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Axel

AI art by Axel on PixAI. Made with Tsubaki.3.

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Axel

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character: yokoyama_ishimi solo, 1boy, genderswap, male focus, androgynous, short black hair with blue underlayer at the nape, blue eyes, standing, contrapposto, weight on one leg, hip cocked, shoulder dipped, hands loose in hoodie pockets, hood down, white shirt collar showing above the hoodie neckline, long sleeves, thin bracelet on one wrist, calm tired expression, half-closed eyes, subtle blush across the cheekbones, relaxed posture, looking at viewer, half body, cowboy shot, close-up framing, centered in frame, vertical portrait, from below, dutch angle, tilted horizon, night, twilight sky, evening city intersection, japanese cityscape, mid-rise buildings, traffic lights, street lamps, cars, road markings, overhead power lines, warm city lights against cool blue tones, atmospheric lighting, detailed urban background, cloudy sky, anime illustration, semi-realistic style, expressive linework, soft painterly shading, melancholic city mood, Shot from below at a dutch angle, the horizon tipped so the intersection's far corner rides higher on the right, the frame catches one androgynous young man at a cowboy-shot crop -- cut at mid-thigh -- centered and standing on a painted zebra crossing at a night city intersection. His weight rests on the straight left leg, the right knee slack and turned slightly inward, hip pushed out, one shoulder dropped lower than the other; the tilt of the ground and the camera's low rise make him read taller than the street. The low sleeves of a dark hoodie hang loose, hood folded flat down his back, a white shirt collar riding just above the hoodie neckline; his hands sit buried in the front pocket, so the thin bracelet on his right wrist is a single bright bead of metal at the pocket lip. His short black hair lifts a little in the draft of passing cars, the blue underlayer at the nape catching the lamp light, and his blue eyes come down the lens from under half-lowered lids, one brow faintly higher, mouth closed and easy, a warm subtle blush blooming over both cheekbones -- tired, unhurried, unbothered. Behind and around him the street runs deep: a four-way crossing of white road markings, crosswalk bars distorted by the low angle, mid-rise buildings of shutters, awnings and stacked windows receding to the upper right, overhead power lines sagging in black parabolas across the twilight sky, a rank of traffic lights with the near signal burning red and the walk signal a small green figure, street lamps on curving arms over both sidewalks, and a few cars waiting at the line, their headlights smeared long and low toward the camera. The sky holds the last violet-blue of twilight above the rooftops with the deep blue of night pressing down into the street; the palette is locked to that cool blue against warm city light -- sodium-amber lamp pools on the asphalt, warm window rectangles, red and green signal dots, the car's taillight red streaking on the wet road -- and nothing else admitted. The lamps and signals are the light sources: they rim the top of his hair and one cheek with amber, leave the underside of his chin and the far side of his hoodie in cool blue shadow, and where a puddle sits in a crosswalk seam the reflected lamp is darker and softer than the lamp itself. Air haze softens the far buildings only. Quiet, melancholy city tiredness.
Show Parameters
Original Prompt
yokoyama ishimi, genderswap (ftm), solo focus, half body, androgynous, standing, full-body vertical portrait, centered in frame, close-up framing, cowboy shot depth, night, twilight sky, evening city intersection, japanese cityscape, mid-rise buildings, traffic lights, street lamps, cars, road markings, overhead power lines, warm city lights against cool blue tones, atmospheric lighting, detailed urban background, calm tired expression, subtle blush, relaxed posture, contrapposto, from below, dutch angle, solo focus, anime illustration, semi-realistic style, expressive linework, soft painterly shading, melancholic city mood, looking at viewer, close-up,
Mode
pro
Size
1104 x 1824
Sampling Method
Euler
Negative
lowres, worst quality, low quality, bad anatomy, explicit
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Model & LoRA used

