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AI artwork featuring #Fate series, #Fate/Grand Order, #Olga Marie Animusphere, #Ritsuka Fujimaru (Male) and #PixAI Halloween 2026
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Olga Marie Animusphere, Ritsuka Fujimaru (Male)

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PixAI “Halloween Oddities Club” Special Contest - A Night at Higan Inn#PixAI Halloween 2026
#Fate series#Fate/Grand Order#Olga Marie Animusphere#Ritsuka Fujimaru (Male)
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鷹の目

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character: olga_marie_animusphere, artist: takeuchi_takashi, copyright: type-moon 1girl, 1boy, olga_marie_animusphere, solo focus, long hair, white hair, very long hair, single side braid, neat braid, smooth bare forehead, forehead visible, head completely bare, hair completely unadorned, no hair ribbon, no hair ornaments, no headwear, orange eyes, yellow eyes, cowboy shot, sitting, sitting on stool, velvet stool, leaning forward, one ankle resting on knee, crossed legs, ankle, bare ankle, trying on shoes, high heels, dark red high heels, holding shoe, inspecting, critical but pleased expression, light smile, raised eyebrow, half-closed eyes, looking at object, looking down, navy pea coat, double-breasted coat, cream slacks, white blouse, open collar, long sleeves, reaching, warm lighting, spotlight, boutique interior, shoe salon, shoe boxes, stacked boxes, box stack, blurred background, depth of field, blurry, motion blur, 1boy, clerk, seen from behind, standing, background, flat color, cel shading, delicate linework, bishoujo, lustrous texture, crystal-like eyes, fine hair detail, warm color palette, amber light, wood and velvet, high-key, atmospheric haze, cinematic depth, golden rim light Cowboy shot framed from just above the knee to above the head, camera lowered slightly and set three-quarters off her right side so she reads in near-profile turned partly toward the lens; she is seated on a low round velvet stool behind the fitting bench of the salon, spine tilted forward from the hips, shoulders hunched into the effort of the examination, weight settled on her left hip and the stool's padded top, right leg crossed so that the right ankle rests across her left knee, that foot bare except for the dark red high-heeled shoe she is working onto it. Both hands are on the shoe: the left palm cups the heel counter and pushes from behind, the right thumb and forefinger pinch the shoe's throat and guide it, and her chin is dipped toward the shoe so the shoe sits in the pocket of air between her face and her hands. Her brow is drawn into a faint crease above a narrowed, considering stare, one corner of the mouth lifted into a small satisfied curve against the flat of the other, lower lip caught slightly under her teeth; she is looking directly down at the shoe on her foot and nothing else. Her white hair falls in a long swept mass over her far shoulder and back, and a single neat side braid runs down the near side of her neck, its taper lying against the coat's lapel; with her head tipped down the tail of the braid slides forward off her shoulder and the fine, loose strands at the crown catch the light. The navy pea coat is unbuttoned, its wide lapels folded open over the white blouse, and the cream slacks pull into a tight diagonal fold across the raised thigh and bunch at the crotch of the crossed leg. Warm boutique spot lighting comes from high and behind her right shoulder, a battery of small hot lamps in the ceiling wash: it rim-lights the top of her white head, the outside of the braid, and the shoulder seam of the coat, drops sheen down the glossy curve of the dark red shoe's vamp, and leaves the underside of her chin, the hollow of the coat's open front and the floor beneath the stool in warm shadow. Behind and to the left of her, out of focus at f/2.2, a blurred clerk in a dark uniform kneels at a low shelf with their back to the camera, one arm extended toward the boxes; the whole behind her is stacked shoe boxes — pale cardboard cartons stamped with illegible fine print, a couple of lids ajar and tissue paper furled over the edges — rising in an uneven wall that dissolves into haze toward the top of the frame. The salon itself is only implied: warm wood paneling, a tall mirror throwing the corner of a brass fitting rail, the soft ochre and dusty rose of velvet cushions. Flat cel coloring with crisp, delicate contour line work, minimal gradients, the hair rendered as broad white planes broken by a few thin lustrous highlights; warm ochre, deep navy, cream, and a single saturated dark-red accent confined to the shoe on her foot. Because she is bent forward over a crossed leg, the shadow of her head and shoulders falls onto the boxes and the bench beside her rather than onto the floor behind. Intimate, absorbed, quietly delighted.
Show Parameters
Mode
flash
Size
1536 x 2048

