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ぽみ (闇人零式)
色々試し 作成したLoRAは自分が主に使ってます 難しいの作れないのでプロンプトはなるべく簡単にしてます このページを見ている人はいないと思うけど,見てくれてる誰かの参考になるように下手だけどプロンプトはほぼ全て公開しているよ I don't think anyone is actually looking at this page, but I've made almost all of my prompts public—even though I'm not very skilled at them—in the hope that they might be useful to whoever happens to see them.
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見える子ちゃんwith塩
Nov 3, 2026 8:32 AM
薙切えりな
Nov 3, 2026 3:55 AM
ランカ＆シェリル
Nov 3, 2026 1:46 AM
beautiful light, best shadow, color blink, painterly digital rendering, chunky brushwork, broad opaque strokes, faceted shapes, angular color blocking, hard-edged shading, painterly edges, soft tonal transitions, diffused highlights, ambient lighting, cinematic lighting, subtle bloom, Synthetic Cubist style, the manner of Pablo Picasso, collage-like elements, bold geometric patterns, flat planes of color, mixed media, sharp angles, abstracted subjects, simultaneous expression from multiple perspectives, rich and colorful, geometric fragmentation, surfaces composed of planes, interlocking shapes, 1girl,sideview,ennui,
girl:long gray mullet-style hair and brown eyes, wearing an oversized black hooded jacket and a black sports crop top,large breasts,sucking on a piece of candy,holding smartphone,looking atviewer
Nov 3, 2026 12:51 AM
1girl, solo, many cats, wide shot, canted angle, dutch angle, girl in lower left, cats in lower right, cats in upper right, cats in upper left, floating cats, dream room, cute super-deformed cats, surprised expression, wide-eyed, open mouth, raised eyebrows, black hair, long hair, low ponytail, hair tied low, red eyes, black evening gown, floor-length gown, bare shoulders, from above, looking up,
The shot is tilted: the whole room sits on a slanted axis, its floor line running high on the left and dropping away to the right, so the wide frame reads as one continuous off-balance sweep. In the lower left corner the girl stands on that slanted floor, body turned three-quarters toward the room and her head tilted back, chin lifted, shoulders drawn up a little in startle, both hands lifted to chest height with the fingers half-curled and hovering an inch from the satin of her gown. Her long black hair is gathered into a low ponytail cinched at the nape, the tail falling over one shoulder and its loose strands drifting sideways as if the air in the room were moving; her red eyes are wide and fixed upward and to the right, tracking the nearest floating cat, and her lips are parted in a small round open mouth, brows pulled high. The black gown pools at her feet and the light from the room's far side slides down the satin folds in bright broken streaks, its hem slightly compressed where it touches the floor.
The dream room has no hard architecture: it is a bright, airy interior dissolving into pale shimmer, a faint suggestion of tall windows on the left where diffuse natural daylight floods in, an indeterminate horizon where the floor softens into glowing haze, a few ghostly overlapping rectangles of interior that refuse to resolve. The cats float throughout that space with no visible support — one cluster in the upper left where two kittens hang belly-up and one paws at nothing, a cluster in the upper right where three kittens tumble around a slow axis, and a cluster in the lower right where a fat-cheeked kitten drifts just above the floor with its paws dangling and another rolls beside it. They are drawn as cute super-deformed cats: oversized round heads, tiny bodies, stubby limbs, wide dot eyes, all painted in the same broken impressionist strokes so their edges dissolve into the light rather than closing with a line.
Light is exclusively natural, coming from the tall windows at the left and diffusing across the whole room, so the girl's left shoulder and cheek catch the brightest broken touches and the light falls off into soft lavender-grey shadow on her right side; the cats cast no floor shadows because they float above it, and the only darkness in the frame sits inside the deep folds of the black gown. The palette is bright and high-key — cream, pale gold, sky blue, a lavender slip in the shadows, the saturated black of the gown as the single anchoring dark — laid down in short separate dabs of unmixed color that break apart where surfaces meet, so the girl's silhouette and every kitten's outline soften and dissolve at the edges into the surrounding air. The room's emptiness itself shows the drift of the floating cats through the slow displacement of the pale haze around them. Bright, buoyant, weightless.