Tsubaki.3 - AI Model cover image

PixAI DiT.3

Tsubaki.3
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AI artwork
a
character: yokoyama_ishimi 1boy, genderswap (ftm), solo, androgynous, standing, contrapposto, relaxed posture, looking down, downcast gaze, calm tired expression, subtle blush, half body, cowboy shot, full-body vertical portrait, centered in frame, close-up framing, from below, dutch angle, night, twilight sky, evening city intersection, japanese cityscape, mid-rise buildings, traffic lights, street lamps, cars, road markings, overhead power lines, warm city lights against cool blue tones, atmospheric lighting, detailed urban background, black hair, blue hair, short hair, medium hair, blue eyes, long sleeves, white shirt, hoodie with hood down, bracelet, jewelry, semi-realistic style, expressive linework, soft painterly shading, melancholic city mood. The shot is tilted: the whole vertical frame is rolled a few degrees off plumb so that the street's verticals lean, and the camera sits low, near knee height, aiming up so the figure towers slightly against the sky. A single young man stands centered in the frame at a pedestrian corner of a Japanese city intersection at night, his body caught between half-body and cowboy-shot depth -- the vertical portrait runs from just below his hips to a little above his head, and his face fills the upper center. He stands in contrapposto, his weight on his left leg with the left hip pushed out and the right knee eased forward and relaxed, shoulders sloping down away from that hip; his arms hang loose, the right hand resting lightly against the front of his thigh, the left thumb hooked in a pocket, fingers curled, all of him slack with the tiredness of a long day. His head is tilted forward so the chin dips toward his collarbone and his gaze drops steeply downward, eyelashes lowered, eyes aimed at the dark pavement at his feet and not at the lens; the low camera looks up along his downcast face. His expression is calm and quiet, mouth closed and unbothered, eyelids heavy, with a faint warm blush settling across both cheeks. He has a short-to-medium tousled cut of hair shading from black at the crown into deep blue at the tips, and the backlit street glow picks out the blue ends; the loose front strands slip across his brow. He wears a white shirt under an unzipped dark hoodie with the hood pushed down and bunched behind his neck, long sleeves loose at the wrists, and a thin bracelet and a small piece of jewelry at his ear catching a point of amber light. His outline is androgynous -- narrow shoulders, long slim neck, a soft jaw countered by a flat chest under the open hoodie -- and he reads unmistakably as a young man. Behind and around him the intersection recedes: a wide asphalt crossing marked with broad white zebra stripes and a painted stop line, cars waited at the light in the midground with their headlights smeared into long warm reflections on the damp road, traffic lights showing red and green at the corners, street lamps on slim poles throwing cones of amber, mid-rise buildings stacked in the background with lit windows stepping into depth, and overhead power lines crossing the sky in slack black curves strung between poles. The twilight sky above is a deep cool blue with the last band of dusk low on the horizon, and the picture holds to two temperatures only -- warm sodium and headlamp amber against cold blue sky, blue-black asphalt and blue-shadowed concrete, nothing else admitted. Atmospheric haze softens the far buildings while the near street stays crisp with detail. The light is urban and mixed: warm lamps strike the left side of his face and shoulder from below-left, cool blue skylight fills the shadow side down his right cheek and the underside of his jaw, and he throws a long soft shadow toward the lower right of the frame; the wet asphalt returns the traffic lights as broken, elongated streaks, dimmer and looser than the sources. The roller-coaster uprights, so to speak, of the power-line poles and the building corners lean together with the dutch roll, and the road markings run out from under his feet toward the vanishing point below the horizon. Melancholic, quietly tired city mood.
Axel
AI artwork
рr
character: mashiro_meme, copyright: nijisanji solo, 1girl, short black hair, yellow eyes, hair ornament, femboy unisex clothes, standing, full body, centered, vertical portrait, from below, calm tired expression, downcast gaze, looking down, subtle blush, relaxed posture, hands in pockets, head tilt, shirt, loose white shirt, coat, black pants, evening, city intersection, japanese cityscape, mid-rise buildings, traffic lights, street lamps, cars, road markings, overhead power lines, twilight sky, warm city lights, cool blue tones, atmospheric lighting, detailed urban background, expressive linework, soft painterly shading, melancholic A full-body vertical portrait shot from slightly below eye level, so the subject reads tall and quiet against the sky. Centered in the frame on a Tokyo-style street intersection at early evening, a single figure stands at the crosswalk where the corner of the intersection opens behind them: short black hair cropped close at the jaw with a hair ornament tucked above one ear on the left side of the head, a straight fringe falling over the brow, and yellow eyes angled downward and to the lower left, unfocused and tired. Both eyelids are half-lowered, the mouth a flat relaxed line with the corners faintly soft, and a warm pink blush sits low on both cheeks. The head tips a few degrees toward their right shoulder. The posture is loose and settled: weight on the right leg with the left knee slightly bent, shoulders dropped and even, one hand pushed into the front pocket of the trousers and the other hanging relaxed at the thigh, fingers loose. They wear a loose unisex collared shirt in oatmeal shade left open at the collarbone and untucked, a long charcoal wrap coat with a falling collar and no belt, straight black trousers cropped just above the ankle, and plain low lace-up shoes; the shoulders of the coat slide a little off the shoulder line, and the shirt hem shifts slightly at the hip where the pocket hand pulls it. A thin red scarf hangs loose at the neck, suggested