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AI art "新山聡美(せんのう沢 愛の鐘)" featuring #Donna matura, #Cuore, #martello, #campana, #Sound! Euphonium, #Satomi Niiyama and #Create What You Love 2
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新山聡美(せんのう沢 愛の鐘)

Contest Entry
2nd "Favorite Work" Contest
#Donna matura#Cuore#martello#campana#Sound! Euphonium#Satomi Niiyama
北

北宇治高校仙台分校

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copyright: hibike!_euphonium character: Niiyama Satomi (Hibike! Euphonium)., brown hair, loose wavy long hair, Don't let your bangs fall from the center of the forehead, bluish violet eyes, lavender eyes, cool-toned purple eyes, center part starting high on the crown, middle-aged women, 33 years old, medium breasts, on a bright autumn day in late October, an outdoor landscape scene depicting the moment a woman strikes a hanging bell with an attached small bell-striking hammer at "Sennosawa Bell of Love" in Shiroishi City, Miyagi Prefecture. In a small open square in a lush green mountainous area, a distinctive Bell of Love installation is set up, composed of two combined white metal heart-shaped frames, one large and one small. Inside the large heart-shaped frame is a smaller heart-shaped frame, and in its center hangs a flower pot with flowers. Meanwhile, the black hanging bell is suspended separately from the tip of the large heart-shaped frame, distinct from the flower pot. Depict clearly and accurately these two different suspended objects and the structure of the large and small heart-shaped frames. Surrounding the area are woods, flower pots, a white garden table and chairs, exuding the rustic, warm atmosphere of a local tourist spot. The Bell of Love installation consists of two heart-shaped frames, one large and one small, made of white metal pipes. The large heart-shaped frame forms the outer shape of the whole, with rounded curves on the left and right forming the heart's upper bulges and connecting gracefully toward the bottom. The white pipes form smooth curves, with the natural thickness and texture of an actual outdoor metal object. The highest point of the frame is about 1.8 meters from the ground, slightly under 2 meters high. Make it a realistic size where, when the woman stands beside it, the top of the frame appears just slightly taller than her head. It should not be the scale of a giant gate or architecture, but depicted as a small outdoor installation where an adult can stand beside it to ring the bell. Inside the large heart-shaped frame, a smaller white heart-shaped metal frame is positioned. The small frame also has rounded bulges at the top of the heart, with curves merging downward, forming a clearly recognizable heart shape. The small heart-shaped frame fits inside the large frame, and suspended at its center is a small flower pot planted with flowers. The flower pot is located inside the small frame, showing natural flower leaves, stems, and small flowers in shades of red, pink, and purple. The brackets or supports hanging the flower pot should not be overly conspicuous, preventing the pot from looking as if it is unnaturally floating in midair. The small heart-shaped frame and flower pot form a cohesive decorative unit, clearly distinguishable from the large frame and the hanging bell. The black hanging bell is not suspended from the small heart-shaped frame that hangs the flower pot. The hanging bell is suspended independently from the tip of the large heart-shaped frame via hardware or a short chain. It is an elongated cylindrical black bell with a subdued black surface, featuring a small amount of white writing vertically. The