Nov 9, 2026

Notice: About Recent Slower Generation Speeds and Limited Computing Resources — Dear PixAI Community, Thank you for your continued love and support for PixAI. Recently, generation speeds on PixAI have…

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Pieck

Diterbitkan pada Nov 9, 2026

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Илья Гин

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character: pieck_finger 1girl, solo, long hair, black hair, disheveled hair, messy hair, tired, tired eyes, gray eyes, aquiline nose, medium breasts, wide hips, blush, white shirt, button-up shirt, collarbone, partially undressed, shirt unbuttoned, black bra, cleavage, long coat, beige trench coat, coat slipping off shoulders, brown skirt, long skirt, pleated skirt, bare ankles, standing, slouching, leaning back, lying on bed, on back, arms at sides, looking at viewer, half-closed eyes, light smile, bed, white sheets, pillow, bedroom, window light, from above, cowboy shot, dull surprise, muted colors, film grain The camera looks down from a high three-quarter angle at a woman lying back across a rumpled bed, her long body angled diagonally from the lower left of the frame to the upper right, head toward the pillow at the upper right and bare ankles trailing off the lower left edge. She lies mostly on her back but turned a quarter toward the viewer, her shoulders pressed into the mattress and one hip lifted slightly so the dark brown ankle-length pleated skirt bunches and twists across her thighs, its hem caught above her bare ankles; the pleats fan out where the fabric is dragged sideways, and the skirt's waistband sits low and skewed. Her white button-up shirt hangs open down the front, half the buttons undone and the placket pulled apart, one sleeve shoved up above the elbow while the other is still buttoned at the cuff, the collar standing open at her throat; beneath it the black bra cups her medium breasts, the strap on the near side slipped partway down her shoulder. The long beige trench coat is still on her but half off — one shoulder bare of it, the collar crushed behind her neck, one sleeve dangling off the mattress edge with its cuff out of frame, the coat's skirt spread under and around her hips on the sheet. The bed is the only furniture: white sheets creased and hollowed where her weight sinks in, one pillow dented under her head, a second shoved aside. A window at the left edge casts low, cool late-afternoon light across the sheet, striping the near side of her face and the ridge of her aquiline nose with pale highlights and letting the far side fall into soft gray shadow; the shadow of the window frame rakes across the mattress and over the folds of the coat. Her long disheveled black hair spreads in loose, uncombed strands across the pillow and the sheet, some of it caught under her cheek, some of it lying across the open collar of the shirt. Her gray eyes are heavy-lidded and tired, looking up at the viewer from under a lowered brow, the skin beneath them faintly shadowed; a warm blush sits high on both cheeks. Her lips are parted slightly, a small tired half-smile. One hand rests loose and open on the sheet beside her hip, fingers curled, the other lies across her stomach at the edge of the open shirt, fingertips just touching the fabric. The palette stays muted and desaturated — off-white sheet, oatmeal beige of the trench coat, the dark brown of the skirt, the flat black of the bra and hair, the cold gray of the light — with the blush the only warm note in the frame. The linework is thin, gritty and hatching-heavy, shadows built from fine crosshatch rather than smooth gradients, skin and cloth showing realistic anatomical imperfections — a crease at the waist, the soft weight of the breasts against the bra, the small hollow at the collarbone. Quietly intimate, worn out.

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