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Jana Secara Percuma

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Komen

1girl, solo, policewoman, long hair, black hair, twintails, black eyes, empty eyes, expressionless, closed mouth, looking at viewer, breasts, standing, hand on own hip, cowboy shot, white shirt, collared shirt, long sleeves, necktie, blue skirt, very short tight skirt, tight skirt, black belt, belt pouch, pouch, police badge, white gloves, pen, clipboard, computer, office, indoors, japan national police, dutch angle, from below, three-quarter view, clipboard held to the side, weight on one leg, blank stare, gray-blue palette, cold fluorescent light, windowless office Shot with a slight dutch angle from below, tilted up across a windowless Japanese police office, a single young policewoman stands three-quarter to the camera at the center of the frame, cowboy-shot cropped at mid-thigh. Her weight rests on her left leg while her right knee eases forward, so her hips cant and the very short tight blue skirt pulls taut across her right hip; her right hand is planted flat on that hip, the white glove creasing at the wrist and the thumb hooked forward over the black belt, knuckles pressed into the fabric. Her left arm is bent at the elbow, the clipboard clamped between gloved fingers and braced against her ribs, its top edge tilted toward the lens so the paper stack fans a little, a thin metal clip catching the light. A slim pen is pinched between the same two gloved fingers, resting diagonally over the clipboard's upper corner; a black belt pouch bulges at her left hip, its flap fastened, pulling that side of the belt slightly down. Her white long-sleeved collared shirt is buttoned to the collar and tucked, the sleeves snug to the forearm; a dark necktie hangs straight down the placket, the knot sitting tight beneath the collar point. A round police badge with a metal rim and a star at its center is pinned flat on the left side of her chest, just above the breast line, its enamel surface throwing a small hard highlight. Her long black hair is split into two twintails tied high at the sides of her head, falling past her shoulders with blunt ends that hang clear of the clipboard, and a few strands escape near the cheek that is turned toward us. Her face is almost blank in three-quarter view: black eyes with the highlights kept to a flat dull sheen, gaze fixed directly on the viewer, lips pressed closed into a straight line, neither brow raised, and the slack, unengaged stillness of someone answering a question she has answered a hundred times. Behind her, a low office desk holds a boxy beige CRT computer, its dark screen turned away at an angle, a stack of paper trays and a phone; a filing cabinet and a pinned roster board fill the back wall, and the far window blinds are shut, so the room's only light comes from the flat overhead fluorescent tubes. That fluorescent light falls from above and slightly behind the lens: it bleaches the top of her shirt and gloves, casts a faint shadow under the clipboard onto her skirt, and leaves the undersides of her chin and the shadowed side of her hair cool and gray. The whole frame is disciplined to black, white, cold blue and steel gray -- black in the hair, tie and belt, white in the shirt and gloves, blue in the skirt, gray in the office behind her -- with no warm accent admitted. Motionless, bureaucratic, quietly uncanny.
Paparkan Parameter
Prompt Asal
1girl, solo, long hair, breasts, looking at viewer, shirt, long sleeves, skirt, black hair, gloves, closed mouth, white shirt, standing, twintails, cowboy shot, collared shirt, necktie, indoors, belt, white gloves, black eyes, blue skirt, hand on own hip, expressionless, black belt, very short tight skirt, pouch, empty eyes, pen, computer, belt pouch, police, badge, police uniform, clipboard, policewoman, office, japan national police
Mod
pro
Saiz
1104 x 1824
Kaedah Pensampelan
Euler
Negatif
lowres, worst quality, low quality, bad anatomy, explicit
Pembantu Prompt