color contrast between the white large heart-shaped frame and the black bell is clearly visible. The bell is hung at a height where the woman can strike it with the attached small hammer, with room to naturally sway slightly. Keep the size of the bell within a realistic range for an outdoor installation, maintaining a natural dimensional relationship with the large frame and the woman. There is only one bell, not overlapping too much with the flower pot or the small heart-shaped frame, so each shape is clearly distinguishable. The woman's clothing is elegant and natural, suitable for visiting an outdoor autumn tourist spot. Over a soft ivory-colored knit sweater, she wears a light beige or greige below-the-knee coat. For the bottom, she wears a subdued brown-toned or charcoal gray long skirt, and on her feet are comfortable, elegant dark brown ankle boots. She wears a small, simple shoulder bag, with modest accessories. The subdued color palette blends with autumn nature, creating a clean, mature, and not overly flashy style. The woman's long hair flows naturally from her shoulders down her back, with a neatly groomed, soft sheen. A few natural strands remain around her face, giving a neat and gentle impression. Her hair should not excessively hide her face or hands. Her expression is calm and approachable, with a modest smile as if she is enjoying ringing the Bell of Love. Rather than posing for the camera, the woman focuses her attention on the black hanging bell in front of her and her hands holding the hammer. The clothing, hairstyle, accessories, posture, and expression reflect this description. The woman stands right next to the white large heart-shaped frame, holding the attached small bell-striking hammer in her hand, striking the black hanging bell suspended from the tip of the frame. Her body faces toward the hanging bell, at a distance where her naturally extended arm can reach it. With one hand, she firmly grasps the handle of the small hammer, her elbow slightly bent, arm naturally extended, placing the striking head of the hammer against the side of the black bell. Depict the moment of hitting the bell or immediately after, making it immediately clear that the woman is actually ringing the bell with the hammer. The hammer is not a large carpentry tool, but a small bell hammer provided at this location. The hammer's handle and striking head are clearly visible, naturally connected to her hand, with her fingers correctly gripping the handle. The object the woman is striking is the black hanging bell suspended independently from the tip of the large heart-shaped frame. She does not touch or strike the flower pot at the center of the small heart-shaped frame. The tip of the hammer is in contact with the surface of the black hanging bell, not touching the small heart-shaped frame, the plants, or the white metal pipes. The spatial relationship between the hammer, bell, and the woman's arm is clear, creating a composition where it is visually obvious which object is being struck. The hand not holding the hammer hangs naturally at her side or rests lightly on the front of her coat. Her shoulders are relaxed, her upper body is not excessively tilted, and she stands stably with both feet firmly on the ground. While focused on the action of ringing the bell, the woman has a cheerful and composed expression. Her hands, feet, and fingers are drawn naturally, without her arms unnaturally merging into the bell or heart-shaped frame. At the base of the Bell of Love is a concrete foundation, surrounded by several small flower pots. Bright flowers such as red, orange, and yellow bloom in the flower