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Angelic Sakura Witch
Pokaż parametry
- Rozmiar
- 1280 x 768
- Kroki próbkowania
- 16
- Metoda próbkowania
- Euler a
- Skala CFG
- 5
- Niepożądane
- nsfw, worst quality, bad quality, low quality, lowres, anatomical nonsense, artistic error, bad anatomy, interlocked fingers, extra fingers, text, artist name, signature, bad feet, extra toes, ugly, poorly drawn, censor, blurry, watermark, simple background, transparent background, old, oldest, glitch, deformed, mutated, disfigured, long body, bad hands, missing fingers, extra digit, fewer digits, cropped, very displeasing, sketch, jpeg artifacts, username, censored, bar_censor, mosaic_censor, conjoined, bad ai-generated, nsfw, long neck, skin blemishes, skin spots, acne, the wrong limb, error, black line, excess hands
Model i LoRA użyte
Podobne obrazy
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j
An athletic, tall woman with long, flowing blonde hair, olive skin, and big, expressive brown eyes is sitting on a grey couch in a cozy room, watching TV. Her makeup includes long eyelashes and pink lips, and she's wearing a white brand jacket and jeans. The focus of the image is on her feet, which are depicted in a big, close-up shot from a male perspective, with her slender, shining soles with olive skin and long, high-arched toes with white toenails filling the frame. A pair of male hands are pressing hard on her soles, suggesting a massage. The room has soft lighting from a nearby lamp, and the style of the image is detailed and realistic, with a focus on the texture of the skin and the intimate, cozy atmosphere.
Jods
吉
1girl, solo, high school girl, school uniform, white short-sleeved button-down shirt, pleated navy blue skirt, long black hair, black hair, barefoot, bare feet, soles, foot focus, soles of feet, crossed legs, sitting, sitting on sofa, sofa, chin rest, hand on cheek, resting chin on hand, head rest, foreshortening, perspective, from below, extreme foreshortening, foot up, toe point, slender toes, high arch, large feet, beautiful feet, tall female, slim figure, long legs, looking at viewer, half-closed eyes, light smile, relaxed, indoor, living room, window light, day
The camera sits low and close to the floor, tipped steeply upward, so the shot opens on the undersides of two bare feet pushed toward the lens and everything else recedes up and away behind them. The nearest sole fills the lower half of the frame, huge and sharply rendered: its long vertical span runs from the round pad of the heel at the bottom edge up past a deep, clearly scooped arch that hollows the inside edge, to the ball of the foot where five slender toes curl slightly and separate. The second foot crosses behind and above the first at the ankle, its own sole turned three-quarters toward the viewer, toes overlapping the first foot's toes, heel resting against the first foot's instep — the crossed-leg knot is read entirely from underneath. Skin of the soles is pale ivory with a faint warm blush at the heel and the ball, fine creases drawn across the arch and under the toes, and the toes tipped with a soft pink flush at the tips, no nail polish. The feet are pressed forward at the lens, so the toes nearest the camera are large and softly focused at their leading edges while the arch and heel behind them stay crisp.
Above and behind the feet, shrinking with the foreshortening, she sits deep in a low-backed fabric sofa, spine settled into the right-hand cushion, one hip lower than the other, the crossed upper leg's knee lifted. Long black hair falls in a straight heavy sheet over one shoulder and pools along the sofa back, a few strands slipping forward across her collar. She wears a white short-sleeved button-down shirt, sleeves ending mid-upper-arm, collar open, and a pleated navy skirt whose hem rides up over the crossed thigh, folds fanning in the seat. Her right elbow is planted on the sofa's armrest, forearm rising, and her cheek rests heavily into the heel of that hand so the flesh of her cheek presses and lifts slightly; fingers curl loose against her jaw, one fingertip near her lip. Her left hand lies slack across the upper knee. Her eyes are half-lidded under a light, lazy smile, looking straight down the length of her own legs into the lens — a calm, unbothered, faintly teasing regard.
The room is a quiet domestic interior: a plain plaster wall behind the sofa, a window off-frame to the left throwing cool daylight across the scene from the left side. That single light grazes the near sole's outer edge and the tops of the toes, leaves the arch and the space between the crossed feet in soft shadow, and lays a long soft shadow of the feet and the sofa leg across the floorboards in the foreground right, stretching away from the window. Palette is restrained: ivory skin, white shirt, navy skirt, black hair, warm grey sofa, pale wood floor, cool daylight — nothing else admitted. The single-variable physics: the near sole's leading toes blur very slightly with proximity while the arch behind them stays tack-sharp, selling the extreme close foreshortening. Intimate, quietly playful.
吉田晴樹
吉
1girl, solo, high school girl, school uniform, white short-sleeved button-down shirt, pleated navy blue skirt, long black hair, black hair, barefoot, bare feet, soles, foot focus, soles of feet, crossed legs, sitting, sitting on sofa, sofa, chin rest, hand on cheek, resting chin on hand, head rest, foreshortening, perspective, from below, extreme foreshortening, foot up, toe point, slender toes, high arch, large feet, beautiful feet, tall female, slim figure, long legs, looking at viewer, half-closed eyes, light smile, relaxed, indoor, living room, window light, day
The camera sits low and close to the floor, tipped steeply upward, so the shot opens on the undersides of two bare feet pushed toward the lens and everything else recedes up and away behind them. The nearest sole fills the lower half of the frame, huge and sharply rendered: its long vertical span runs from the round pad of the heel at the bottom edge up past a deep, clearly scooped arch that hollows the inside edge, to the ball of the foot where five slender toes curl slightly and separate. The second foot crosses behind and above the first at the ankle, its own sole turned three-quarters toward the viewer, toes overlapping the first foot's toes, heel resting against the first foot's instep — the crossed-leg knot is read entirely from underneath. Skin of the soles is pale ivory with a faint warm blush at the heel and the ball, fine creases drawn across the arch and under the toes, and the toes tipped with a soft pink flush at the tips, no nail polish. The feet are pressed forward at the lens, so the toes nearest the camera are large and softly focused at their leading edges while the arch and heel behind them stay crisp.
