TsubakiV3 test
繭 Mayu
TsubakiV3 test
Hiển thị thông số
- Prompt gốc
- Aspect ratio: 5:3, horizontal composition. A large, lively ensemble illustration featuring twenty Kanmusu from Kantai Collection gathered together in the same shared space. Characters: Fubuki, Mutsuki, Yudachi, Shimakaze, Akatsuki, Hibiki, Ikazuchi, Inazuma, Sendai, Jintsu, Naka, Kitakami, Ooi, Atago, Akagi, Kaga, Zuikaku, Nagato, Kongou and Yamato. Clearly preserve the distinctive appearance and identity of all twenty characters. Keep each character visually distinguishable through their hairstyle, hair color, eyes, facial features, clothing, accessories, body proportions and silhouette. MAIN COMPOSITION All twenty characters are gathered very close together within one shared area. The characters fill most of the image. This is a dense close-range ensemble, not a distant crowd scene. Keep the characters physically close to one another. Use overlapping shoulders, upper bodies, arms and clothing to create a natural sense of a large group standing together. Do not spread the characters across a huge environment. Do not create large empty spaces between characters. Do not place the named characters far into the background. The characters themselves are the overwhelming visual focus. FOREGROUND Place several characters extremely close to the viewer. One or two characters should be particularly large, shown approximately from the shoulders upward. Position the largest foreground characters slightly off-center rather than creating a symmetrical composition. Partially crop some foreground characters with the left, right or lower edges of the image. Some characters may enter the image only partially, with part of their upper body cut off by the frame. The foreground characters should be highly detailed and immediately recognizable. CLOSE CHARACTER LAYERS Immediately behind the extreme foreground characters, arrange the majority of the group. Most characters should be shown from approximately the waist upward. Keep them large enough for their faces and distinctive character designs to remain clearly recognizable. Use several overlapping layers of nearby characters. Some characters stand slightly behind others. Some appear between two nearby characters. Some appear from the side of the composition. Some are partially hidden by another character's shoulder or arm while their face remains visible. Do not arrange the characters in rows. Do not arrange the characters in a symmetrical grid. Create an irregular, organic group silhouette. EDGE CROPPING Actively use the edges of the image. Several characters may be partially cropped by the left edge. Several different characters may be partially cropped by the right edge. A character may appear only from the shoulders upward at the lower edge. Another may enter the frame from the side with only part of her upper body visible. Cropping should make the group feel larger than the image itself. Do not attempt to fit every character completely inside the frame. Partial cropping is an intentional part of the composition. POSE VARIATION The twenty characters should not simply stand still. Give the characters varied natural poses and body directions. Some stand casually. Some lean toward another character. Some turn their upper bodies. Some look toward another character. Some look toward the viewer. Some look sideways. Some look downward. Some raise an arm. Some reach toward something nearby. Some appear to be talking with another character. Some react to something happening nearby. Vary the poses throughout the group. Do not repeat the same pose for multiple characters. Do not make everyone face the viewer. Do not make everyone face the same direction. FACIAL EXPRESSIONS Give the characters different facial expressions. Some are cheerful. Some are calm. Some are serious. Some look curious. Some look surprised. Some look confident. Some appear amused. Some are quietly observing the surrounding activity. The expressions should remain natural and appropriate to each character. Keep every face sufficiently visible for character recognition. Avoid placing one face directly behind another face. CHARACTER RELATIONSHIPS The characters should feel like a genuine group of Kanmusu sharing the same space. Nearby characters may look at or react to one another. Some characters interact directly. Others are occupied with their own small activities. The group should contain many small simultaneous interactions. Do not make all twenty characters behave as though they are posing for a formal photograph. DEPTH Use only shallow depth. There may be several layers of overlapping nearby characters, but all twenty remain physically close to the viewer. The group should not extend deep into the distance. Do not create a tiny rear row of characters. Do not place any named character near the horizon. Do not shrink characters simply to make all twenty fit. Instead, allow overlapping, partial cropping and different heights to accommodate the entire group. VISUAL PRIORITY Character recognition is more important than environmental detail. Facial quality is more important than showing complete bodies. Distinctive hairstyles, eyes, clothing and silhouettes must remain visible. The viewer should be able to discover individual characters throughout the crowded composition. The image should feel like a large number of people have gathered directly around the viewer rather than a large number of tiny people standing far away. Keep the background simple and secondary. Use only a subtle naval-base or鎮守府 environment behind the characters. OVERALL RESULT A dense, energetic and visually rich ensemble of twenty Kanmusu. The composition should feel crowded but readable. Characters overlap naturally without becoming indistinguishable. The foreground characters are very large. The majority of the characters are waist-up. Some characters are partially cropped by the edges. Every character remains close enough to the viewer for recognizable facial and character detail. The image should feel like a spontaneous gathering of twenty distinct Kanmusu rather than a conventional group photograph. Japanese anime-style illustration with clean detailed linework, expressive faces, polished character rendering, clear silhouettes, varied poses and strong individual character design. No dialogue, no speech bubbles, no text, no logos.
- Mode
- ultra
- Kích thước
- 2048 x 1536
- Loại trừ
- lowres, worst quality, low quality, bad anatomy, bad hands, text, error, missing fingers, jpeg artifacts, signature, watermark
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TsubakiV3 test
繭 Mayu
TsubakiV3 test
繭 Mayu
kantai_collection, yamato_(kancolle), yahagi_(kancolle), fuyutsuki_(kancolle), suzutsuki_(kancolle), hatsushimo_(kancolle), asashimo_(kancolle), yukikaze_(kancolle), hamakaze_(kancolle), isokaze_(kancolle), A large group of smiling female characters, all from Kantai Collection, stands in two rows performing a military salute. From left to right, the first row consists of ten girls, including Yahagi with long black hair and a ponytail, Yamato with long brown hair and a ponytail, Fuyutsuki with long grey hair, Suzutsuki with long grey hair, Hatsushimo with long black hair in a low ponytail, Asashimo with long grey hair and a ponytail, Yukikaze with short brown hair, Hamakaze with short grey hair, and Isokaze with long black hair and a hair ribbon. All characters are dressed in variations of Japanese school uniforms or sailor outfits, featuring elements like sailor collars, neckties, ribbons, gloves, skirts, and pleated skirts. Their expressions are cheerful, with some showing closed eyes and others open, and they all salute with their right hands. The background is a solid color, possibly light blue, providing a clean, focused atmosphere. The style is anime, with highly detailed and polished character designs emphasizing their individual features, hair colors, and uniform details. The composition is crisp and clear, highlighting the group's unity and spirit.
Tsubasa Akai