pots, displayed on tree stump stands or small pedestals. The ground is covered with gray or light brown gravel, with some visible soil and a few fallen leaves. On the right side of the screen are a white metal round table and decorative garden chairs. The chairs are made of slender white metal with curved decorations on the backrests. In the background to the left, a simple greenhouse or small building is visible, and the surroundings are enclosed by lush green mountain woods. Utility poles, power lines, and support pillars are naturally placed as realistic outdoor scenery. The season is autumn in late October. The background woods retain many dark green trees, mixed with partially colored yellow and orange trees, expressing natural autumn color shifts. Rather than all trees turning bright red, evergreen green and deciduous autumn colors are naturally blended. A few dead leaves are scattered on the ground, indicating the autumn season. Bright natural autumn sunlight illuminates the curves of the white metal frame, the woman's hair, her coat, and the flowers in the pot. Both highlight and shadow details are visible so that the white frame is not blown out and the black bell does not lose detail in shadows. The woman's expression and hands are not hidden in dark shadows, illuminated enough to clearly see her striking the bell. The camera captures the woman and the Bell of Love from a front-slightly-angled perspective, in a composition where the entirety of both large and small heart-shaped frames, the flower pot hung inside, the black hanging bell hung from the outer tip, and the woman's full body fit into a single frame. The apex of the large heart-shaped frame down to the ground foundation is visible, conveying the frame's size in comparison to the woman. The small heart-shaped frame is positioned inside the large frame, with the central flower pot clearly visible. The black bell is clearly seen suspended from the tip of the large frame, positioned so as not to overly overlap with the central flower pot. The woman is placed near the center of the frame, making the positional relationship between the hand holding the hammer, the bell, the flower pot, and the large and small frames easy to see. The surrounding white garden table and chairs, flower pots, and background greenery are moderately included in the frame, maintaining the atmosphere of the original location. The overall image is finished like a natural travel photograph taken at a local tourist spot. Realistically depict the smooth texture of the white metal pipes, the subdued surface of the black bell, the ceramic or plastic texture of the flower pot, plant leaves and petals, the gravel ground, and the fabric weave of the woman's clothing. Maintain natural perspective, keeping realistic size proportions between the frames, bell, flower pot, and woman. Avoid excessive saturation and strong dramatic lighting, expressing the bright, calm light of an autumn day. The woman is the only person in the frame; no other tourists or human figures appear. There are strictly two heart-shaped frames, one large and one small, with a clear structure of the small frame placed inside the large one. One flower pot is hung at the center of the small heart-shaped frame, and the black hanging bell is suspended separately from