Nov 3, 2026 12:48 AM
Synthetic Cubist style, the manner of Pablo Picasso, collage-like elements, bold geometric patterns, flat planes of color, mixed media, sharp angles, abstracted subjects, simultaneous expression from multiple perspectives, rich and colorful, geometric fragmentation, surfaces composed of planes, interlocking shapes, wideshot,1girl,many cats,canted angle,
girl:lower left,black hair, long hair, low ponytail, hair tied low, red eyes, black evening gown, surprising,
cats:cute SD style,lower right,upper right,upper left,floating,dream room,
Impressionist style. Emphasis on natural light, short brushstrokes, broken color, and softened, dissolving outlines. A bright palette, with a palpable sense of atmosphere
Nov 3, 2026 12:44 AM
スタイルが少し違うかも?
Nov 2, 2026 10:02 PM
character: tramp_(disney)
Synthetic Cubist style, the manner of Pablo Picasso, collage-like elements, bold geometric patterns, flat planes of color, mixed media, sharp angles, abstracted subjects, simultaneous expression from multiple perspectives, rich and colorful, geometric fragmentation, surfaces composed of planes, interlocking shapes, eerie yet beautiful, evoking fear, melancholy, and gloom, while possessing an elegant, cute quality; characterized by bold lines, a desaturated color palette, atmospheric lighting, and strong light-dark contrast.master piece, soft touch1.2, fluffy style1.2, anime illustration. bright and cheerful atmosphere, pop aesthetic, happy vibe; masterpiece quality, 1girl,wideshot,
girl:upper left,pink hair, side ponytail, hime cut, pink eyes, pink dress, chiffon dress, fallen,in wanderland,cute,
flow of dimensions, fallen tea and table and rabbit and tramp cards,
pop atmosphere,
Nov 2, 2026 9:53 PM
synthetic cubism style, pablo picasso style, collage-like elements, bold geometric patterns, flat color planes, mixed media, sharp angles, abstracted subject matter, from multiple viewpoints simultaneously, geometric fragmentation, facetedsurfaces, interlockingshapes, night blood,death,wide shot,hell and heaven,
girl:full body,long straight purple hair, purple eyes, navy gothic dress, holding scythe,angel's halo, angel's wingsfighting to death,slash,
Nov 2, 2026 12:14 PM
1girl, solo, low twin-tails, long gray hair, brown eyes, off-shoulder gray knit dress, knit texture, smile, cute, open mouth, chibi, super deformed, floating, floating in air, arms out, legs trailing, looking at viewer, city, cityscape, skyscraper, skyscrapers in background, pop culture, kawaii decorations, hearts, stars, sparkles, synthetic cubist style, collage, bold geometric patterns, flat planes of color, mixed media, sharp angles, geometric fragmentation, interlocking shapes, abstracted, rich colors, from below, dutch angle, wide shot
Seen from below at a tilted dutch angle, a chibi-proportioned girl hangs suspended well above a city street, her small body tilted diagonally across the frame with her head toward the upper left and her feet trailing toward the lower right. Low twin-tails of flat gray planes fall from ties at the nape of her neck, each tail broken into faceted, angular segments that drift upward as if lifted by the same anti-gravity that holds her aloft. Her brown eyes are rendered as crisp cut-paper circles with a single highlight triangle; her mouth is open in a bright, genuine smile, the grin split visually by a vertical plane so two angles of the same happy expression read at once. The off-shoulder gray knit dress is shown as overlapping geometric patches of matte mid-gray with darker gray chevrons suggesting stitch texture, the neckline a bold flat black arc that slides down one shoulder, her bare shoulders and collarbone built from smooth, pale interlocking shapes. Her right arm is flung upward and outward, hand splayed; her left arm bends across her torso, fingertips brushing the knit edge. Feet and lower legs vanish into a fan of sharp triangular shapes, as though her body were being reconstructed into the geometry of the city itself.
