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elizabath waston
Arte de IA de elizabath waston no PixAI. Criado com coco-Illustrious-NoobXL-Style.
No PixAI, os prompts são públicos por padrão, mas os criadores podem ocultá-los em qualquer obra que publicarem. Quem criou esta obra optou por isso, então as palavras usadas para gerar a imagem permanecem privadas e só essa pessoa pode vê-las. Ocultar o prompt não muda mais nada: a obra continua pública e você pode curtir, comentar e compartilhar normalmente.
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2girl, 1boy, two characters, only two characters, both sitting directly on the floor, no chairs, floor-level seating, girl in foreground, boy seated directly behind her, natural upright seated posture, straight back, relaxed shoulders, folded legs, knees bent, hips resting on the floor, girl glancing sideways, looking at boy out of the corner of her eyes, sidewards glance, half-closed eyes, light smile, both characters clearly visible, full body, visible floor beneath both characters, thick outline, outlined vector graphics, 2d cel anime, flat color style, simple coloring, cel shading, from side, slightly from above, cowboy shot, long black hair, blunt bangs, brown eyes, school uniform, navy sailor collar, red neckerchief, pleated skirt, short black hair, dark eyes, gakuran, standing collar, indoor, wooden floor, afternoon light,
The view is from slightly above and to the side, at a low three-quarter angle, so the floor reads as a broad pale plane running under both figures. The girl sits in the foreground on the bare wooden boards with her hips flat on the floor and her legs folded to one side in front of her, knees bent and stacked, the pleated skirt fanned in a shallow arc over her thighs where her weight presses it; her back is straight, her shoulders dropped loose, one hand resting flat on the boards beside her hip and the other loose across her knee. Behind her, close enough that her hair overlaps his shoulder line, the boy sits directly on the same boards in the same folded, knees-bent floor posture, back straight, shoulders relaxed, one forearm braced on his raised knee. No chair, no cushion, no raised seat anywhere — only the boards under both of them.
She turns her face away from the camera and looks sideways at him out of the corner of her eyes, chin tipped just off her shoulder, lids lowered to a faint closed-lip smile; he is looking down at his own knee, mouth a flat quiet line, and the picture catches the half-second before he notices. His gaze is on his knee, hers is on him.
The room is a plain schoolroom corner simplified into flat shapes: pale boards, a low wainscot, and a shoji screen at the right edge, its paper glowing. Late afternoon light comes in from the right through that screen in hard, single-source shafts; the grid of the kumiko falls as a crisp lattice of shadow across the boards and climbs the girl's left flank and skirt, and each figure casts one solid, hard-edged flat shadow toward the lower left. Where her hand meets the boards the wood grain beneath stays sharp, unblurred, unreflected.
Colour is a flat, generous four-colour scheme: warm honey boards, navy and white on the girl's sailor uniform, black on his standing-collar jacket, and one live red in her neckerchief and in the strap of the bag beside her hip — nothing else admitted, everything else a wash of the same palette. Linework is heavy and closed in black, silhouette unbroken, fills flat and unmodulated, no gradients, no soft airbrush. Still, everyday, softly charged.
サファ(バンブー)
2girl, 1boy, two characters, only two characters, both sitting directly on the floor, no chairs, floor-level seating, girl in foreground, boy seated directly behind her, natural upright seated posture, straight back, relaxed shoulders, folded legs, knees bent, hips resting on the floor, girl glancing sideways, looking at boy out of the corner of her eyes, sidewards glance, half-closed eyes, light smile, both characters clearly visible, full body, visible floor beneath both characters, thick outline, outlined vector graphics, 2d cel anime, flat color style, simple coloring, cel shading, from side, slightly from above, cowboy shot, long black hair, blunt bangs, brown eyes, school uniform, navy sailor collar, red neckerchief, pleated skirt, short black hair, dark eyes, gakuran, standing collar, indoor, wooden floor, afternoon light,
The view is from slightly above and to the side, at a low three-quarter angle, so the floor reads as a broad pale plane running under both figures. The girl sits in the foreground on the bare wooden boards with her hips flat on the floor and her legs folded to one side in front of her, knees bent and stacked, the pleated skirt fanned in a shallow arc over her thighs where her weight presses it; her back is straight, her shoulders dropped loose, one hand resting flat on the boards beside her hip and the other loose across her knee. Behind her, close enough that her hair overlaps his shoulder line, the boy sits directly on the same boards in the same folded, knees-bent floor posture, back straight, shoulders relaxed, one forearm braced on his raised knee. No chair, no cushion, no raised seat anywhere — only the boards under both of them.