Above and behind the feet, shrinking with the foreshortening, she sits deep in a low-backed fabric sofa, spine settled into the right-hand cushion, one hip lower than the other, the crossed upper leg's knee lifted. Long black hair falls in a straight heavy sheet over one shoulder and pools along the sofa back, a few strands slipping forward across her collar. She wears a white short-sleeved button-down shirt, sleeves ending mid-upper-arm, collar open, and a pleated navy skirt whose hem rides up over the crossed thigh, folds fanning in the seat. Her right elbow is planted on the sofa's armrest, forearm rising, and her cheek rests heavily into the heel of that hand so the flesh of her cheek presses and lifts slightly; fingers curl loose against her jaw, one fingertip near her lip. Her left hand lies slack across the upper knee. Her eyes are half-lidded under a light, lazy smile, looking straight down the length of her own legs into the lens — a calm, unbothered, faintly teasing regard.
The room is a quiet domestic interior: a plain plaster wall behind the sofa, a window off-frame to the left throwing cool daylight across the scene from the left side. That single light grazes the near sole's outer edge and the tops of the toes, leaves the arch and the space between the crossed feet in soft shadow, and lays a long soft shadow of the feet and the sofa leg across the floorboards in the foreground right, stretching away from the window. Palette is restrained: ivory skin, white shirt, navy skirt, black hair, warm grey sofa, pale wood floor, cool daylight — nothing else admitted. The single-variable physics: the near sole's leading toes blur very slightly with proximity while the arch behind them stays tack-sharp, selling the extreme close foreshortening. Intimate, quietly playful.
吉田晴樹
吉
1girl, solo, high school girl, school uniform, white short-sleeved button-down shirt, pleated navy blue skirt, long black hair, black hair, barefoot, bare feet, soles, foot focus, soles of feet, crossed legs, sitting, sitting on sofa, sofa, chin rest, hand on cheek, resting chin on hand, head rest, foreshortening, perspective, from below, extreme foreshortening, foot up, toe point, slender toes, high arch, large feet, beautiful feet, tall female, slim figure, long legs, looking at viewer, half-closed eyes, light smile, relaxed, indoor, living room, window light, day
The camera sits low and close to the floor, tipped steeply upward, so the shot opens on the undersides of two bare feet pushed toward the lens and everything else recedes up and away behind them. The nearest sole fills the lower half of the frame, huge and sharply rendered: its long vertical span runs from the round pad of the heel at the bottom edge up past a deep, clearly scooped arch that hollows the inside edge, to the ball of the foot where five slender toes curl slightly and separate. The second foot crosses behind and above the first at the ankle, its own sole turned three-quarters toward the viewer, toes overlapping the first foot's toes, heel resting against the first foot's instep — the crossed-leg knot is read entirely from underneath. Skin of the soles is pale ivory with a faint warm blush at the heel and the ball, fine creases drawn across the arch and under the toes, and the toes tipped with a soft pink flush at the tips, no nail polish. The feet are pressed forward at the lens, so the toes nearest the camera are large and softly focused at their leading edges while the arch and heel behind them stay crisp.
Above and behind the feet, shrinking with the foreshortening, she sits deep in a low-backed fabric sofa, spine settled into the right-hand cushion, one hip lower than the other, the crossed upper leg's knee lifted. Long black hair falls in a straight heavy sheet over one shoulder and pools along the sofa back, a few strands slipping forward across her collar. She wears a white short-sleeved button-down shirt, sleeves ending mid-upper-arm, collar open, and a pleated navy skirt whose hem rides up over the crossed thigh, folds fanning in the seat. Her right elbow is planted on the sofa's armrest, forearm rising, and her cheek rests heavily into the heel of that hand so the flesh of her cheek presses and lifts slightly; fingers curl loose against her jaw, one fingertip near her lip. Her left hand lies slack across the upper knee. Her eyes are half-lidded under a light, lazy smile, looking straight down the length of her own legs into the lens — a calm, unbothered, faintly teasing regard.
The room is a quiet domestic interior: a plain plaster wall behind the sofa, a window off-frame to the left throwing cool daylight across the scene from the left side. That single light grazes the near sole's outer edge and the tops of the toes, leaves the arch and the space between the crossed feet in soft shadow, and lays a long soft shadow of the feet and the sofa leg across the floorboards in the foreground right, stretching away from the window. Palette is restrained: ivory skin, white shirt, navy skirt, black hair, warm grey sofa, pale wood floor, cool daylight — nothing else admitted. The single-variable physics: the near sole's leading toes blur very slightly with proximity while the arch behind them stays tack-sharp, selling the extreme close foreshortening. Intimate, quietly playful.
吉田晴樹
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