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AI artwork featuring #Siri Fate, #Fate/Grand Order, #Leonardo da Vinci and #Leonardo da Vinci (Rider)

Leonardo da Vinci, Leonardo da Vinci (Rider)

#Siri Fate #Fate/Grand Order #Leonardo da Vinci #Leonardo da Vinci (Rider)

Diterbitkan pada Nov 4, 2026

Tatsu Yuikane

copyright: dragalia_lost 1girl, solo, victorian clothes, commoner clothes, long coarse beige linen dress, off-white cotton apron, apron pocket bulging with chunks of meat, bloodstains on clothes, blood splatter on face, blood on hands, single bone brush, holding brush, standing, lectern, dock, bone lectern, bone dock, bloodied bone furniture, wet bone surface, studio, interior, wooden floor, plaster wall, from below, cowboy shot, dutch angle, looking at viewer, kind innocent smile, soft closed-lip smile, gentle raised brows, head tilt, detailed face, masterpiece, best quality, very aesthetic, absurdres, amazing quality, Shot from a low dutch angle inside a bare studio, the floorboards tilting up across the frame. A single girl in commoner Victorian dress stands at the center of it: a long coarse beige linen dress with a high buttoned collar and plain long sleeves, an off-white cotton apron tied at her waist and gone brown-red down the front, its pocket sagging heavy with chunks of raw meat that bulge the fabric and leave a slow wet sheen at the seam. Blood is spattered across the apron bib, the cuffs and the hem of the skirt; blood freckles her cheeks, her chin and the backs of her hands, one dried streak running from her temple into her hairline. She stands with her weight on her right leg, left hip dropped, shoulders loose, one hand resting flat on the slanted top of a lectern built entirely of bones -- femurs and ribs lashed and mortared together, still wet, dark blood beading along the lowest joints and hanging in a single thread before it falls. Behind her and to the left, a witness dock rises on the same bone construction, its rail of stacked vertebrae and long bones, blood pooled in the hollows of the joints and one dark drip working down a shin bone. Her other hand lifts a single brush carved from one pale bone, its handle a slim shaft, its ferrule bound with sinew, the bristles tipped dark red, held up at chest height between two fingers as though she has just paused mid-stroke. Her chin tips down toward the viewer, head canted with the dutch angle, and she looks straight into the lens with wide calm eyes and a soft closed-lip smile, brows gently raised, entirely at ease -- the kind innocent smile of someone showing you her work. Overhead studio light falls from the upper right: it catches the wet highlights on the bone lectern and dock, glosses the blood on her cheek and the bristles, and drops soft shadows to the lower left of every upright, the far wall falling into a dimmer grey. Palette held to beige linen, off-white cotton, the yellowed ivory of dry bone, and deep venous red, nothing else admitted. The meat in the apron pocket presses a damp print through the cotton where it rests against her thigh. Quiet, unsettling charm.

Leonardo da Vinci, Leonardo da Vinci (Rider)

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