She turns her face away from the camera and looks sideways at him out of the corner of her eyes, chin tipped just off her shoulder, lids lowered to a faint closed-lip smile; he is looking down at his own knee, mouth a flat quiet line, and the picture catches the half-second before he notices. His gaze is on his knee, hers is on him.
The room is a plain schoolroom corner simplified into flat shapes: pale boards, a low wainscot, and a shoji screen at the right edge, its paper glowing. Late afternoon light comes in from the right through that screen in hard, single-source shafts; the grid of the kumiko falls as a crisp lattice of shadow across the boards and climbs the girl's left flank and skirt, and each figure casts one solid, hard-edged flat shadow toward the lower left. Where her hand meets the boards the wood grain beneath stays sharp, unblurred, unreflected.
Colour is a flat, generous four-colour scheme: warm honey boards, navy and white on the girl's sailor uniform, black on his standing-collar jacket, and one live red in her neckerchief and in the strap of the bag beside her hip — nothing else admitted, everything else a wash of the same palette. Linework is heavy and closed in black, silhouette unbroken, fills flat and unmodulated, no gradients, no soft airbrush. Still, everyday, softly charged.
サファ(バンブー)
2girl, 1boy, two characters, only two characters, both sitting directly on the floor, no chairs, floor-level seating, girl in foreground, boy seated directly behind her, natural upright seated posture, straight back, relaxed shoulders, folded legs, knees bent, hips resting on the floor, girl glancing sideways, looking at boy out of the corner of her eyes, sidewards glance, half-closed eyes, light smile, both characters clearly visible, full body, visible floor beneath both characters, thick outline, outlined vector graphics, 2d cel anime, flat color style, simple coloring, cel shading, from side, slightly from above, cowboy shot, long black hair, blunt bangs, brown eyes, school uniform, navy sailor collar, red neckerchief, pleated skirt, short black hair, dark eyes, gakuran, standing collar, indoor, wooden floor, afternoon light,
The view is from slightly above and to the side, at a low three-quarter angle, so the floor reads as a broad pale plane running under both figures. The girl sits in the foreground on the bare wooden boards with her hips flat on the floor and her legs folded to one side in front of her, knees bent and stacked, the pleated skirt fanned in a shallow arc over her thighs where her weight presses it; her back is straight, her shoulders dropped loose, one hand resting flat on the boards beside her hip and the other loose across her knee. Behind her, close enough that her hair overlaps his shoulder line, the boy sits directly on the same boards in the same folded, knees-bent floor posture, back straight, shoulders relaxed, one forearm braced on his raised knee. No chair, no cushion, no raised seat anywhere — only the boards under both of them.
She turns her face away from the camera and looks sideways at him out of the corner of her eyes, chin tipped just off her shoulder, lids lowered to a faint closed-lip smile; he is looking down at his own knee, mouth a flat quiet line, and the picture catches the half-second before he notices. His gaze is on his knee, hers is on him.
The room is a plain schoolroom corner simplified into flat shapes: pale boards, a low wainscot, and a shoji screen at the right edge, its paper glowing. Late afternoon light comes in from the right through that screen in hard, single-source shafts; the grid of the kumiko falls as a crisp lattice of shadow across the boards and climbs the girl's left flank and skirt, and each figure casts one solid, hard-edged flat shadow toward the lower left. Where her hand meets the boards the wood grain beneath stays sharp, unblurred, unreflected.
Colour is a flat, generous four-colour scheme: warm honey boards, navy and white on the girl's sailor uniform, black on his standing-collar jacket, and one live red in her neckerchief and in the strap of the bag beside her hip — nothing else admitted, everything else a wash of the same palette. Linework is heavy and closed in black, silhouette unbroken, fills flat and unmodulated, no gradients, no soft airbrush. Still, everyday, softly charged.
サファ(バンブー)
あさぎ
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