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Paparkan Parameter
- Saiz
- 768 x 1280
- Langkah Pensampelan
- 28
- Kaedah Pensampelan
- Euler a
- Skala CFG
- 6.5
- Negatif
- 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, (nsfw:1.2), (nude:1.6), (nipple:1.2), naked
Model & LoRA yang digunakan
Imej Serupa
Papar lagi
Alley
Edo
ra
no humans, no people, no figures, no silhouettes, empty room, deserted, cyberpunk graphic novel background environment, stylized ink-noir anime aesthetic, hidden subterranean black-market operations hub, underground bunker hideout, low industrial concrete ceiling, exposed piping, heavy steel reinforcement pillars, weapon storage crates along left and right walls, heavy matte-black industrial frames, dark concrete floor, white damage scratches, grease scuffs, dense ink cross-hatching shadows, deep chiaroscuro lighting, long geometric shadows, hot-pink neon tubes on pipes, deep purple neon tubes on corner terminal stations, gritty high-contrast anime screentone palette, wide shot, wide open empty center space, 16:9, no text
A wide 16:9 architectural interior seen from a low, near-floor eye-level camera placed dead on the room's central axis, so the floor recedes as a broad unbroken plane toward a far wall and the perspective lines of the ceiling pipes and floor seams converge toward the middle of the frame. The chamber is a buried bunker: a low slab of raw board-formed concrete presses down overhead, its surface streaked with old water staining, and ductwork and bundled conduit run the length of it in parallel ranks, bracketed at intervals and sagging very slightly between the brackets. Two heavy steel reinforcement pillars, I-beam section with riveted flanges and chipped matte-black paint, rise in the midground flanking the central corridor, each throwing a hard vertical bar of shadow back across the floor.
Along the left wall and along the right wall, in matching but not mirrored runs, stacks of weapon storage crates -- olive-drab and gunmetal, ribbed latches, stencilled markings worn to illegible flecks -- sit three and four high on low steel pallets, their top edges catching a thin rim of neon. The crates and the pillar bases and the deep-set door frames are the matte-black industrial elements: flat, light-drinking, their edges defined only by the highlight that grazes them.
The floor is dark poured concrete, matte and unpolished, and it carries the room's readable history: clusters of fine white damage scratches arcing where something heavy was dragged, broad grease scuffs smeared in the traffic lane between the crate runs, and dark oil staining pooled in the seams between slabs. Dense ink cross-hatching gathers in every corner, under every crate lip, behind every pillar and along the ceiling/wall joint, the hatching densest where the light fails and thinning to bare screentone dots where it reaches.
The lighting is single-source chiaroscuro in two neon temperatures and nothing else. Hot-pink neon tubes are strapped along the dark overhead pipes and descend one wall in a vertical run, spilling a magenta wash across the ceiling and down the left-hand crates. Deep purple neon tubes sit in the far corners, mounted on the terminal stations -- consoles and switch cabinets angled into each corner, their screens dark, their casings matte black -- pooling violet light across the floor in front of them and leaving the corners themselves in near-black. Every shadow is long and geometric: the pillars cast straight bars, the crate stacks cast stepped rectangles, the pipes cast parallel stripes that stripe the floor and climb the far wall. Where the pink and purple pools meet on the concrete, the overlap darkens into a bruised tone rather than brightening.
The center of the frame is left wholly open: a wide, empty span of scratched floor running from the immediate foreground to the far wall's service door, unobstructed by crates, pillars or consoles, framed symmetrically by the peripheral clutter on both sides and lit only by the spill of the two neon colors reaching in from the edges -- deliberately clean negative space reserved as a flat layout zone. No human being stands anywhere in it, no figure crosses it, no silhouette occupies any doorway, no reflection in any dark screen holds a person.
