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AI art "free room" featuring #No humans and #Indoors
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free room

free room AI art by ะตะปะตะฝะฐ ะฒะฐัะธะปัŒะบะพะฒะฐ on PixAI. Made with Tsubaki.3 Flash.

The window is behind the sofa. The coffee table is in front of the armchair. The lamp is on the coffee table. Thereโ€™s a fireplace in the room. Thereโ€™s a small table next to the sofa. The TV set is between the window and the fireplace. The plant is on the coffee table. Thereโ€™s a lamp next to the sofa.

#No humans#Indoors
ะตะฒ

ะตะปะตะฝะฐ ะฒะฐัะธะปัŒะบะพะฒะฐ

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wide-angle, elevated three-quarter corner view, high angle, empty room, no humans, interior, living room, architectural interior, one-room, tidy, uncluttered, large window, bright window, window on left wall, fabric sofa, sofa in front of window, small wooden side table, side table beside sofa, tall floor lamp, standing lamp, fireplace, lit fireplace, glowing fireplace, fireplace on right wall, television, tv on back wall, low media console, media console under tv, armchair, armchair in center of room, wooden coffee table, coffee table in front of armchair, exactly two objects on coffee table, small table lamp on coffee table, potted plant on coffee table, green houseplant, soft daylight, sunbeams, warm light, cozy atmosphere, crisp lines, clean anime background art, no people, nobody, scenery, no text The camera looks down from an elevated three-quarter corner vantage, wide-angle, splaying the room into a clear L: the left wall runs off toward the upper-left of the frame and the right wall recedes to the right, the back wall closing the far edge square across the top third of the picture. The floor occupies the broad lower half of the frame in warm honey-toned boards, their seams converging toward the back wall so the whole layout reads at a glance. On the left wall a large bright window is set from mid-wall to near the ceiling, its frame painted cream, its panes washed out with soft daylight; directly in front of that window, close to the wall, sits a cozy fabric sofa upholstered in warm ochre-gold, its cushions slightly compressed where they meet, a light throw folded over one armrest. Immediately to the sofa's right stands a small wooden side table of deep walnut, and beside it a tall standing lamp with a slim dark stem and a pale drum shade, its foot planted flat on the floorboards. Its cord runs a short distance before disappearing behind the sofa's skirt. Directly opposite the sofa, on the right wall, a fireplace glows: a brick-lined hearth with a low stone mantel, a warm fire inside throwing an orange pool onto the floorboards in front of it and a soft bloom onto the right wall above. That firelight and the daylight from the window rake across each other on the same floor, so the fire glow falls on the right-hand side of the room and the cool-warm daylit patch spreads from the left. On the back wall, neatly between window and fireplace, a single flat TV set stands on a low media console whose long top runs in a crisp horizontal under the dark screen; the screen carries only a muted grey reflection of the window, switched off. The console's cabinet doors are flush and closed. In the center of the room an armchair in warm cream upholstery faces away from the corner toward the fireplace, angled slightly; directly in front of it, within easy reach, a wooden coffee table with a honey-colored top. On that tabletop exactly two objects rest: a small decorative lamp with a round shade, sitting on the left, and a potted green houseplant with broad leaves in a small terracotta pot on the right. Nothing else is on the table โ€” no books, no cups, no tray. The palette is warm yellow, deep brown, ochre and pale cream held together by dark olive-green accents โ€” the plant's leaves, the throw's folded edge, the window's outside greenery โ€” so that the pale butter walls, walnut wood and gold upholstery stay inside a single warm gamut. Soft daylight falls in visible shafts from the window, dust drifting in them, and the only other light is the hearth's ember glow; contact shadows sit tight under the sofa, table and armchair, and every surface is bare and orderly, no scattered object anywhere. Floorboards show a faint sheen in the daylight patch and none beyond it, their direction fixed by the converging seams, the whole room crisp-edged and still. clean anime background art style, crisp architectural lines, flat cel-shaded planes with sharp object edges and soft gradient light washes, uncluttered, tranquil and warm.
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Original Prompt
Wide-angle architectural interior illustration of an empty, tidy living room from an elevated three-quarter corner view, showing the entire room layout clearly. Against the left wall, a large bright window sits directly behind a cozy fabric sofa. Right next to the sofa stands a small wooden side table with a tall standing lamp beside it. Directly opposite the sofa, on the right wall, is a warm glowing fireplace. On the back wall, neatly positioned between the left window and the right fireplace, stands a single TV set on a low media console. In the center of the room, an armchair faces a wooden coffee table placed directly in front of it. On top of the coffee table sit exactly two items: a small decorative lamp and a potted green houseplant. Soft natural daylight streaming through the window, warm cozy atmosphere, clean anime background art style, crisp architectural lines, uncluttered space, no people.
Mode
flash
Size
992 x 992
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Model & LoRA used