Model & LoRA yang digunakan

Tsubaki.3 - AI Model cover image

PixAI DiT.3

Tsubaki.3
7.26k

Imej Serupa

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AI artwork
あ
1girl, solo, policewoman, long hair, black hair, twintails, black eyes, empty eyes, expressionless, closed mouth, looking at viewer, breasts, standing, hand on own hip, cowboy shot, white shirt, collared shirt, long sleeves, necktie, blue skirt, very short tight skirt, tight skirt, black belt, belt pouch, pouch, police badge, white gloves, pen, clipboard, computer, office, indoors, japan national police, dutch angle, from below, three-quarter view, clipboard held to the side, weight on one leg, blank stare, gray-blue palette, cold fluorescent light, windowless office Shot with a slight dutch angle from below, tilted up across a windowless Japanese police office, a single young policewoman stands three-quarter to the camera at the center of the frame, cowboy-shot cropped at mid-thigh. Her weight rests on her left leg while her right knee eases forward, so her hips cant and the very short tight blue skirt pulls taut across her right hip; her right hand is planted flat on that hip, the white glove creasing at the wrist and the thumb hooked forward over the black belt, knuckles pressed into the fabric. Her left arm is bent at the elbow, the clipboard clamped between gloved fingers and braced against her ribs, its top edge tilted toward the lens so the paper stack fans a little, a thin metal clip catching the light. A slim pen is pinched between the same two gloved fingers, resting diagonally over the clipboard's upper corner; a black belt pouch bulges at her left hip, its flap fastened, pulling that side of the belt slightly down. Her white long-sleeved collared shirt is buttoned to the collar and tucked, the sleeves snug to the forearm; a dark necktie hangs straight down the placket, the knot sitting tight beneath the collar point. A round police badge with a metal rim and a star at its center is pinned flat on the left side of her chest, just above the breast line, its enamel surface throwing a small hard highlight. Her long black hair is split into two twintails tied high at the sides of her head, falling past her shoulders with blunt ends that hang clear of the clipboard, and a few strands escape near the cheek that is turned toward us. Her face is almost blank in three-quarter view: black eyes with the highlights kept to a flat dull sheen, gaze fixed directly on the viewer, lips pressed closed into a straight line, neither brow raised, and the slack, unengaged stillness of someone answering a question she has answered a hundred times. Behind her, a low office desk holds a boxy beige CRT computer, its dark screen turned away at an angle, a stack of paper trays and a phone; a filing cabinet and a pinned roster board fill the back wall, and the far window blinds are shut, so the room's only light comes from the flat overhead fluorescent tubes. That fluorescent light falls from above and slightly behind the lens: it bleaches the top of her shirt and gloves, casts a faint shadow under the clipboard onto her skirt, and leaves the undersides of her chin and the shadowed side of her hair cool and gray. The whole frame is disciplined to black, white, cold blue and steel gray -- black in the hair, tie and belt, white in the shirt and gloves, blue in the skirt, gray in the office behind her -- with no warm accent admitted. Motionless, bureaucratic, quietly uncanny.
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AI artwork
あ
1girl, solo, policewoman, long hair, black hair, twintails, black eyes, empty eyes, expressionless, closed mouth, looking at viewer, breasts, standing, hand on own hip, cowboy shot, white shirt, collared shirt, long sleeves, necktie, blue skirt, very short tight skirt, tight skirt, black belt, belt pouch, pouch, police badge, white gloves, pen, clipboard, computer, office, indoors, japan national police, dutch angle, from below, three-quarter view, clipboard held to the side, weight on one leg, blank stare, gray-blue palette, cold fluorescent light, windowless office Shot with a slight dutch angle from below, tilted up across a windowless Japanese police office, a single young policewoman stands three-quarter to the camera at the center of the frame, cowboy-shot cropped at mid-thigh. Her weight rests on her left leg while her right knee eases forward, so her hips cant and the very short tight blue skirt pulls taut across her right hip; her right hand is planted flat on that hip, the white glove creasing at the wrist and the thumb hooked forward over the black belt, knuckles pressed into the fabric. Her left arm is bent at the elbow, the clipboard clamped between gloved fingers and braced against her ribs, its top edge tilted toward the lens so the paper stack fans a little, a thin metal clip catching the light. A slim pen is pinched between the same two gloved fingers, resting diagonally over the clipboard's upper corner; a black belt pouch bulges at her left hip, its flap fastened, pulling that side of the belt slightly down. Her white long-sleeved collared shirt is buttoned to the collar and tucked, the sleeves snug to the forearm; a dark necktie