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AI artwork
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C9I

C9IさんのAIイラストです。使用モデル: Tsubaki.3。

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C9I

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two wooden marionettes, puppet, 2 subjects, wooden puppet body, visible control strings, plastic flowers, romantic embrace, embracing, hollow painted smile, painted on face, dangling, hanging from strings, dark room, dusty room, empty room, theatrical, cinematic lighting, deep shadows, film grain, from below, dutch angle, cowboy shot, no text, no watermark, no signature Seen from a low dutch angle so the two puppets loom over the lens, two wooden marionettes hang in the middle of a bare, dark, dusty room, their control strings running up out of frame in taut bright parallel lines. The taller marionette leans down and across, one carved forearm laid over the shorter puppet's shoulder blades; the shorter one tilts its head up and inward until their painted cheeks almost touch, one jointed hand splayed on the other's chest, the other arm curled up to hold a small bunch of plastic flowers between their faces. The flowers are cheap and glossy — magenta petals on green wire stems, seams of the mould still visible, catching the light with a hard plastic shine that the matte carved wood never gives back. Both faces are carved wood with flaking joints and thin paint cracks, and both wear the same permanent painted smile, a thin fixed arc of red enamel with no lip shape behind it, the varnish pooled and glossy in the corners, eyes painted wide and flat so the smile never reaches them. The strings are the brightest thing in the frame: fine, taut, dust-fuzzed cords running from their shoulders, wrists, elbows and the crowns of their heads up into the darkness above, crossing the shot and slicing the composition into strips. One string on the taller puppet catches a bead of dust and glints. Neither figure touches the floor; both hang with a slight shared sway, so the lower hems and their loose feet drift a few degrees off vertical from each other. The room around them is empty — bare warped floorboards far below in shadow, a suggestion of a tall window frame at the far left with louvred shutters, thick dust on every horizontal surface and a slow visible drift of motes in the beam. The only light source is a single hard low-side key raking in from the left, throwing long hard shadows of both bodies and their strings onto the back wall, and where it grazes the wood it lifts the grain, the parting seams at the elbows, the dust settled on the upward-facing surfaces of their shoulders and hair. Everything the light does not strike falls into absolute black. Palette is amber in the key, cold blue in the shadow, and the plastic flowers' magenta as the only saturated note. Cinematic, theatrical, lonely.
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オリジナルプロンプト
Two wooden marionettes hanging from strings in a dark, dusty room. They are posed in a romantic embrace, holding plastic flowers. Their faces are painted with permanent, hollow smiles. The strings holding them up are very visible. They are just puppets playing a role. Mood: dark, lonely, empty, theatrical. Cinematic lighting, deep shadows, 8k, hyper-detailed, film grain. No text, no watermark. --ar 16:9
モード
pro
縦横比
992 x 992
サンプリング方法
Euler
ネガティブ
lowres, worst quality, low quality, bad anatomy, explicit
プロンプト自動変換