High-contrast anime screentone rendering: hard cel-shadow edges, visible halftone dot fields in the mid-tones of the concrete, black hatching laid over black fill, a restricted palette of matte black, cold grey concrete, hot pink and deep purple. A single judgeable detail: the pink neon's reflection lies in the grease-slicked patches of floor as a longer, softer, dimmer smear than the tube itself, while the dry scratched concrete beside it takes no reflection at all. Still, airless, quietly menacing.
Roger Albertsen
ra
no humans, no people, no figures, no silhouettes, empty room, deserted, cyberpunk graphic novel background environment, stylized ink-noir anime aesthetic, hidden subterranean black-market operations hub, underground bunker hideout, low industrial concrete ceiling, exposed piping, heavy steel reinforcement pillars, weapon storage crates along left and right walls, heavy matte-black industrial frames, dark concrete floor, white damage scratches, grease scuffs, dense ink cross-hatching shadows, deep chiaroscuro lighting, long geometric shadows, hot-pink neon tubes on pipes, deep purple neon tubes on corner terminal stations, gritty high-contrast anime screentone palette, wide shot, wide open empty center space, 16:9, no text
A wide 16:9 architectural interior seen from a low, near-floor eye-level camera placed dead on the room's central axis, so the floor recedes as a broad unbroken plane toward a far wall and the perspective lines of the ceiling pipes and floor seams converge toward the middle of the frame. The chamber is a buried bunker: a low slab of raw board-formed concrete presses down overhead, its surface streaked with old water staining, and ductwork and bundled conduit run the length of it in parallel ranks, bracketed at intervals and sagging very slightly between the brackets. Two heavy steel reinforcement pillars, I-beam section with riveted flanges and chipped matte-black paint, rise in the midground flanking the central corridor, each throwing a hard vertical bar of shadow back across the floor.
Along the left wall and along the right wall, in matching but not mirrored runs, stacks of weapon storage crates -- olive-drab and gunmetal, ribbed latches, stencilled markings worn to illegible flecks -- sit three and four high on low steel pallets, their top edges catching a thin rim of neon. The crates and the pillar bases and the deep-set door frames are the matte-black industrial elements: flat, light-drinking, their edges defined only by the highlight that grazes them.
The floor is dark poured concrete, matte and unpolished, and it carries the room's readable history: clusters of fine white damage scratches arcing where something heavy was dragged, broad grease scuffs smeared in the traffic lane between the crate runs, and dark oil staining pooled in the seams between slabs. Dense ink cross-hatching gathers in every corner, under every crate lip, behind every pillar and along the ceiling/wall joint, the hatching densest where the light fails and thinning to bare screentone dots where it reaches.
The lighting is single-source chiaroscuro in two neon temperatures and nothing else. Hot-pink neon tubes are strapped along the dark overhead pipes and descend one wall in a vertical run, spilling a magenta wash across the ceiling and down the left-hand crates. Deep purple neon tubes sit in the far corners, mounted on the terminal stations -- consoles and switch cabinets angled into each corner, their screens dark, their casings matte black -- pooling violet light across the floor in front of them and leaving the corners themselves in near-black. Every shadow is long and geometric: the pillars cast straight bars, the crate stacks cast stepped rectangles, the pipes cast parallel stripes that stripe the floor and climb the far wall. Where the pink and purple pools meet on the concrete, the overlap darkens into a bruised tone rather than brightening.
The center of the frame is left wholly open: a wide, empty span of scratched floor running from the immediate foreground to the far wall's service door, unobstructed by crates, pillars or consoles, framed symmetrically by the peripheral clutter on both sides and lit only by the spill of the two neon colors reaching in from the edges -- deliberately clean negative space reserved as a flat layout zone. No human being stands anywhere in it, no figure crosses it, no silhouette occupies any doorway, no reflection in any dark screen holds a person.
High-contrast anime screentone rendering: hard cel-shadow edges, visible halftone dot fields in the mid-tones of the concrete, black hatching laid over black fill, a restricted palette of matte black, cold grey concrete, hot pink and deep purple. A single judgeable detail: the pink neon's reflection lies in the grease-slicked patches of floor as a longer, softer, dimmer smear than the tube itself, while the dry scratched concrete beside it takes no reflection at all. Still, airless, quietly menacing.
