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- Ursprünglicher Prompt
- The image shows a man wearing a blue t-shirt, black pants, and sneakers, sitting on a bench inside of a small black and red train. He is carrying a bag and there is a staircase leading up to the train, a railing, a building, and a ceiling visible in the background. solo, short hair, shirt, black hair, 1boy, sitting, full body, male focus, closed eyes, shoes, outdoors, pants, day, bag, black pants, blue shirt, chair, building, shoulder bag, stubble, stairs, railing, goatee, realistic, black bag, beard stubble, polo shirt
- Modus
- flash
- Stil
- Klassischer Anime
- Größe
- 1104 x 1824
Stil: Klassischer Anime
Prompt-Assistent
Verwendetes Modell und LoRA
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solo, 1boy, male focus, full body, sitting on bench, bench, chair, inside small black and red train, train interior, blue polo shirt, t-shirt, short sleeves, black pants, sneakers, shoes, black shoulder bag, black bag, carried over shoulder, short black hair, closed eyes, stubble, beard stubble, goatee, relaxed, head tilted down slightly, realistic, outdoors visible through open train side, daytime, staircase leading up to train, railing, building in background, ceiling visible, from side, profile, seated with ankle crossed over knee, hand resting on bag strap
A true side view, camera level with the bench from the train's open side, the man fills the lower two-thirds of a vertical frame in full body. He is the only person in the shot. He sits far back on the bench seat, back settled against the black couch-back, one hip taking the weight so his torso is angled a few degrees toward the open side; his right leg is crossed so that the right ankle rests on the left knee, the right sneaker hanging free and its sole facing the camera, the left sole planted flat on the black-and-red checkerboard floor. His left hand lies loose on the seat beside his thigh, fingers half-curled; his right forearm crosses to the black shoulder bag where the wide black strap climbs over his right shoulder, the bag body hanging at his left hip with the flat of his right hand closing over the strap just below the collarbone, thumb hooked underneath. His head tips down toward his chest, chin dipped, eyes fully shut, lids smooth and still, one corner of the mouth slack and the other faintly lifted; the short black hair sits flat and close to the skull, a few strands over the temple stirred by air moving through the open side. Stubble shadows the jaw, and a trimmed goatee runs from the lower lip over the chin to the jawline. The blue polo's collar lies open at the throat, the placket buttoned once; black pants break once over each sneaker, the fabric creasing at the crossed knee.
The train car is small: black vinyl bench running the length of the wall, red-painted grab poles and a red ceiling strip above, the ceiling panel visible at the top of the frame with its shallow black ribs, window frames black with red trim. The open side of the car faces a suburban platform where a staircase rises to the train's floor level, its gray steel steps and the black railing with a round top rail running diagonally up and out of the upper left of the frame; behind the stairs a building's pale concrete façade stands with a scatter of dark windows. Daylight, the only light source, enters through the open side at a low angle from frame left: it lays a bright band across the man's left forearm, the outer edge of his thigh and the top of his left sneaker, lifts the blue fabric where the polo pulls across his shoulder, glints off the railing's tubular top rail, and throws his shadow, bench-back and bag included, to the right across the seat and the floor, where the black-and-red floor tiles fall away into shadow. Sunlight on the platform concrete is whitish and slightly hot; the car interior stays in cool shadow. The palette is disciplined: the blue of the polo, the blacks of the pants, bag, hair and bench, the red of the car's trim and poles, and the neutral gray of steel and concrete, nothing else admitted. The train's near-side window glass shows a faint, softer, darker reflection of the building façade rather than a mirror-bright one. Quiet, unhurried. Clean linework with smoothed, glossy skin tones and gentle colour throughout, drawn in a realistic register.
林秉毅
solo, 1boy, male focus, full body, sitting on bench, bench, chair, inside small black and red train, train interior, blue polo shirt, t-shirt, short sleeves, black pants, sneakers, shoes, black shoulder bag, black bag, carried over shoulder, short black hair, closed eyes, stubble, beard stubble, goatee, relaxed, head tilted down slightly, realistic, outdoors visible through open train side, daytime, staircase leading up to train, railing, building in background, ceiling visible, from side, profile, seated with ankle crossed over knee, hand resting on bag strap
A true side view, camera level with the bench from the train's open side, the man fills the lower two-thirds of a vertical frame in full body. He is the only person in the shot. He sits far back on the bench seat, back settled against the black couch-back, one hip taking the weight so his torso is angled a few degrees toward the open side; his right leg is crossed so that the right ankle rests on the left knee, the right sneaker hanging free and its sole facing the camera, the left sole planted flat on the black-and-red checkerboard floor. His left hand lies loose on the seat beside his thigh, fingers half-curled; his right forearm crosses to the black shoulder bag where the wide black strap climbs over his right shoulder, the bag body hanging at his left hip with the flat of his right hand closing over the strap just below the collarbone, thumb hooked underneath. His head tips down toward his chest, chin dipped, eyes fully shut, lids smooth and still, one corner of the mouth slack and the other faintly lifted; the short black hair sits flat and close to the skull, a few strands over the temple stirred by air moving through the open side. Stubble shadows the jaw, and a trimmed goatee runs from the lower lip over the chin to the jawline. The blue polo's collar lies open at the throat, the placket buttoned once; black pants break once over each sneaker, the fabric creasing at the crossed knee.