利用したモデルとLoRA

Tsubaki.3 - AI Modelのカバー画像

PixAI DiT.3

Tsubaki.3
7.66k

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AI artwork
Avatar image of C9I
two wooden marionettes, puppet, 2 subjects, wooden puppet body, visible control strings, plastic flowers, romantic embrace, embracing, hollow painted smile, painted on face, dangling, hanging from strings, dark room, dusty room, empty room, theatrical, cinematic lighting, deep shadows, film grain, from below, dutch angle, cowboy shot, no text, no watermark, no signature Seen from a low dutch angle so the two puppets loom over the lens, two wooden marionettes hang in the middle of a bare, dark, dusty room, their control strings running up out of frame in taut bright parallel lines. The taller marionette leans down and across, one carved forearm laid over the shorter puppet's shoulder blades; the shorter one tilts its head up and inward until their painted cheeks almost touch, one jointed hand splayed on the other's chest, the other arm curled up to hold a small bunch of plastic flowers between their faces. The flowers are cheap and glossy — magenta petals on green wire stems, seams of the mould still visible, catching the light with a hard plastic shine that the matte carved wood never gives back. Both faces are carved wood with flaking joints and thin paint cracks, and both wear the same permanent painted smile, a thin fixed arc of red enamel with no lip shape behind it, the varnish pooled and glossy in the corners, eyes painted wide and flat so the smile never reaches them. The strings are the brightest thing in the frame: fine, taut, dust-fuzzed cords running from their shoulders, wrists, elbows and the crowns of their heads up into the darkness above, crossing the shot and slicing the composition into strips. One string on the taller puppet catches a bead of dust and glints. Neither figure touches the floor; both hang with a slight shared sway, so the lower hems and their loose feet drift a few degrees off vertical from each other. The room around them is empty — bare warped floorboards far below in shadow, a suggestion of a tall window frame at the far left with louvred shutters, thick dust on every horizontal surface and a slow visible drift of motes in the beam. The only light source is a single hard low-side key raking in from the left, throwing long hard shadows of both bodies and their strings onto the back wall, and where it grazes the wood it lifts the grain, the parting seams at the elbows, the dust settled on the upward-facing surfaces of their shoulders and hair. Everything the light does not strike falls into absolute black. Palette is amber in the key, cold blue in the shadow, and the plastic flowers' magenta as the only saturated note. Cinematic, theatrical, lonely.
C9I
AI artwork
Avatar image of C9I
two wooden marionettes, puppet, 2 subjects, wooden puppet body, visible control strings, plastic flowers, romantic embrace, embracing, hollow painted smile, painted on face, dangling, hanging from strings, dark room, dusty room, empty room, theatrical, cinematic lighting, deep shadows, film grain, from below, dutch angle, cowboy shot, no text, no watermark, no signature Seen from a low dutch angle so the two puppets loom over the lens, two wooden marionettes hang in the middle of a bare, dark, dusty room, their control strings running up out of frame in taut bright parallel lines. The taller marionette leans down and across, one carved forearm laid over the shorter puppet's shoulder blades; the shorter one tilts its head up and inward until their painted cheeks almost touch, one jointed hand splayed on the other's chest, the other arm curled up to hold a small bunch of plastic flowers between their faces. The flowers are cheap and glossy — magenta petals on green wire stems, seams of the mould still visible, catching the light with a hard plastic shine that the matte carved wood never gives back. Both faces are carved wood with flaking joints and thin paint cracks, and both wear the same permanent painted smile, a thin fixed arc of red enamel with no lip shape behind it, the varnish pooled and glossy in the corners, eyes painted wide and flat so the smile never reaches them. The strings are the brightest thing in the frame: fine, taut, dust-fuzzed cords running from their shoulders, wrists, elbows and the crowns of their heads up into the darkness above, crossing the shot and slicing the composition into strips. One string on the taller puppet catches a bead of dust and glints. Neither figure touches the floor; both hang with a slight shared sway, so the lower hems and their loose feet drift a few degrees off vertical from each other. The room around them is empty — bare warped floorboards far below in shadow, a suggestion of a tall window frame at the far left with louvred shutters, thick dust on every horizontal surface and a slow visible drift of motes in the beam. The only light source is a single hard low-side key raking in from the left, throwing long hard shadows of both bodies and their strings onto the back wall, and where it grazes the wood it lifts the grain, the parting seams at the elbows, the dust settled on the upward-facing surfaces of their shoulders and hair. Everything the light does not strike falls into absolute black. Palette is amber in the key, cold blue in the shadow, and the plastic flowers' magenta as the only saturated note. Cinematic, theatrical, lonely.
C9I
AI artwork
Avatar image of C9I
two wooden marionettes, puppet, 2 subjects, wooden puppet body, visible control strings, plastic flowers, romantic embrace, embracing, hollow painted smile, painted on face, dangling, hanging from strings, dark room, dusty room, empty room, theatrical, cinematic lighting, deep shadows, film grain, from below, dutch angle, cowboy shot, no text, no watermark, no signature Seen from a low dutch angle so the two puppets loom over the lens, two wooden marionettes hang in the middle of a bare, dark, dusty room, their control strings running up out of frame in taut bright parallel lines. The taller marionette leans down and across, one carved forearm laid over the shorter puppet's shoulder blades; the shorter one tilts its head up and inward until their painted cheeks almost touch, one jointed hand splayed on the other's chest, the other arm curled up to hold a small bunch of plastic flowers between their faces. The flowers are cheap and glossy — magenta petals on green wire stems, seams of the mould still visible, catching the light with a hard plastic shine that the matte carved wood never gives back. Both faces are carved wood with flaking joints and thin paint cracks, and both wear the same permanent painted smile, a thin fixed arc of red enamel with no lip shape behind it, the varnish pooled and glossy in the corners, eyes painted wide and flat so the smile never reaches them. The strings are the brightest thing in the frame: fine, taut, dust-fuzzed cords running from their shoulders, wrists, elbows and the crowns of their heads up into the darkness above, crossing the shot and slicing the composition into strips. One string on the taller puppet catches a bead of dust and glints. Neither figure touches the floor; both hang with a slight shared sway, so the lower hems and their loose feet drift a few degrees off vertical from each other. The room around them is empty — bare warped floorboards far below in shadow, a suggestion of a tall window frame at the far left with louvred shutters, thick dust on every horizontal surface and a slow visible drift of motes in the beam. The only light source is a single hard low-side key raking in from the left, throwing long hard shadows of both bodies and their strings onto the back wall, and where it grazes the wood it lifts the grain, the parting seams at the elbows, the dust settled on the upward-facing surfaces of their shoulders and hair. Everything the light does not strike falls into absolute black. Palette is amber in the key, cold blue in the shadow, and the plastic flowers' magenta as the only saturated note. Cinematic, theatrical, lonely.
C9I

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