Roger Albertsen
ra
no humans, no people, no figures, no silhouettes, empty room, deserted, cyberpunk graphic novel background environment, stylized ink-noir anime aesthetic, hidden subterranean black-market operations hub, underground bunker hideout, low industrial concrete ceiling, exposed piping, heavy steel reinforcement pillars, weapon storage crates along left and right walls, heavy matte-black industrial frames, dark concrete floor, white damage scratches, grease scuffs, dense ink cross-hatching shadows, deep chiaroscuro lighting, long geometric shadows, hot-pink neon tubes on pipes, deep purple neon tubes on corner terminal stations, gritty high-contrast anime screentone palette, wide shot, wide open empty center space, 16:9, no text
A wide 16:9 architectural interior seen from a low, near-floor eye-level camera placed dead on the room's central axis, so the floor recedes as a broad unbroken plane toward a far wall and the perspective lines of the ceiling pipes and floor seams converge toward the middle of the frame. The chamber is a buried bunker: a low slab of raw board-formed concrete presses down overhead, its surface streaked with old water staining, and ductwork and bundled conduit run the length of it in parallel ranks, bracketed at intervals and sagging very slightly between the brackets. Two heavy steel reinforcement pillars, I-beam section with riveted flanges and chipped matte-black paint, rise in the midground flanking the central corridor, each throwing a hard vertical bar of shadow back across the floor.
Along the left wall and along the right wall, in matching but not mirrored runs, stacks of weapon storage crates -- olive-drab and gunmetal, ribbed latches, stencilled markings worn to illegible flecks -- sit three and four high on low steel pallets, their top edges catching a thin rim of neon. The crates and the pillar bases and the deep-set door frames are the matte-black industrial elements: flat, light-drinking, their edges defined only by the highlight that grazes them.
The floor is dark poured concrete, matte and unpolished, and it carries the room's readable history: clusters of fine white damage scratches arcing where something heavy was dragged, broad grease scuffs smeared in the traffic lane between the crate runs, and dark oil staining pooled in the seams between slabs. Dense ink cross-hatching gathers in every corner, under every crate lip, behind every pillar and along the ceiling/wall joint, the hatching densest where the light fails and thinning to bare screentone dots where it reaches.
The lighting is single-source chiaroscuro in two neon temperatures and nothing else. Hot-pink neon tubes are strapped along the dark overhead pipes and descend one wall in a vertical run, spilling a magenta wash across the ceiling and down the left-hand crates. Deep purple neon tubes sit in the far corners, mounted on the terminal stations -- consoles and switch cabinets angled into each corner, their screens dark, their casings matte black -- pooling violet light across the floor in front of them and leaving the corners themselves in near-black. Every shadow is long and geometric: the pillars cast straight bars, the crate stacks cast stepped rectangles, the pipes cast parallel stripes that stripe the floor and climb the far wall. Where the pink and purple pools meet on the concrete, the overlap darkens into a bruised tone rather than brightening.
The center of the frame is left wholly open: a wide, empty span of scratched floor running from the immediate foreground to the far wall's service door, unobstructed by crates, pillars or consoles, framed symmetrically by the peripheral clutter on both sides and lit only by the spill of the two neon colors reaching in from the edges -- deliberately clean negative space reserved as a flat layout zone. No human being stands anywhere in it, no figure crosses it, no silhouette occupies any doorway, no reflection in any dark screen holds a person.
High-contrast anime screentone rendering: hard cel-shadow edges, visible halftone dot fields in the mid-tones of the concrete, black hatching laid over black fill, a restricted palette of matte black, cold grey concrete, hot pink and deep purple. A single judgeable detail: the pink neon's reflection lies in the grease-slicked patches of floor as a longer, softer, dimmer smear than the tube itself, while the dry scratched concrete beside it takes no reflection at all. Still, airless, quietly menacing.
