow has worn the ceramic down to grey. The single small silver hoop earring hangs in her left earlobe, the only metal that catches light on an otherwise bare ear, and the hoop's inner edge throws a thin reflected glint onto the jaw beside it. Her pale blue eyes are glass-clear, set in a porcelain-like synthetic complexion with no pores, a faint seam running from the temple down past the ear where the faceplate meets the chassis. One hard key light from the upper left carves a bright edge along the left side of her forehead, nose bridge, collarbone and shoulder plate, and drops the right half of her face and the far shoulder into deep shadow; the darkness under the jaw is near-black. A cool dim ambient fill, slightly cyan, opens just enough detail in the shadow side without flattening it. A thin rim light from behind traces the outer contour of the black hair where it meets the backdrop, so the hair separates from the surround instead of merging into it. Specular highlights sit tight and metallic on the polished curves of the shoulder piston and the rim of the chest plate, tighter than the soft sheen on the ceramic. Behind her the industrial space is thrown far out of focus by f/1.8: a blurred vertical of cold steel column at frame left, a flat slab of concrete wall at right, a soft pale patch of light far down the corridor, all reduced to cool grey and steel-blue shapes with no readable edges. Everything in that blur sits cooler than her face. The palette is desaturated and disciplined — sterile white ceramic, deep black hair and shadow, slate grey plates and background, the only warmth allowed in the muted rose of her lips and the small warm patch of skin-tone at her ear; the shadows lean cyan. Kodak Portra 400 grain sits evenly across the frame and the grading is muted, with the shadow toe pushed toward cyan. Depth is shallow and the plane of focus rides on her near eye and the rim of the silver hoop, softening already at the far shoulder and gone entirely by the wall. The bright scuff at her worn elbow is the one place where the lean's pressure shows on the machine — the ceramic there has been dragged against a hard surface often enough to lose its finish. Melancholic, sterile.

Android

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