The city rises around and far beneath her: a cluster of skyscrapers constructed entirely from flat planes of color, each tower a stack of offset rectangles, trapezoids and diagonal wedges, with window grids reduced to rows of small alternating dark and bright squares. One dominant tower fills the upper-right background with a hard vertical edge that slices the frame; smaller buildings interlock behind it at shifting angles, their faces painted in rich teal, coral, cadmium yellow, magenta and cobalt, all meeting in crisp collage edges. Between the buildings, pasted collage fragments float as kawaii decorations: cut-out hearts, four-pointed stars and sparkle bursts in bright pink and lemon yellow, a few rounded sticker-like shapes and dots of pop-culture color scattered like confetti; a couple of thin geometric banners hang between towers with illegible abstract lettering reduced to striped blocks. The girl's twin-tails and the hem of her dress overlap the nearest collage elements, establishing her in front of the midground and well clear of the distant towers, so the depth order reads foreground: floating girl, midground: pasted hearts and stars, background: cubist skyscrapers.
Light arrives from the upper left as a single hard, cool-white source, cutting every plane into a lit face and a shadow face with no soft gradient between them; the shadow sides of her face, dress and tails fall in flat planes of deeper gray and violet, and the towers throw long geometric shadows across one another's faces. A few paper edges curl slightly at the corners of the kawaii cut-outs, catching a thin rim of that same upper-left light. Rich and colorful palette throughout, dominated by teal, coral, yellow and magenta against the girl's cool gray hair and knit; sharp angles and geometric fragmentation organize every surface into planes. Joyful, buoyant.
Nov 2, 2026 2:48 AM
1girl, solo, orange hair, long hair, diagonal bangs, braided ponytail, orange eyes, orange autumn fashion, thick oversized orange knit sweater, pleated burnt-orange wool skirt, pointing at viewer, outstretched arm, looking at viewer, wide shot, extreme high angle, from above, autumn, maple tree, many oranges, sunset, wind, synthetic cubism, collage-like elements, bold geometric patterns, flat planes of color, mixed media, sharp angles, abstracted subjects, simultaneous multiple perspectives, rich colorful palette, geometric fragmentation, surfaces composed of planes, interlocking shapes,
An extreme high angle looks almost straight down onto the scene from far above, and the wide shot keeps the whole landscape in frame: a tiny lone girl stands near the left-of-centre of a vast autumn ground, her figure covering only a small fraction of the picture while the orange world spreads out around her. Seen from this bird's-eye view her crown of orange hair is broken into sharp flat facets, the long mass cut into angular planes of burnt orange and amber, the diagonal bangs sliced as a hard wedge across her forehead, and her single thick braided ponytail — plaited in clean interlocking rhomboids of alternating orange tones — is blown sideways off her shoulder by the wind, its tip kicking up and back. Her face is fractured into two or three simultaneous views at once: one flat ochre plane carries her upturned eye looking straight up at the viewer, while a second narrow slice of profile shows the cheek and the ridge of her nose from the side, so her gaze meets the lens with an unblinking challenge across the distance. Her arm juts up out of the pattern toward the top of the frame in sharp foreshortening, the index finger thrust at the viewer as a long tapered angular shape, elbow cut as a hard triangle. She wears a thick oversized orange sweater whose sleeve and hem are big flat planes of vermilion and tangerine interrupted by a bold geometric knit pattern of dark ochre zigzags running in interlocking bands across the chest, and a pleated burnt-orange wool skirt whose folds are rendered as a fan of clean straight-edged slivers, alternating deep rust and pale orange. Her feet sink into a ground of the same burnt palette. To the right a single maple tree rises almost to the frame edge, its trunk a slanted rectangular bar of deep