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歡氏

歡氏

歡氏

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retro-futuristic, Muromachi-period style, train station platform, wooden plank platform floor, many geisha, many yujo, sexy, layered silk kimonos, wide obi, elaborate traditional hairstyles, gold kanzashi hairpins, beckoning, outstretched arm, customers disembarking in groups, male clients, traditional robes, hakama, train doors open, crowd, red-light district doubling as a train station, lively shopping street, wide shot, from side, dutch angle, low camera, evening, lantern light, steam, signage reading "遊廓駅", The camera sits low and off-axis beside the wooden plank platform, tilted a few degrees so the receding floorboards climb toward the upper right; the platform fills the foreground and midground, its long polished planks laid crosswise, seams glossy and dark with trampled damp, and every seam catches a thin line of lantern light. On the right, a train has just come in — its carriage body a lacquered deep-indigo shell ribbed with brass banding, round porthole windows and a curved copper roof, steam venting in a white sheet from beneath the skirt and rolling low across the boards, so the wheels and the platform edge vanish under it and only the door thresholds stay clear. Three doorways stand open along the carriage, each one a bright rectangle of interior amber spilling onto the planks, and from the nearest two the clientele are stepping down in a loose group: men in layered Muromachi-style robes and wide hakama, sleeves swinging, one with a hand braced on the door frame and one foot feeling for the boards, another already down and turning, a third still on the step with his shoulder against the jamb; their faces are turned outward and down toward the women, and the nearest man's chin lifts as he looks along the platform. Between the doors and the camera, the platform is packed with courtesans and geisha pressing forward in a shallow crescent, and the crowd is deep enough that only the front rank is fully drawn and the rest fall back into layered silhouettes and obi-knots. The frontmost woman leans far out from the carriage side, weight on her forward foot, one arm flung up and out with the sleeve falling back from the wrist and her fingers curled in a beckon toward the men in the doorway, her gaze fixed on the nearest client's face; beside her a second turns half away in profile, chin over her shoulder, one hand lifting the hem of her outer robe clear of the boards and the other holding a folded fan against her obi, eyes sliding sideways to a man on the step; a third stands with her weight on one hip, both hands tucked into her wide obi, tilted toward a passenger and speaking, her mouth open mid-word and brows raised. Their kimono are layered silk in vermilion, deep plum, oxidized teal and undyed cream, wide obi tied high and forward in heavy drum knots, collars crossed left over right and dropped low at the nape, and their hair is swept up in elaborate looped styles bristling with gold kanzashi pins whose flat ends flare and glitter every time a head turns; sleeves and hem corners lift in the draft of the venting steam. Above and behind the train, the station opens straight into a shopping street: a timber arcade of two-storey Muromachi facades with deep eaves, lattice fronts and hanging noren, strung across with rows of paper lanterns and, threaded between them, thin glass tubing glowing a faint electric green — the retro-future in the wires, the brass conduit and the ribbed carriage, the Muromachi in the wood, the eaves and the cloth. The station name hangs on a lacquered board fixed to the nearest eave, its face lit by a small brass lamp above it, the characters "遊廓駅" reading left to right in heavy brush strokes, the board's surface slightly bowed so the outer strokes tip away from the light; smaller signage deeper in the arcade stays deliberately illegible. The lanterns are the only practical light: warm orange from the left and above, laying a rim down every cheekbone, collar edge and gold pin, throwing long soft shadows of the front rank back across the planks toward the camera, while beyond their pooled glow the arcade's upper storeys and the far end of the platform fall away into absolute blue-black. Palette held to vermilion, plum, teal, cream, indigo-lacquer, brass and lantern amber, with the cold green tubing as the single cool note. Steam is thin enough at the front rank to reveal faces and thickens into an opaque bank between the wheels and the platform edge behind them. Bustling, seductive.
매개변수 표시
원본 프롬프트
復古式未來風，室町式未來風，室町風，月台上眾多藝妓/遊女，火車上的顧客/嫖客們，這裡火車開進一個熱鬧的商店街，月台由木地板構成，火車下的月台上滿滿都是性感的遊女、藝妓們在火車門外招呼客人，然而這裡不是普通的火車商圈，而是遊廓，同時也是車站機能，站名「遊廓站」（遊廓駅），火車上的嫖客們成群下車...
모드
pro
품질 태그
﹝프롬프트﹞
크기
1104 x 1824
샘플링 방식
Euler
제외 조건
lowres, worst quality, low quality, bad anatomy
프롬프트 도우미

