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AI art "上原燐" featuring #対魔忍
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上原燐

「上原燐」は大竹三郎さんのAIイラストです。使用モデル: WAI-Mature-illustrious。

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大竹三郎

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<LORA:ポーズ11:0>,uehara_rin(taimanin),tall statue, blue hair blue, long hair, ponytail,red eye,slight smile ,confident,stylish office lady outfit,(white collared shirt:2.0),Long Sleeves,tented shirt,black leather skirt,covered breasts,covered navel,covered torso,covered hip,(covered Shoulders:2.0),covered back,armpit cutout,solo ,single subject, one body, one head,tachi-e ,toe,full body,pressing own breasts together with own forearms,handsfree breast squeeze ,hands on own chin,office,best quality,masterpiece,sfw,general sexy but not explicit,tasteful,non-nude,no pokies,no nipples
パラメーターを見る
縦横比
768 x 1280
サンプリングステップ
7
サンプリング方法
Euler a
CFGスケール
4
ネガティブ
worst quality,bad hands,low quality,signature,watermark,jpeg artifacts,mosaic,censoring,text bubble, word box, kanji,sex,nipple,covered nipples,pokies,visible nipples, nipple outline, hard nipples, breast outline, tight clothes, transparent clothing,nsfw,split screen,multiple panels,split composition,multiple views, duplicate, cloned body
顔修正

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1girl, solo, very pale skin, short woman, 4 feet tall, enormous breasts, massive breasts, wide hips, thick thighs, black hair, hair bun, bangs in face, heavy-lidded eyes, blue eyes, plump lips, black lips, blue eyeshadow, white button-up shirt, straining shirt, buttons about to break, blue blazer, blue pencil skirt, blue high heels, walking, from side, profile, annoyed, angry, furrowed brow, frown, office interior, closed office interior, full body, dutch angle, looking to the side, past the camera, A full-body three-quarter view from slightly below and off to her left, the camera tilted a few degrees into a dutch angle so the office floor runs diagonally under her. She is seen from the side, striding left to right across the corridor, caught mid-step: her right heel planted and bearing her weight, left knee driving forward with the blue high heel lifted off the carpet, hips swinging forward as she goes. Her back is straight and her chin is up, and her head is turned only slightly toward the camera, her heavy-lidded blue eyes sliding sideways under lowered lids in a flat, fed-up stare aimed past the lens; dark brows drawn together, her plump black lips pressed into a muted scowl with one corner pulling down. Her enormous chest rides high and forward, the white button-up shirt stretched drum-tight across it, the placket pulling into diagonal creases and the buttons straining so hard that the fabric gapes around each one and the seam spreads; the blue blazer is worn open and pushed back off her shoulders so it hangs behind her, sleeves shoved to the wrists, hanging looser the further it gets from her body. The blue pencil skirt is tight across wide hips and thick thighs, the fabric pulled taut and creasing at the crotch with each stride, and the short skirt hem is lifted by her stepping leg. Her black hair is pulled back into a tight bun at the crown, bangs cut blunt and messy and hanging down over her brow and partly into her face, and short strands stuck to her forehead and neck on the side she is walking away from. The office around her is a mid-sized, open interior: a grey carpeted floor, pale taupe partition walls on the left, a row of glass-walled offices receding on the right, a low desk edge and a tilted monitor blurred in the near foreground on the right, and a few blurred figures in the deep background hunched at their desks. The light is cold overhead fluorescent, the source a ceiling bank above and slightly behind her, so hard highlights run along her crown, her collarbones and the stretched shirt front while her jaw, the undersides of her breasts and the backs of her thighs fall into soft shadow, and her shadow is thrown forward and to the left on the carpet, elongated and skewed by the dutch tilt. Her stack of papers and a lanyard are gone, her hands are empty; her left hand is half-clenched at her side, her right is mid-swing back behind her hip. Palette: cool grey, pale taupe, white, and blue on blue on blue, with black hair and black lips as the only dark accents. Late office afternoon, cold interior, irritated and stylish.
Joshua Froat

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