hangs straight down the placket, the knot sitting tight beneath the collar point. A round police badge with a metal rim and a star at its center is pinned flat on the left side of her chest, just above the breast line, its enamel surface throwing a small hard highlight. Her long black hair is split into two twintails tied high at the sides of her head, falling past her shoulders with blunt ends that hang clear of the clipboard, and a few strands escape near the cheek that is turned toward us. Her face is almost blank in three-quarter view: black eyes with the highlights kept to a flat dull sheen, gaze fixed directly on the viewer, lips pressed closed into a straight line, neither brow raised, and the slack, unengaged stillness of someone answering a question she has answered a hundred times. Behind her, a low office desk holds a boxy beige CRT computer, its dark screen turned away at an angle, a stack of paper trays and a phone; a filing cabinet and a pinned roster board fill the back wall, and the far window blinds are shut, so the room's only light comes from the flat overhead fluorescent tubes. That fluorescent light falls from above and slightly behind the lens: it bleaches the top of her shirt and gloves, casts a faint shadow under the clipboard onto her skirt, and leaves the undersides of her chin and the shadowed side of her hair cool and gray. The whole frame is disciplined to black, white, cold blue and steel gray -- black in the hair, tie and belt, white in the shirt and gloves, blue in the skirt, gray in the office behind her -- with no warm accent admitted. Motionless, bureaucratic, quietly uncanny.
ああああ
AI artwork
あ
1girl, solo, policewoman, long hair, black hair, twintails, black eyes, empty eyes, expressionless, closed mouth, looking at viewer, breasts, standing, hand on own hip, cowboy shot, white shirt, collared shirt, long sleeves, necktie, blue skirt, very short tight skirt, tight skirt, black belt, belt pouch, pouch, police badge, white gloves, pen, clipboard, computer, office, indoors, japan national police, dutch angle, from below, three-quarter view, clipboard held to the side, weight on one leg, blank stare, gray-blue palette, cold fluorescent light, windowless office Shot with a slight dutch angle from below, tilted up across a windowless Japanese police office, a single young policewoman stands three-quarter to the camera at the center of the frame, cowboy-shot cropped at mid-thigh. Her weight rests on her left leg while her right knee eases forward, so her hips cant and the very short tight blue skirt pulls taut across her right hip; her right hand is planted flat on that hip, the white glove creasing at the wrist and the thumb hooked forward over the black belt, knuckles pressed into the fabric. Her left arm is bent at the elbow, the clipboard clamped between gloved fingers and braced against her ribs, its top edge tilted toward the lens so the paper stack fans a little, a thin metal clip catching the light. A slim pen is pinched between the same two gloved fingers, resting diagonally over the clipboard's upper corner; a black belt pouch bulges at her left hip, its flap fastened, pulling that side of the belt slightly down. Her white long-sleeved collared shirt is buttoned to the collar and tucked, the sleeves snug to the forearm; a dark necktie hangs straight down the placket, the knot sitting tight beneath the collar point. A round police badge with a metal rim and a star at its center is pinned flat on the left side of her chest, just above the breast line, its enamel surface throwing a small hard highlight. Her long black hair is split into two twintails tied high at the sides of her head, falling past her shoulders with blunt ends that hang clear of the clipboard, and a few strands escape near the cheek that is turned toward us. Her face is almost blank in three-quarter view: black eyes with the highlights kept to a flat dull sheen, gaze fixed directly on the viewer, lips pressed closed into a straight line, neither brow raised, and the slack, unengaged stillness of someone answering a question she has answered a hundred times. Behind her, a low office desk holds a boxy beige CRT computer, its dark screen turned away at an angle, a stack of paper trays and a phone; a filing cabinet and a pinned roster board fill the back wall, and the far window blinds are shut, so the room's only light comes from the flat overhead fluorescent tubes. That fluorescent light falls from above and slightly behind the lens: it bleaches the top of her shirt and gloves, casts a faint shadow under the clipboard onto her skirt, and leaves the undersides of her chin and the shadowed side of her hair cool and gray. The whole frame is disciplined to black, white, cold blue and steel gray -- black in the hair, tie and belt, white in the shirt and gloves, blue in the skirt, gray in the office behind her -- with no warm accent admitted. Motionless, bureaucratic, quietly uncanny.
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AI artwork
Avatar image of リオ
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
2#Puella Magi Madoka Magica#Madoka Kaname#Puella Magi Madoka Magica
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