red-brown, its canopy exploded into a collage of overlapping maple leaves — some cut-paper leaves pasted with visible torn edges and a sliver of white paper showing at the rim, some flat crimson polygons, some scraped ochre shapes — the whole crown balancing on the trunk in interlocking triangles. Offshore a scatter of oranges becomes a pattern of near-perfect circles in a dozen flat tones of orange, ochre and rust, their pale stippled highlights and small angular green leaves pasted in as separate collage scraps; the circles hold true circle shape under this true top-down view. A low sunset sits at the top of the frame as a hard band of gold, salmon and magenta laid in rectangular strips, the horizon bare red ground meets dark. The wind is made visible by the paper leaves, torn collage scraps, and a few loose orange slivers that stream sideways past the tree — and, crucially, those flat scraps throw no shadows, so the collage elements read as pasted on the picture surface while only the trunk and the girl cast short slanted shadows, a single-variable fact revealing which planes are surface and which are space. The palette is committed and total: orange, vermilion, burnt ochre, crimson, magenta and gold, held inside flat planes of color with firm dark contours, nothing blended, rich and warm. Joyful ch
Nov 2, 2026 2:48 AM
1girl, solo, full body, extreme wide shot, extreme high angle, from behind, girl positioned in the upper right of the frame, red hair, high ponytail, brown eyes, black punk fashion, cropped black leather jacket, distressed grey t-shirt, black plaid pleated miniskirt, silver chain detail, knee-high black leather boots, silver buckles, dark room, live house interior, indoor, stage, many guitars, guitar racks, poster, sand art panel, beach diorama inside the live house, sunburst lighting, no visible corners, cornerless space, curved cyclorama walls, synthetic cubism, collage elements, bold geometric patterns, flat planes of color, mixed media, sharp angles, abstracted subjects, multiple perspectives in one face, simultaneous expression from multiple perspectives, rich colors, colorful, geometric fragmentation, surfaces composed of planes, interlocking shapes, picasso manner,
Composed from an extreme high angle that looks steeply down into a cornerless dark live-house interior, the whole room opens beneath the lens as a bowl of overlapping flat planes with no corner line anywhere: the floor, the walls and the ceiling fold into one another as angular collage facets of umber, deep teal-black and violet. In the upper right of the frame, seen from directly behind at full body, the girl stands on a low stage riser; her red high ponytail is a single sharp wedge of crimson that hangs down the black leather back of her cropped jacket, her head turned just enough that one brown eye shows in profile, glancing down-left toward the stage floor and the sand art panel at her feet. Her weight rests on the left boot, heel planted on the riser edge, the right boot slightly forward and turned out; her right hand hangs loose with the fingers half-curled over the hem of the jacket, her left thumb hooked into the chain at her hip. The jacket is built from overlapping black planes with a bright silver-grey facet along one shoulder seam, the plaid skirt breaks into a grid of black and grey squares, and the boot buckles read as small silver rectangles catching the light.
To frame-left, guitar racks lean in from the wall as long angular silhouettes of overlapping browns and blacks, maybe a dozen instruments reduced to necks, headstocks and curved bodies in flat facets, receding on a steep diagonal that pulls the eye toward the center of the room. There the in-house beach is built as a cut-paper collage: a shallow sand diorama under a painted backdrop, pale ochre sand planes with sharply zigzagging surf lines of turquoise and white laid like torn paper strips, a few palm shapes cut into overlapping green triangles, and a low warm glow washing the sand from a hidden source behind the backdrop. On the far wall a poster is pasted up as a flat rectangle of red, cream and black cubist lettering, its edges angular and its surface stepped into plates that catch the light differently.