Tsubaki.3 Flash - AI Model cover image

PixAI DiT.3

Tsubaki.3 Flash
2.23k

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mt
no humans, scenery, indoors, traditional living room, sofa, couch, centered composition, empty couch, coffee table, low wooden table in front of couch, large window, window along the left wall, hallway, hallway in the back, doorway in the background, framed painting, paintings on wall, picture frame, decorations, potted plant, vase, cushion, throw pillow, folded blanket, wooden floor, rug, golden hour, evening light, sunset, warm lighting, sunbeam, light rays, long shadows, cel shading, flat color, hard shadow, anime coloring, wide shot, no text A wide, low, slightly right-of-axis view down into a traditional living room at golden hour, with the sofa as the undisputed anchor of the frame. The couch sits dead center, a low-slung traditional wooden-framed sofa with a carved apron and tapered legs, its long seat cushioned in a deep muted teal fabric worn pale along the front edge; three square cushions lean into the frame corners, and a plain folded throw rests across the right armrest, its fringe hanging straight down and still. The couch's front legs sit square on a woven rug, its edge running parallel to the frame bottom and lifting slightly at one corner where the floorboards run beneath. Directly in front of the couch, the coffee table -- low, dark lacquered wood, rectangular, its short legs standing within the rug's border -- carries a small ceramic dish and a single low vase, both set off-center to the left so the couch's central mass stays legible. Along the entire left wall runs one big window: a tall, many-paned traditional window whose sill sits just above the couch's backrest line, the top of its frame cropped by the top edge of the composition. At the back, a hallway opens in the center-left, a dark corridor with a visible doorway frame and deeper darkness receding inside, no figure in it, the floorboards running away and converging into that dark. On the right wall, two framed paintings hang at different heights, one landscape-shaped above the other, both catching the light so that a bright patch bounces off the upper painting's surface; below them a low sideboard holds a lidded jar and a small potted plant whose leaves are individually drawn. Decoration stays inside this budget: the vase, the dish, the jar, the plant, the paintings, the cushions, the throw -- nothing else. The light comes entirely from that left window, low and raking: golden hour sun pouring in horizontally from the left, warm amber, striking the sofa's seat and left arm and throwing long, hard-edged window-mullion bars across the cushions, the coffee table and the wood floor in the foreground, stretching rightward and flattening toward the right wall. The right side of the room and the hallway's interior hold cool dim shadow; the hallway's dark is absolute beyond its threshold. A tellable single-variable detail: the sunlit floor patch is bright along the boards but the same mullion shadow bends where it climbs the coffee table leg, and the left arm of the couch is visibly bleached paler than the rest of its fabric. Cel-shaded rendering throughout: clean hard outlines, flat fills, two-tone shadow shapes with crisp edges and no gradients, and warm golden light given as one broad flat band of amber over a cooler flat-shadow base. Palette is restrained -- amber and honey light, teal couch, warm brown wood, cream ceiling and wall, deep brown shadow -- nothing saturated beyond those. The camera is wide enough that the couch's full width and the coffee table's front edge both sit inside the frame, toes of perspective only, no figures anywhere. Warm, still, golden.
MasterThief64
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no humans, scenery, indoors, formal parlor interior, timber-and-stone agricultural manor, paired sofas, paired armchairs, tea table, display cabinet, fine tableware, family heirlooms, writing desk, heavy curtains, decorative oil lamps, landscape paintings on wall, warm evening light, lantern light, painterly, anime background style, wide shot, from one corner of the room, slight from below, orderly, presentable, modestly luxurious, empty room, no people A wide interior seen from one corner of the room, camera set low and slightly from below so the ceiling beams run away into depth overhead, looking down the room's long axis. The formal parlor of a timber-and-stone manor: exposed dark timber beams cross a plastered ceiling, and a stone chimney breast of rough-quarried blocks closes the far wall, its mortar joints wide and hand-troweled. In the middle of the floor two sofas face each other across a low tea table of honey-toned planks, and two armchairs with rolled arms flank the hearth end of the arrangement, their upholstery worn smooth and slightly dulled at the armrests where generations of guests have rested their hands. A thick wool rug anchors the seating group, its edge lying flat, its pile pressing up around the sofa feet. Left of frame, a display cabinet stands against the wall with glass doors, its shelves holding stacked plates with a thin hand-painted rim, a lidded tureen, a cream jug, and family heirlooms: a brass-handled cup, a small framed miniature, a folded christening shawl sealed behind the glass. Right of frame, a writing desk sits at an angle to the wall, its leather inlay lifting slightly at one corner, an inkwell and a pen rest squared on it, a straight-backed chair pushed in. Heavy curtains, deep green and lined, hang from a rod above the curtained window at the room's far left, their fabric pooling where they meet the floor, one fold pulled slightly aside. Decorative oil lamps provide the only light: one on the tea table with a painted porcelain base and a clear glass chimney, one on the writing desk, one bracketed to the chimney breast. Each throws a warm amber pool outward, and the light dies quickly beyond those pools, leaving the corners of the room and the ceiling beams in soft shadow. The lamps' flames are the only bright points; the glass chimneys glow, and faint smoke stains darken the plaster just above the wall bracket. Landscape paintings hang on the wall between the window and the chimney breast, three of them in mismatched gilt frames, their oil surfaces catching the lamplight in a dull sheen where the varnish has aged. The room is orderly and presentable but modestly luxurious: no gilding on the cornices, no marble, no chandelier, just good timber, good stonetsch, well-kept furnishings and a family's careful pride. The palette is warm amber, deep green, and honeyed brown against the cool grey of the stone, and the painterly rendering keeps brushy edges on the plaster and the timber grain. Quiet, welcoming, warmly lit.
Json T

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