Oct 23, 2026

PixAI iOS 앱 App Store 일시 다운로드 중단 안내 — PixAI 이용자 여러분께 현재 PixAI iOS 앱을 App Store에서 검색하거나 다운로드할 수 없는 상황입니다. 빠른 시일 내에 다시 다운로드하실 수 있도록 Apple 측과 적극적으로 협의하고 있으며 서비스…

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エレベーターの制服美人

レトロなエレベーターに佇む、制服姿の彼女がとても素敵だったので描きました。落ち着いた雰囲気の中に漂う、ほんのりとした微笑みに私も癒されています。気に入っていただけたら、いいねやフォローをしていただけると嬉しいです！

게시일 Oct 24, 2026

user-2069969925424718262

1girl, solo, 18-year-old woman, young adult, Showa 20, 1945, Japanese period setting, elevator interior, corner of an elevator, standing, good posture, hands folded in front of her, hand over hand, long black hair, updo, evening roll updo, yakai-maki, hair gathered in a low rolled bun at the nape, large black eyes, clear wide-open eyes, small mouth, light makeup, subtle lip color, smiling, gentle closed-lip smile, coordinated uniform, matching uniform set, toque hat, small close-fitting toque worn straight on the head, knee-length skirt, low heels, modest pumps, calm professional demeanor, soft atmosphere, cute, from side, cowboy shot, slightly from below, looking ahead, dutch angle, vintage 1940s Japanese interior, warm afternoon light, muted palette The camera sits low and slightly to her left, a cowboy shot from just below eye level, angled a few degrees off vertical so the elevator's corner reads as a corner rather than a flat wall behind her. She stands at the rear right corner of the elevator car, angled three-quarters toward the front, back close to the join of the two walls but not touching them, her good posture held by a weight that is settled on the right leg with the left knee slightly relaxed, both shoulders level. Her hands are folded one over the other at her waist, the right hand cupped over the left, fingertips of the left hand loosely curled and resting on the skirt's front panel; the overlap presses a faint crease into the wool. Her black hair is gathered up and rolled into a tight low bun at the nape, a few short strands left free at the temples and lying against her cheek; the roll sits behind her left ear from this angle. Her small close-fitting toque rests level on top of her head, its band cutting the hairline, its crown slightly tilted right. Her face is turned just off the lens, chin a touch lowered, and her smile is a small, closed-lip curve that lifts one corner a little more than the other, her wide black eyes looking off past the camera toward the door she is operating, calm and attentive rather than blank. Her uniform is one coordinated set in a single muted tone: a fitted jacket buttoned high with a narrow collar and a small breast pocket, a knee-length A-line skirt falling straight from the hip to a hem just below the knee with a single box pleat at the back, and plain low-heeled pumps in a tone slightly darker than the uniform, straps closed, the right shoe's toe turned out toward the front. The elevator enclosure is 1940s Japanese: a narrow wooden-paneled car, a brass handrail across the back wall, a brass floor indicator dial above the doors, a folding metal gate at the front, a single small ceiling fixture behind and above her right shoulder. That fixture is the only light source, warm tungsten, falling steeply down the right side of her toque and her right cheek, leaving the left side of her face and the inner corner of the car in a soft deepening shadow with no hard cast edge on the wall. The palette stays in the elevator and the uniform together: warm browns in the wood and the light, deep black in her hair and eyes, one cool slate tone for the uniform, and brass for the fittings and the dial. Beyond the fixture's reach, the far corner of the car falls almost completely dark; a faint dust haze hangs in the beam above her hat. A small rectangular brass plate beside the dial is worn and illegible. Calm, soft, quietly professional.

エレベーターの制服美人

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