Lighting is one theatrical sunburst mounted high and slightly behind the girl's right shoulder: hard rays fan out across the ceiling as alternating bands of warm gold and dark shadow, streaking the flat planes so that each facet takes either the gold or the darkness and nothing sits in between. The rays throw her long ponytail shadow forward across the riser in a jagged polygonal shape, and the sand in the diorama picks up a scatter of bright caustic glints only on its upward-facing grains. Palette holds to the crimson of her hair and the poster's red, the blacks and silver-greys of her outfit and the guitars, then the ochre, turquoise and green of the beach, all of it cut through by the gold sunburst rays over a base of deep violet-black. Sharp collage edges throughout, mixed-media texture where torn paper meets flat paint. Intimate, theatrical.
Nov 2, 2026 2:25 AM
1girl, solo, front view, upper body, light-purple hair, light-purple eyes, half-up braided hairstyle, light-purple gothic dress, high ruffled collar, black lace trim, synthetic cubism, collage elements, bold geometric patterns, flat planes of color, mixed media, sharp angles, abstracted subject, simultaneous multiple-perspective face, rich colorful palette, geometric fragmentation, interlocking shapes, pasted-paper edges, palette-knife planes, looking at viewer, faint closed-lip smile, head tilted slightly, one shoulder raised
A single girl shown from the front, framed at the upper body, the head and shoulders filling most of a vertical canvas. Her face is broken into interlocking flat planes and shown from more than one angle at once: a near-profile wedge at the left cheek cut hard against a straight-on eye block, the two light-purple eyes set at slightly different heights and widths so the face reads as seen from two viewpoints simultaneously, one eye larger and more frontal, the other compressed into a narrow almond pasted on a side-facing plane. Her expression splits the same way: the right half of the mouth curls up in a faint closed-lip smile while the left corner stays flat and cool, one brow arched high on a pale plane, the lower lid of the left eye lowered a touch. Every plane holds its colour flat, bounded by a hard dark contour, no blending.
Her light-purple hair is built from overlapping cut-paper shapes, pale lilac, cool mauve and a deeper violet in the shadow planes, swept back from the forehead in angular slabs that lock together like folded card. The half-up braid runs along the upper left of her skull as a stair-step of quadrilateral segments, each one a slightly different tone of light purple, tapering behind her ear and hanging forward past her cheek after a loose purple ribbon; stray sharpened wisps jut out at the crown. The rest of the hair drops behind her shoulders in broad faceted locks that break the outer silhouette into straight cut edges.
The light-purple gothic dress fills the lower half of the frame: a high ruffled collar of pale lilac planes fanning up around her jaw, each ruffle a separate stiff lobe with a dark rim, and beneath it the bodice resolved into interlocking violet and mauve polygons. Black lace trim runs along the collar edge and the neckline as a row of dark half-round notches, and one shoulder is cut away to show the braid's ribbon against bare skin. A pasted collage fragment of printed lavender-and-black lace sits slightly proud of the painted surface at the collarbone, its torn white edge visible, casting a thin real shadow down onto the canvas beneath it; a sliver of newsprint and a rectangle of dull gold paper are glued into the dress's shadow planes with visible scissor-cut corners lifted a fraction off the board.
The ground behind her is a shallow relief of muted ochre, dusty rose and pale teal planes fitted edge to edge, with a curved guitar-like arc and a striped vertical band lending shallow depth without becoming a room. The only light is a raking, low-angle illumination from the upper left, which throws hard cast shadows to the right of every pasted shape -- the collage patches, the ruffles, the braid's ribbon -- so the picture's depth comes from the real thickness of the glued paper rather than from modelling; the painted planes themselves stay flat and unshaded. The palette is disciplined and rich: light purple in three registers (pale lilac, mauve, deep violet) across hair, eyes and dress, black at the contours and lace, tempered by ochre, dusty rose, pale teal and a single scrap of gold. Texture is a matte primed board with visible bristle drag in the ochre passages and dry-brush edges on the darkest contours. Bold, fractured, effortlessly cool.
