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皮膚の日（11月12日記念日）

皮膚の日（11月12日記念日） AI art by セキモリ on PixAI. Made with Tsubaki.3 Flash.

Published on Nov 12, 2026

セキモリ

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1girl, solo, monochrome, greyscale, brush ink illustration, classic book illustration, bold thick brush outlines, fine hatching, cross-hatching, black hair, straight hair, bob cut, blunt bangs, small hairpin, round opaque glasses, eyes hidden, tiny dot nose, sailor uniform, winter school uniform, sailor collar, neckerchief, long skirt, black pleated skirt, narrow waist, long slender legs, three-quarter view, standing, washing hands, hands under running water, faucet, running water, water streams, splashes, school washroom, tiled wall, wall mirror, row of washbasins, porcelain sink, soap bar, folded towel, hook, soft light, calm, educational, from side, cowboy shot, left edge of frame Three-quarter view from slightly to her right and just above waist height, the girl anchored at the far left of the frame so that the long counter of washbasins, the great wall mirror and the empty tiled floor sweep away to the right as clean negative space. Her body is turned partway towards the basins, left shoulder nearer the viewer, head tipped down over her hands; both forearms reach forward into the basin, wrists loose, palms rubbing one over the other under the running spout, a few fingertips of her right hand lifted into the falling stream so the water breaks visibly across her knuckles. Her weight sits on the near leg, the far hip relaxed, the long black pleated skirt falling in bold thick-edged folds with the pleats only hatched in fine lines, its hem stopping well above the ankle so the long slender legs and slim stance read clearly. Her uniform top is closed high at the throat, the wide sailor collar square across her shoulders with its parallel white stripes picked out in thin hatching, the neckerchief knotted at the centre of the chest with both tails hanging straight down over the narrow waist. Straight black hair falls in a neat bob to the jaw, blunt bangs cut level just above the rim of the round opaque glasses, the small hairpin clipping the bangs aside on one side; the round lenses are drawn as blank pale ovals with nothing behind them, catching only a couple of fine hatch lines of the room's light, so no eyes show at all, and the tiny dot nose sits alone between the lenses and her closed, composed lips. Above and behind her, the large wall mirror runs along the tiled wall; inside the mirror the back of her bob, the rise of the sailor collar and the arch of the running faucet appear reversed and slightly darkened, its reflected tones a shade deeper than the objects themselves. A row of porcelain washbasins recedes along the counter, each drawn with a thick clean rim and concave bowl shaded by dense cross-hatching; the nearest faucet is open at a quarter turn, a thin continuous stream of clear water falling into the basin, and the splash where it strikes the porcelain bursts into fine white lines left as bare paper against a heavily hatched shadow beneath the bowl. On the basin edge beside her hand rests one rectangular bar of soap, worn rounded on its upper face, its top plane left almost white and its sides hatched. To the right, a folded towel hangs square over a hook on the tiled wall, drawn with bold outline and only a few careful creases. The tiled wall itself is suggested sparely — a horizontal joint line, a few verticals, grout shadow picked out with fine hatching that thins as the wall recedes — so the room stays clean and open rather than busy. Soft tonal light comes from a high window off frame to the upper right: it strikes the mirror's top edge, the far lip of each basin and the crown of her bob in near-white, grazes the front of her skirt in a broad pale band, and leaves the undersides of the basins, the space beneath the counter edge and the corner behind the towel in deep packed shadow. Because the light is high and to her right, a small crisp shadow of the soap lies on the porcelain beside it, and her own shadow falls to her left onto the tiles where it is cut off by the frame's left edge. Everything is black ink and white paper with grey built only from hatch density: bold thick brush lines carry her silhouette, the mirror's frame, the basin rims and the skirt's outer contour, while the face, the collar stripes, the water and the tiles are all fine thin line with cross-hatching on the shadow sides. A calm, pure, educational stillness.

皮膚の日（11月12日 記念日）

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皮膚の日（11月12日記念日）