The train car is small: black vinyl bench running the length of the wall, red-painted grab poles and a red ceiling strip above, the ceiling panel visible at the top of the frame with its shallow black ribs, window frames black with red trim. The open side of the car faces a suburban platform where a staircase rises to the train's floor level, its gray steel steps and the black railing with a round top rail running diagonally up and out of the upper left of the frame; behind the stairs a building's pale concrete façade stands with a scatter of dark windows. Daylight, the only light source, enters through the open side at a low angle from frame left: it lays a bright band across the man's left forearm, the outer edge of his thigh and the top of his left sneaker, lifts the blue fabric where the polo pulls across his shoulder, glints off the railing's tubular top rail, and throws his shadow, bench-back and bag included, to the right across the seat and the floor, where the black-and-red floor tiles fall away into shadow. Sunlight on the platform concrete is whitish and slightly hot; the car interior stays in cool shadow. The palette is disciplined: the blue of the polo, the blacks of the pants, bag, hair and bench, the red of the car's trim and poles, and the neutral gray of steel and concrete, nothing else admitted. The train's near-side window glass shows a faint, softer, darker reflection of the building façade rather than a mirror-bright one. Quiet, unhurried. Clean linework with smoothed, glossy skin tones and gentle colour throughout, drawn in a realistic register.
林秉毅
solo, 1boy, male focus, full body, sitting on bench, bench, chair, inside small black and red train, train interior, blue polo shirt, t-shirt, short sleeves, black pants, sneakers, shoes, black shoulder bag, black bag, carried over shoulder, short black hair, closed eyes, stubble, beard stubble, goatee, relaxed, head tilted down slightly, realistic, outdoors visible through open train side, daytime, staircase leading up to train, railing, building in background, ceiling visible, from side, profile, seated with ankle crossed over knee, hand resting on bag strap
A true side view, camera level with the bench from the train's open side, the man fills the lower two-thirds of a vertical frame in full body. He is the only person in the shot. He sits far back on the bench seat, back settled against the black couch-back, one hip taking the weight so his torso is angled a few degrees toward the open side; his right leg is crossed so that the right ankle rests on the left knee, the right sneaker hanging free and its sole facing the camera, the left sole planted flat on the black-and-red checkerboard floor. His left hand lies loose on the seat beside his thigh, fingers half-curled; his right forearm crosses to the black shoulder bag where the wide black strap climbs over his right shoulder, the bag body hanging at his left hip with the flat of his right hand closing over the strap just below the collarbone, thumb hooked underneath. His head tips down toward his chest, chin dipped, eyes fully shut, lids smooth and still, one corner of the mouth slack and the other faintly lifted; the short black hair sits flat and close to the skull, a few strands over the temple stirred by air moving through the open side. Stubble shadows the jaw, and a trimmed goatee runs from the lower lip over the chin to the jawline. The blue polo's collar lies open at the throat, the placket buttoned once; black pants break once over each sneaker, the fabric creasing at the crossed knee.
The train car is small: black vinyl bench running the length of the wall, red-painted grab poles and a red ceiling strip above, the ceiling panel visible at the top of the frame with its shallow black ribs, window frames black with red trim. The open side of the car faces a suburban platform where a staircase rises to the train's floor level, its gray steel steps and the black railing with a round top rail running diagonally up and out of the upper left of the frame; behind the stairs a building's pale concrete façade stands with a scatter of dark windows. Daylight, the only light source, enters through the open side at a low angle from frame left: it lays a bright band across the man's left forearm, the outer edge of his thigh and the top of his left sneaker, lifts the blue fabric where the polo pulls across his shoulder, glints off the railing's tubular top rail, and throws his shadow, bench-back and bag included, to the right across the seat and the floor, where the black-and-red floor tiles fall away into shadow. Sunlight on the platform concrete is whitish and slightly hot; the car interior stays in cool shadow. The palette is disciplined: the blue of the polo, the blacks of the pants, bag, hair and bench, the red of the car's trim and poles, and the neutral gray of steel and concrete, nothing else admitted. The train's near-side window glass shows a faint, softer, darker reflection of the building façade rather than a mirror-bright one. Quiet, unhurried. Clean linework with smoothed, glossy skin tones and gentle colour throughout, drawn in a realistic register.
林秉毅
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