Nov 2, 2026 2:25 AM
1girl, solo, hyper close-up, eye focus, close-up on face, extreme close-up on eyes, gray hair, wolf cut, shaggy layered gray hair, choppy bangs, brown eyes, large brown iris detail, thick lashes, single off-shoulder gothic mini-dress, one bare shoulder exposed, black velvet bodice with lace trim, synthetic cubism, collage-like elements, bold geometric patterns, flat planes of color, mixed media, sharp angles, abstracted subject, simultaneous multiple perspectives, rich colorful palette, geometric fragmentation, interlocking shapes, looking at viewer, head tilted, one eye unobstructed wide and luminous, the other eye refracted into three stacked profile shards, angular jawline rebuilt as a polygon, neck cut into overlapping planes, shoulder line broken into a stepped ridge of shapes, dutch angle, from above, angled slightly to the side, abstract background of interlocking flat color planes, high contrast, cubist fragmentation of facial features
An extreme hyper close-up crops everything away but the girl's eyes and the mask of her face, shot from slightly above and tilted off level in a dutch angle, so the head fills the entire frame edge to edge and the collar of the dress just grazes the lower margin. Her gray wolf-cut hair is built as a mane of rigid triangular shards and interlocking diagonal planes of pale silver, ash and cool slate, layered short at the crown and falling to a jagged fringe of straight choppy bangs across the brow, each strand translated into a sharp-angled wedge of flat color with no soft blend. Her eyes are the subject and the whole image is composed to serve them: each is drawn with a big detailed brown iris, layered lashes and a hard white highlight, and each sits inside its own facet, so the left eye is seen straight on while the right eye and the bridge of the nose are simultaneously rendered in small overlapping side views and stacked profile slices, the profile of her nose and lips floating as a detached interlocking shape beside the frontal eye. Brows are flat black paper-cut bars, one tilted up more than the other with a faint arch of skeptical attention. One bare shoulder is exposed where the dress's single off-shoulder neckline slides off, that shoulder painted as a clean glowing plane catching the light; the other shoulder is occluded by the frame edge and the angular fall of hair. The black velvet bodice appears at the bottom edge as sharp black planes with lace trim resolved into a repeating zigzag of white triangular notches. Skin is not modeled but built: warm ochre, salmon and cream planes abut each other along crisp angular seams, and the shading of the cheek is a hard-edged rust polygon. A collage logic runs through the surface — newsprint-printed paper texture, torn-edge cream, a scrap of patterned blue, an opaque block of cadmium red pasted over one temple, all with visible cut edges and a shallow pasted-down shadow so the layering reads as physical. The palette is rich and colorful despite the gray hair: silver, ash and charcoal for the wolf cut, deep saturated browns and amber in the irises, warm ochre and salmon in the skin planes, black velvet and white lace at the collar, with vivid red, cobalt and teal geometric shards breaking through the interlocking background planes. The background is a simple abstract mosaic of flat interlocking color shapes pressed almost flat against her face, blurred only in that it carries no subject at all, so nothing competes with the gaze; the only light is a hard planar light from the upper left that lays a bright white facet across the left brow and iris and throws a cut-out shadow polygon falling from the nose plane down across the cheek. Her chin is tipped down and her eyes come up under the shaggy fringe to meet the viewer directly, lashes heavy, holding the look. Bold, fractured, unblinking.