rather than filled; the throat is bare of a necktie and nothing is knotted at the collar. The coat's long edges hang straight and the fabric creases at the inner elbow. Behind them the intersection expands outward: a broad asphalt road with crisp white zebra stripes and a stop line crossing beneath the figure's feet, angled crosswalk arrows painting a diagonal line into the depth of the shot. Mid-rise buildings block the frame at four to six stories high on both sides of the road, their faces dark blue-grey with lit windows in small warm squares climbing upward, upper stories catching a faint warm rim from the street lamps. A traffic light gantry stands on the near corner to the left of the subject, its housing showing one warm orange lit lens; a second signal hangs across the road on the right. Tall street lamps line the sidewalk edge, one immediately behind and to the right of the subject, its curved arm reaching into the sky and its light pooling downward in a soft warm cone. Overhead power lines cross the upper third of the frame in sagging parallel arcs, a few silhouetted against the pale sky. A handful of cars wait at the far lane with headlights on, casting low warm cones across the asphalt and throwing elongated reflections that stretch toward the camera along the wet-looking road. The sky above is a deep twilight gradient, teal blue at the top fading to warm apricot right at the roofline, so the city lights read warm against the cool blue of the buildings and road. Light comes from two directions at once: the street lamps and car headlights delivering warm amber and sodium-orange falling across the subject from the right and slightly behind, and the cool twilight sky filling in a cold blue rim across the top of the head, shoulder and coat edge. The subject's face is largely in shadow, lit from below by the warm spill from the street lamps, their cast shadow falling forward and to the left onto the zebra stripes. Buildings and cars register in the midground with crisp detail, while the far blocks fall back into a blue haze. Everything feels hushed and solitary. Melancholic, quiet.
Рейнджер «Ranger»
AI artwork
рr
mashiro meme, nijisanji, virtual youtuber, solo, standing, hands in pockets, anime illustration, semi-realistic style, full-body vertical portrait, centered in frame, calm tired expression, downcast gaze, subtle blush, oversized dark navy sweater, black pants, crossbody bag, relaxed posture, evening city intersection, Japanese cityscape, mid-rise buildings, traffic lights, street lamps, cars, road markings, overhead power lines, twilight sky, warm city lights against cool blue tones, atmospheric lighting, detailed urban background, expressive linework, soft painterly shading, melancholic city mood
Рейнджер «Ranger»
AI artwork
рr
character: mashiro_meme, copyright: nijisanji 1girl, solo, mashiro meme, short black hair, yellow eyes, hair ornament, femboy unisex clothes, loose oversized white shirt worn open over a plain tank top, soft knit longline cardigan, slim black tapered trousers cropped above the ankle, chunky sneakers, red scarf loosely looped at the open collar, standing, full-body vertical portrait, centered in frame, close-up framing, cowboy shot depth, night, twilight sky, evening city intersection, japanese cityscape, mid-rise buildings, traffic lights, street lamps, cars, road markings, overhead power lines, warm city lights against cool blue tones, atmospheric lighting, detailed urban background, looking down, downcast gaze, calm tired expression, subtle blush, relaxed posture, contrapposto, hands in pockets, shoulders slightly dropped, from below, dutch angle, solo focus, anime illustration, semi-realistic style, expressive linework, soft painterly shading, melancholic city mood Seen from a low angle tilted slightly off level, the single figure stands centered on the pedestrian island of an evening Japanese city intersection, her full body running from the chunky sneakers planted on the wet asphalt up through the frame. Her weight rests on her left leg, the right knee eased forward and the right hip dropped, both hands pushed loosely into the cardigan pockets so the oversized white shirt hangs open; the shirt's loose tail lifts a little at one corner in the crosswind. Her chin is tipped down, yellow eyes cast toward the road markings at her feet rather than the lens, eyelashes low, a faint warmth of blush sitting on the cheekbones; the corners of her mouth stay soft and level in a calm, tired line, one brow a fraction higher than the other. The red scarf is looped once at the open collar, its short end hanging still. Behind and around her the intersection opens out: mid-rise buildings stacked in receding depth on both corners, their windows lit in small warm rectangles, a pedestrian signal and a three-lamp traffic light glowing on the near pole, street lamps dropping warm pools onto the crossing, two cars waiting at the stop line with headlights smeared low across the tarmac, white road markings stretching toward the vanishing point, and overhead power lines crossing the twilight sky in taut black lines that sag between poles. The sky above the rooftops is deep cool blue fading to a thin band of dusk warmth, and the city's artificial light — amber signage, sodium lamps, tail lights — burns warm against that blue, so every lit surface reads gold-orange while the shadows and the sky hold blue. The lamps are the scene's light; they throw a short soft shadow from the figure across the wet ground, and the reflection of the traffic lights in the puddles is dimmer and softer than the lamps themselves. The palette holds to cool blue-grey in the sky, buildings and shadow, warm amber in every lamp, window, headlight and sign, the red scarf as the one saturated accent at her throat, and the white of her shirt catching the nearest lamp. Linework is expressive, the contours clean against the painterly shading, and the background is rendered in fine detail until it softens into the blue distance. Quiet, melancholic, softly luminous.
Рейнджер «Ranger»
#Nijisanji#Mashiro

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4#Puella Magi Madoka Magica#Kaname Madoka#Puella Magi Madoka Magica
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