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Axel

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

a

Axel

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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.
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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, looking down, downcast gaze, 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
Mode
ultra
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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a
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.
Axel

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