Nov 2, 2026 1:44 AM
wide shot, solo, 1girl, full body, sitting, long straight white hair, blue eyes, white halter-neck dress, straw hat, wide-brimmed straw hat, bare shoulders, bare arms, bare legs, barefoot, sky, ocean, coral reef, Great Barrier Reef, upper left placement, subject at left of frame, vast negative space at right, from above, high angle, looking up, head tilted back, hand holding hat brim, other hand braced on rock behind her, crossed ankles, Synthetic Cubism, Pablo Picasso style, collage elements, bold geometric patterns, flat color planes, mixed media, sharp angles, abstracted subject matter, multiple viewpoints simultaneously, rich colors, geometric fragmentation, faceted surfaces, interlocking shapes, newsprint collage fragments, hard-edged color blocks, palette of turquoise, ultramarine, coral orange, ochre, cream, mint green
Seen from a high angle looking down and slightly across, a wide shot opens over a shallow tropical sea: a low flat coral outcrop breaks the water at the lower left of the frame, and one girl sits on it in full body toward the upper left of the composition, her whole figure from the crown of her straw hat to her bare feet held inside the frame while the right two thirds of the picture fall away into open water and sky. Her torso is turned three-quarter away from the lens while her head tips back and up, face lifted so her blue eyes show in profile and half-lidded toward the bright sky above her right shoulder; the far rim of her straw hat, seen from above as a pale disc, cuts the top of her blue eye at the far edge. Long straight white hair falls in flat faceted slabs down her back and over the coral she leans on, split by the multiple viewpoints into overlapping planes. Her white halter-neck dress is knotted at the nape, back and shoulders bare, skirt spread in stiff angular wedges across the rock; her right hand grips the brim of the straw hat, her left arm drops behind her hip with the palm braced flat on the coral, wrist bent, shoulder pulled up; her knees are drawn up and her ankles cross, one heel hooked over the other foot.
The reef is built the same way: coral heads broken into interlocking polygons and faceted turquoise planes, the water's surface rendered as a tilted chevron pattern at odds with the shoreline's angle, the horizon line stepped and fragmented into stacked color bars, the sky cut into broad flat planes of cream, mint and pale ochre with a hard-edged sun disc. A few torn newsprint and painted-paper collage rectangles overlap the water in the lower right, their edges deliberately misaligned with the shapes beneath them; every surface is a mosaic of sharp-angled planes with no soft gradient anywhere.
Light is a single hard sun from the upper right, stated only as color: each facet facing it lands in bright cream and warm ochre, each facet turned away drops to ultramarine and deep teal, and a hard flat shadow of the girl and the hat brim falls across the coral as a single dark polygon with no soft edge. Nothing in the picture is shaded smoothly; the dark sits in discrete plates. Rich and colorful, saturated coral orange and turquoise against the white of the dress and hair, and above it all the immense empty bright sky.
Sunlit, buoyant.
Nov 2, 2026 1:42 AM
1girl, solo, back shot, viewed from behind, lying, lying on side, head turned, profile, light yellow hair, twintails, pigtails, light green eyes, yellow dress, off-the-shoulder dress, midi dress, bare shoulders, holding baton, conductor's baton, sheet music, musical notes, staff notation, pipe organ, organ pipes, countryside, night, moonlight, four seasons, winter, spring, summer, autumn, synthetic cubism, collage, bold geometric patterns, flat planes of color, mixed media, sharp angles, abstracted, multiple perspectives, rich colors, geometric fragmentation, interlocking shapes, hyper close shot, close-up, dark background, moonlight backlight
Seen from behind in a hyper close shot, the girl lies on her side across the lower foreground, her body angled diagonally from the bottom-right corner toward the center-left, her back and shoulders filling most of the frame. Her light yellow twintails fan out against the ground, one tail slipping over her bare right shoulder. Her head is turned in profile so that only a sliver of her face shows: one light green eye visible past the cheekbone, gazing up toward the organ pipes. Her yellow off-the-shoulder midi dress bunches at her hips where she lies on it, the neckline slipped low across her shoulder blades. Her right arm is extended forward, hand closed around the shaft of a baton that points toward the sheet music; her left hand rests flat on a loose page, fingers spread over the notation.
Above and ahead of her, the pipe organ rises in the midground, its vertical pipes rendered as flat interlocking planes of deep blue, violet and rust. Sheet music lies scattered on the floor of the organ loft and on the console, pages catching the moonlight in pale cream rectangles. On the largest page propped against the console, the title "from the New World" is set in bold black display lettering across the top, with "four seasons" beneath it in smaller script; the notes below are legible staff notation, the lines of the staves running slightly skewed with the page's tilt. Beyond the organ, through the open loft window, the countryside spreads in the background: rolling fields and a line of poplars, each divided into four seasonal zones — a white-bloomed orchard, a green summer meadow, an ochre autumn hillside, a bare winter field under frost.