Model & LoRA used

Tsubaki.3 Flash - AI Model cover image

PixAI DiT.3

Tsubaki.3 Flash
1.96k

Creation Assistant

Mio.2
Agent
Mio.2

Minimal input, professional output

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AI artwork
Avatar image of 鷹の目
1girl, 1boy, olga_marie_animusphere, solo focus, long hair, white hair, very long hair, single side braid, neat braid, hair between eyes, long bangs falling between her eyes, soft bangs covering her forehead, forehead hidden under bangs, orange eyes, yellow eyes, cowboy shot, sitting, sitting on stool, velvet stool, leaning forward, one ankle resting on knee, crossed legs, ankle, bare ankle, trying on shoes, high heels, dark red high heels, holding shoe, inspecting, critical but pleased expression, light smile, raised eyebrow, half-closed eyes, looking at object, looking down, navy pea coat, double-breasted coat, cream slacks, white blouse, open collar, long sleeves, reaching, warm lighting, spotlight, boutique interior, shoe salon, shoe boxes, stacked boxes, box stack, blurred background, depth of field, blurry, motion blur, 1boy, clerk, seen from behind, standing, background, flat color, cel shading, delicate linework, bishoujo, lustrous texture, crystal-like eyes, fine hair detail, warm color palette, amber light, wood and velvet, high-key, atmospheric haze, cinematic depth, golden rim light Cowboy shot framed from just above the knee to above the head, camera lowered slightly and set three-quarters off her right side so she reads in near-profile turned partly toward the lens; she is seated on a low round velvet stool behind the fitting bench of the salon, spine tilted forward from the hips, shoulders hunched into the effort of the examination, weight settled on her left hip and the stool's padded top, right leg crossed so that the right ankle rests across her left knee, that foot bare except for the dark red high-heeled shoe she is working onto it. Both hands are on the shoe: the left palm cups the heel counter and pushes from behind, the right thumb and forefinger pinch the shoe's throat and guide it, and her chin is dipped toward the shoe so the shoe sits in the pocket of air between her face and her hands. Her brow is drawn into a faint crease above a narrowed, considering stare, one corner of the mouth lifted into a small satisfied curve against the flat of the other, lower lip caught slightly under her teeth; she is looking directly down at the shoe on her foot and nothing else. Her white hair falls in a long swept mass over her far shoulder and back, her usual hairstyle unchanged: long bangs drop between her eyes and a soft fringe sweeps across her forehead, and a single neat side braid runs down the near side of her neck, its taper lying against the coat's lapel; with her head tipped down the tail of the braid slides forward off her shoulder and the fine, loose strands at the crown catch the light. The navy pea coat is unbuttoned, its wide lapels folded open over the white blouse, and the cream slacks pull into a tight diagonal fold across the raised thigh and bunch at the crotch of the crossed leg. Warm boutique spot lighting comes from high and behind her right shoulder, a battery of small hot lamps in the ceiling wash: it rim-lights the top of her white head, the outside of the braid, and the shoulder seam of the coat, drops sheen down the glossy curve of the dark red shoe's vamp, and leaves the underside of her chin, the hollow of the coat's open front and the floor beneath the stool in warm shadow. Behind and to the left of her, out of focus at f/2.2, a blurred clerk in a dark uniform kneels at a low shelf with their back to the camera, one arm extended toward the boxes; the whole behind her is stacked shoe boxes — pale cardboard cartons stamped with illegible fine print, a couple of lids ajar and tissue paper furled over the edges — rising in an uneven wall that dissolves into haze toward the top of the frame. The salon itself is only implied: warm wood paneling, a tall mirror throwing the corner of a brass fitting rail, the soft ochre and dusty rose of velvet cushions. Flat cel coloring with crisp, delicate contour line work, minimal gradients, the hair rendered as broad white planes broken by a few thin lustrous highlights; warm ochre, deep navy, cream, and a single saturated dark-red accent confined to the shoe on her foot. Because she is bent forward over a crossed leg, the shadow of her head and shoulders falls onto the boxes and the bench beside her rather than onto the floor behind. Intimate, absorbed, quietly delighted.
鷹の目

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