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10月下旬の明るい秋の日、宮城県白石市の「せんのう沢 愛の鐘」で、女性が備え付けの鐘打ち用の小型ハンマーで釣り鐘を叩いている瞬間を描いた、屋外風景映像。緑豊かな山あいの小さな広場に、大小二つのハート形の白い金属フレームが組み合わさった、特徴的な愛の鐘の設備が設置されている。大きなハート形フレームの内側には、小さなハート形フレームがあり、その中央に花の植木鉢が吊るされている。一方、黒い釣り鐘は植木鉢とは別に、大きなハート形フレームの先端部分から吊り下げられている。この二つの異なる吊り下げ物と、大小のハート形フレームの構造が正確に分かるように描く。周囲には林や花の鉢、白いガーデンテーブルと椅子があり、素朴で温かみのある地域の観光スポットらしい雰囲気が漂っている。 愛の鐘の設備は、白い金属パイプで作られた大小二つのハート形フレームから構成されている。大きなハート形フレームは全体の外側を形作り、左右の丸みを帯びた曲線が上部でハートのふくらみを作り、下方へ向かって優雅につながる形状をしている。白いパイプは滑らかな曲面を描き、屋外に設置された実物の金属オブジェらしい自然な太さと質感がある。フレームの最も高い位置は地面から約1.8メートル程度で、2メートル弱の高さとする。女性がその横に立つと、フレームの上端が女性の頭より少し高い程度に見える、現実的な大きさにする。巨大な門や建築物のような規模にはせず、大人がそばに立って鐘を鳴らせる小型の屋外設備として描く。 大きなハート形フレームの内側には、それより小さな白いハート形の金属フレームが配置されている。小さなフレームもハートの上部に丸いふくらみがあり、下方へ向かって曲線が合流する、はっきりとハート形と分かるデザインである。小さなハート形フレームは大きなフレームの内側に収まり、その中央には花を植えた小さな植木鉢が吊り下げられている。植木鉢は小さなフレームの内側に位置し、花の葉や茎、赤やピンク、紫系の小さな花が自然に見える。植木鉢を吊るす金具や支えは目立ちすぎず、鉢が空中に不自然に浮いているように見えないようにする。小さなハート形フレームと植木鉢は一体の装飾としてまとまり、大きなフレームや釣り鐘とは明確に区別できるように描く。 黒い釣り鐘は、植木鉢を吊るしている小さなハート形フレームからは吊るさない。釣り鐘は大きなハート形フレームの先端部分から、金具や短い鎖を介して独立して吊り下げられている。細長い円筒形の黒い鐘で、表面は落ち着いた黒色をしており、縦方向に白い文字が少し記されている。白い大きなハート形フレームと黒い鐘の色の対比がはっきり分かる。鐘は女性が備え付けの小型ハンマーで叩ける高さに吊るされ、自然に少し揺れる余地がある。鐘の大きさは屋外設備として現実的な範囲に収め、大きなフレームや女性との寸法関係を自然に保つ。鐘は一つだけとし、植木鉢や小さなハート形フレームと重なりすぎず、それぞれの形状が見分けられるようにする。 女性の服装は、秋の屋外観光スポットを訪れるのにふさわしい、上品で自然な服装をしている。アイボリー色の柔らかなニットの上に、淡いベージュまたはグレージュの膝下丈のコートを羽織っている。ボトムスには落ち着いたブラウン系またはチャコールグレーのロングスカートを合わせ、足元には歩きやすく上品なダークブラウンのショートブーツを履いている。小ぶりでシンプルなショルダーバッグを身につけ、アクセサリーは控えめにする。秋の自然に馴染む落ち着いた色合いとし、派手すぎず、清潔感のある大人の着こなしにする。 女性のロングヘアは肩から背中に自然に流れ、清潔に整えられた柔らかな艶がある。顔の周りには自然な毛束が少し残り、清楚で優しい印象を与える。髪が顔や手元を隠しすぎないようにする。表情は穏やかで親しみやすく、愛の鐘を鳴らすことを楽しんでいるような控えめな笑顔とする。女性はカメラに向かってポーズを取るのではなく、目の前の黒い釣り鐘と、ハンマーを持つ自分の手元に意識を向けている。服装、髪型、アクセサリー、姿勢、表情は、ここに記載した説明を反映する。 女性は白い大きなハート形フレームのすぐ横に立ち、備え付けの鐘打ち用の小型ハンマーを手に持って、フレームの先端から吊るされた黒い釣り鐘を叩いている。女性の体は釣り鐘の方へ向き、鐘との距離は腕を自然に伸ばせば届く程度とする。片手で小型ハンマーの柄をしっかりと握り、肘を軽く曲げて腕を自然に伸ばし、ハンマーの打撃部分を黒い鐘の側面に当てている。鐘に当たる瞬間、または当たった直後の動作を描き、女性が実際にハンマーで鐘を鳴らしていることが一目で分かるようにする。ハンマーは大工道具のような大型のものではなく、この場所に備え付けられた小さな鐘用ハンマーである。ハンマーの柄と打撃部分がはっきり見え、手から自然につながり、女性の指が正しく柄を握っている。 女性が叩く対象は、大きなハート形フレームの先端から独立して吊り下げられた黒い釣り鐘である。小さなハート形フレームの中央にある植木鉢には触れず、植木鉢を叩かない。ハンマーの先端は黒い釣り鐘の表面に接しており、小さなハート形フレームや植物、白い金属パイプには当たっていない。ハンマー、鐘、女性の腕の位置関係が明確で、どの物体を叩いているのかが視覚的に分かる構図とする。 ハンマーを持っていない方の手は体の横に自然に下ろすか、コートの前に軽く添える。肩の力を抜き、上体を過度に傾けず、両足を地面にしっかりとつけた安定した立ち姿とする。女性は鐘を鳴らす動作に集中しながらも、楽しげで落ち着いた表情をしている。女性の手足や指を自然に描き、腕が鐘やハート形フレームに不自然に融合しないようにする。 愛の鐘の足元にはコンクリート製の基礎があり、その周りに小さな花鉢がいくつか置かれている。花鉢には赤、橙、黄色などの明るい花が咲き、切り株を利用した台や小さなスタンドに飾られている。地面は灰色や淡い茶色の砂利が広がり、一部には土や少量の落ち葉が見える。画面の右側には白い金属製の丸テーブルと装飾的なガーデンチェアが置かれている。椅子は細い白い金属製で、背もたれには曲線的な装飾がある。背景の左側には簡易な温室や小さな建物が見え、周囲は緑豊かな山あいの林に囲まれている。電柱や電線、支柱なども屋外の現実的な景観として自然に配置する。 季節は現在の10月下旬の秋とする。背景の林には濃い緑色の木々を多く残しながら、部分的に黄色や橙色に色づいた木々を混ぜ、秋らしい自然な色の変化を表現する。すべての木々が真っ赤に染まるのではなく、常緑の緑と落葉樹の秋色が自然に混ざり合っている。地面には少量の枯れ葉が散り、季節が秋であることが分かる。秋晴れの明るい自然光が白い金属フレームの曲線や女性の髪、コート、植木鉢の花を照らす。白いフレームが白飛びせず、黒い鐘が黒つぶれしないように、明部と暗部の両方の細部を見えるようにする。女性の表情や手元も暗い影に隠れず、鐘を叩く動作がよく見える明るさにする。 カメラは女性と愛の鐘を正面やや斜めから捉え、大小二つのハート形フレーム全体、内側に吊るされた植木鉢、外側の先端部分から吊るされた黒い釣り鐘、そして女性の全身が一枚の画面に収まる構図とする。大きなハート形フレームの頂点から地面の基礎までが見えるようにし、フレームの大きさが女性との比較で伝わるようにする。小さなハート形フレームは大きなフレームの内側に配置し、中央の植木鉢がはっきり見えるようにする。黒い鐘は大きなフレームの先端から吊るされていることが分かり、中央の植木鉢と重なりすぎない位置にする。女性は画面の中央付近に配置し、ハンマーを持った手、鐘、植木鉢、大小のフレームの位置関係を見やすくする。周辺の白いガーデンテーブルや椅子、花鉢、背景の緑も適度に画面に入れ、元の場所の雰囲気を保つ。 全体は地域の観光スポットで撮影された自然な旅行写真のように仕上げる。白い金属パイプの滑らかな質感、黒い鐘の落ち着いた表面、植木鉢の陶器やプラスチックの質感、植物の葉や花びら、砂利の地面、女性の衣服の織り目を写実的に描写する。自然な遠近感を保ち、フレーム、鐘、植木鉢、女性の大きさの関係を現実的にする。過度な彩度や強い演出照明は避け、明るく穏やかな秋の日の光を表現する。 画面内の人物は女性一人だけとし、ほかの観光客や人影は登場させない。ハート形フレームは大小二つとし、大きなフレームの内側に小さなフレームがある構造を明確にする。小さなハート形フレームの中央には植木鉢が一つ吊るされ、黒い釣り鐘は大きなハート形フレームの先端部分から別に吊るされている。鐘を植木鉢の位置に置かず、植木鉢の代わりに鐘を吊るさない。女性は備え付けの小型ハンマーで黒い釣り鐘を叩き、植木鉢やフレームを叩かない。巨大な構造物にはせず、最も高い部分が2メートル弱の小型屋外設備として描く。余分な鐘や植木鉢、ハンマーを生成せず、各部品の位置関係を明確に保つ。意味不明な文字、ロゴ、透かしは入れず、愛の鐘の独特な構造と、それを鳴らす女性の自然な一瞬を中心に描写する。
Modalità
pro
Tag qualità
﹝Prompt﹞
Dimensione
2048 x 1536
Metodo di campionamento
Euler
Negativo
lowres, worst quality, low quality, bad anatomy, explicit
Helper di Prompt