The moonlight is the only light source, entering from the upper right behind the organ pipes, so the girl's back and the tops of her shoulders catch a cool silver rim while her face and the front of the dress stay in shadow; the organ pipes cast long geometric shadow bars across the floor. The palette holds to moonlight blue-violet and silver, with the girl's warm yellows as the one saturated accent, the sheet music in cream and the seasonal bands in green, ochre and white. The whole scene is built from collage-like planes, sharp angular facets and overlapping viewpoints, the girl's back seen from behind while the sheet music and the organ are rendered from slightly different angles, surfaces composed of interlocking shapes. Quiet, suspended anticipation.
Nov 2, 2026 1:42 AM
雪うさぎ太陽フレア
Nov 2, 2026 1:11 AM
マクロスΔ
Nov 1, 2026 11:19 PM
神のカード(修正)
Nov 1, 2026 10:33 PM
1girl, solo, upper left position, upper body, extreme low angle, wide shot, looking up, bright green hair, medium-length hair, crown braid circling the head, green eyes, pale green chiffon dress, ruffles, satin cape sleeves, forest in galaxy, milky way, underwater, water splash, bubbles, stars, light green palette, synthetic cubist style, collage elements, bold geometric patterns, flat planes of color, mixed media, sharp angles, abstracted subjects, simultaneous multiple perspectives, rich and colorful, geometric fragmentation, surfaces composed of planes, interlocking shapes, from below, tilted perspective, foreshortening
An extreme low-angle wide shot looks up at a single girl placed in the upper-left of the frame, her upper body seen from below so the Milky Way climbs away behind her and her crown braid silhouettes against it; her medium-length bright green hair is wound into a braid that rings the crown of her head, loose green strands slipping free and drifting upward, and her green eyes look up and off past the right edge of the frame, brows lifted, jaw tilted, lips slightly parted in a caught-breath expression. She leans back through the water, one shoulder lifted higher than the other, one hand floating open at chest height while the other is buried in the folds of her pale green chiffon dress, whose ruffles and satin cape sleeves fan out around her shoulders in faceted planes, the cape edge lifting and peeling at the shoulder seam as if pulled by a slow current. Behind and around her the scene is a forest in a galaxy, and the whole image is built as Synthetic Cubist collage: the trunks, canopy and Milky Way are broken into bold geometric patterns and flat planes of color, sharp angles, mixed media fragments of paper and painted board, interlocking shapes that lock together like cut tiles, the forest and the sea spliced into one another, a school of fish and a band of foliage exchanging facets, and the girl herself is repeated in a second simultaneous view, her face appearing again in profile further right, so two perspectives of the same head shear against each other and share one eye. A water splash breaks across the lower right, reborn as flat cyan planes and white geometric shards, with round bubbles rendered as hard-edged spheres climbing toward the surface. The palette is rich and colorful, but green rules it: bright green hair and eyes, pale green chiffon, satin sage highlights, set against deep indigo and violet star-space, with turquoise, teal and sea-gold fragments and just enough warm coral and orange in the collage fragments and fish to make the greens sing. Light gleams from above in sharp geometric beams cut into flat shafts, spilling downward through the water onto the up-facing planes of her cape sleeves and the crest of her braid, leaving the undersides of her chin and jaw in flat cool shadow, and every highlight is a hard-edged plane rather than a gradient; where starlight falls, the drifting bubbles catch it as thin crescent planes on their upper halves only. Composition: her upper body anchors the upper-left, the Milky Way draws a diagonal from there to the lower right, the splash pushes back against that diagonal, and the wide empty space beneath the extreme low angle opens up as deep green-blue water and starry forest. Quiet wonder, luminous.
Nov 1, 2026 9:38 PM