Roger Albertsen
Pengguna Disyorkan
Anda Mungkin Suka
ᯓ★ ⚡ ♡ ᯓ★
(mai)
Winter joy in the snow
FriddaTiss
kyramisu
logos
ᯓᯓ 𝙘𝙤𝙘𝙤𝙛𝙡𝙪𝙛𝙛𝙞
Hu Tao
KanKan Matcha
Tilith, the Goddess of Magical Star
entrophee_E:
푸른 물결 속의 신비로운 소녀
조개
X-Ray • Verina
ichikiki
anime
𝚖𝚎𝚛𝚒𝚖𝚎𝚛𝚒
miku
𝚖𝚎𝚛𝚒𝚖𝚎𝚛𝚒
samsara asura
ᯓᯓ 𝙘𝙤𝙘𝙤𝙛𝙡𝙪𝙛𝙛𝙞
🧣🚉 🪐 ‧₊˚ ♡ ˚₊‧
(mai)
❄️Lolicia❄️
weirdcore...
ᯓᯓ 𝙘𝙤𝙘𝙤𝙛𝙡𝙪𝙛𝙛𝙞
HaruYuu 02
uzukun
reunited at last
ᯓᯓ 𝙘𝙤𝙘𝙤𝙛𝙡𝙪𝙛𝙛𝙞
₊˚⊹♡ 𝗯𝘂𝗻𝗻𝘆 𝗴𝗶𝗿𝗹 ♡⊹˚₊
●♡⃝ 𝓑𝓾𝓽𝓽𝓮𝓻𝓯𝓵𝔂•ʚїɞ.𝕏𝕠
...
Tofu
1
...
Tofu
1
₊˚ ꒰ᐢ. .ᐢ꒱ 🍓🍞 ✧
(mai)
character: kaname_madoka_(magical_girl), copyright: mahou_shoujo_madoka_magica
Kaname Madoka from Puella Magi Madoka Magica, pink twin tails tied with deep red ribbons, wearing her iconic magical girl costume, white corset-like bodice with delicate back lacing, voluminous layered white and pale pink ruffled skirt, crimson ribbons flowing loosely around her body, viewed from behind at a three-quarter angle, seated with her back gracefully arched, both arms extending naturally downward behind her back, one hand gently holding the opposite wrist, clearly separated hands, relaxed slender fingers, five distinct fingers on each hand, natural finger spacing, anatomically correct wrists, elegant delicate hands, visible knuckles, softly curved fingers, hands clearly visible against the white skirt, unobstructed hand silhouette, accurate hand anatomy, head tilted far backward, chin raised toward the darkness, face mostly hidden, elegant elongated silhouette, delicate exposed shoulders, soft loose strands of pink hair, dramatic asymmetrical composition, close medium shot, large skirt filling the lower frame, dark almost black background, dramatic directional lighting, pale ivory highlights, muted dusty pink, cold gray shadows, rich crimson accents, strong contrast between luminous fabric and deep darkness, thick impasto oil painting, expressive visible brushstrokes, heavy layered paint, rough palette knife texture, sculptural paint strokes, painterly edges, textured canvas, loose gestural painting, rich tactile surface, dramatic chiaroscuro, melancholic atmosphere, haunting beauty, full bleed composition, edge-to-edge artwork, no borders, no frame, textured illustration, grainy texture, crayon texture, chalky brushwork, impasto strokes, bold color blocking, stylized anime, flat shading, dry brush effect, atmospheric lighting, soft glow highlights, rough painterly anime style, visible textured brushstrokes, heavy impasto texture, scratchy charcoal-like linework, expressive gestural strokes, smudged edges, desaturated base tones with aggressive high-contrast color, sketch style, rough brushstroke
リオ
Sg75
...
Tofu
이름
이름
Komen