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Tsubaki.3 - AI Model cover image

PixAI DiT.3

Tsubaki.3
6.50k
響け！ユーフォニアム 新山聡美 v3 (Niiyama Satomi | Hibike! Euphonium) - AI Model cover image

LoRA utente

響け！ユーフォニアム 新山聡美 v3 (Niiyama Satomi | Hibike! Euphonium)
24

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AI artwork
음안
character: eren_yeager, mikasa_ackerman character: eren_yeager, mikasa_ackerman Mikasa Ackerman and Eren Yeager are captured in the middle of a desperate ODM maneuver above a ruined city street, with Mikasa much closer to the camera and Eren cutting across the background at a different angle. Mikasa twists her entire body sideways as she launches past the viewer, one arm extended forward with a blade in hand while the other reaches back toward Eren. Her black hair whips violently across the frame and her red scarf streams far behind her in a long sweeping curve. Eren is several meters behind her, angled sharply in the opposite direction as his ODM cables stretch from his gear toward a damaged rooftop, his green jacket and hair blown backward by the speed of the maneuver. The perspective is extremely dynamic: Mikasa's outstretched hand and blade are large in the foreground while her body rapidly narrows toward the center of the image. Eren appears smaller but perfectly clear behind her, creating a strong diagonal connection between them. Their ODM cables slice through the composition as thin steel lines, crossing the image at different angles and disappearing beyond the frame. One cable passes extremely close to the camera, creating a dramatic foreground line. The ruined city beneath them is not shown as a wide landscape. Broken rooftops, shattered windows, hanging masonry, and fragments of brick rush diagonally through the lower portion of the composition, giving the impression of immense speed. Several pieces of debris are suspended around Mikasa and Eren, each frozen at a different distance from the camera. Dust catches the sunlight in thin atmospheric streaks. Mikasa's Survey Corps uniform is sharply detailed and windswept, with the cropped brown jacket open over the fitted uniform, harness straps pulled taut across her body, white trousers, tall boots, and the Wings of Freedom insignia clearly visible. Eren wears his recognizable Survey Corps uniform and green jacket, with his harness, ODM equipment, and boots rendered with precise mechanical detail. A subtle graphic-design layer is integrated into the composition without overpowering the action: Wings of Freedom emblem are overlaid across the sky, Thin white directional lines follow the trajectories of Mikasa and Eren, while small restrained military-style markings and typography sit along the edges of the frame. The graphic elements reinforce the movement rather than becoming random decoration. The entire image is frozen at one extraordinary instant: Mikasa's scarf curves through the air, Eren's jacket flares behind him, cables are pulled completely taut, debris hangs in the air, dust streams diagonally through the sunlight, and both characters are caught at different points of the same sweeping maneuver. Nothing feels static. Painterly digital anime illustration, expressive textured brushwork, cinematic motion frozen in a single frame, extreme wide-angle perspective, dramatic foreshortening, strong diagonals, layered depth, detailed characters, flowing hair and fabric, taut cables, airborne debris, warm sunlight cutting through cool gray ruins, muted military colors with Mikasa's red scarf as the strongest accent, sophisticated composition, subtle graphic design, powerful silhouettes, intense expressions, visceral sense of speed, beautiful atmospheric lighting, energetic, cinematic
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6#L'attacco dei giganti#Mikasa Ackerman
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