모델 및 LoRA 사용

Tsubaki.3 - AI Model 커버 이미지

PixAI DiT.3

Tsubaki.3
6.31k

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AI artwork
歡氏
retro-futuristic, Muromachi-era future aesthetic, bustling shopping district station, wooden plank platform, steam train arriving, many geisha and yujo women, crowd of courtesans, beckoning, soliciting, one woman clothes loosened, partially undone kimono, bare shoulder, red-light district that is also a train station, station name sign, groups of men disembarking, male customers in yukata and hakama with haori, wide shot, from below, slight dutch angle, warm lantern light, deep red and gold palette, Low-angle wide shot from the platform edge, tilted slightly so the station's timber beams converge overhead: a steam train of dark lacquered iron and brass fittings has just drawn in along the wooden plank platform, its nose still venting pale steam that rolls low across the boards. The platform is a solid deck of wide, worn cypress planks, seams running toward the vanishing point, nail heads polished bright by decades of geta. Above the track an indigo noren banner hangs from a beam and a heavy wooden station signboard is bolted to the crossbeam directly over the platform, its deep-carved characters painted white and lit from below by a paper lantern so that "遊廓駅" reads clearly, its edges throwing a soft shadow up onto the beam. The whole platform is packed with women in brilliant layered kimono — scarlet, plum, gold-threaded, peacock blue — tall lacquered coiffures bristling with kanzashi pins that catch the lanterns, obi knotted high and wide, feet lifted on high wooden geta. They crowd the platform edge directly beneath the carriage doors, faces tipped up toward the train, one arm each raised, sleeves sliding back from the wrist as they beckon: fingers curling toward the men above, mouths open mid-call. Near the front-most pair of carriage doors a woman leans her shoulder against the train's iron flank, weight on her back geta, and her kimono has slipped loose — the collar pulled down off one shoulder, the fabric hanging open in a long diagonal to the waist, one hand holding the loosened lapel at her collarbone while her other hand lifts toward the door. Every gaze in the crowd points up at the carriage thresholds, and the men in the doorways look back down into that upturned field of faces. From the train's open doorways the male customers pour down the steps in knots of three and four — cotton yukata in indigo and grey, a few in formal hakama and haori — one hand on the brass grab rail, the other on a companion's shoulder, sandals finding the planks; the front man has already stepped down and is turning back toward the platform, chin lifted. Bodies compress the crowd where they land, the ring of women closing around each descending group. Light comes from the row of red paper lanterns strung the length of the platform and from the carriage windows glowing warm amber behind the passengers, throwing the women's faces gold on the underside and letting their backs fall into deep shadow; the planks nearest the train are brightest, the far end of the platform dissolving into smoke and lamplight. Beyond the station's timber frame the shopping district runs on — narrow shopfronts with hanging signs, paper-lantern rows receding, the street's own glow bleeding between the pillars. Palette locked to deep vermilion, plum, gold and the warm brown of old wood against the train's black iron. Steam drifts sideways and settles only on the upward-facing surfaces of the signboard and the lantern tops. Opulent, electric, feverish.
歡氏
AI artwork
歡氏
retro-futuristic, Muromachi-style futurism, Muromachi period aesthetic, bustling shopping street, train station inside a red-light district, yukaku, train entering the street, wooden plank platform, yujo crowding the train doorway, geisha crowding the train doorway, beckoning, soliciting, groups of male clients disembarking, many subjects, crowd, wide shot, dutch angle, from below, steam, warm lantern light, sign reading "遊廓站", kimono, geta, kanzashi, shimada updo, white makeup, haori, yukata, retro-futuristic lanterns, exposed timber beams, hanging paper lanterns, motion blur on the train nose, atmospheric perspective The camera sits low at platform level and tilts a few degrees off horizontal, looking up the length of the wooden plank platform so the arriving train dominates the left third of the frame and presses toward the viewer with strong foreshortening. The platform runs from the lower right corner back toward the train's front car, its wide waxed cypress planks laid crosswise, dark seams between them glossy with recent damp, iron-banded plank edges worn pale where thousands of geta have struck them. A carved wooden station board hangs from the platform's timber frame, its lacquered characters "遊廓站" lit by a small brass lantern hung beneath it, the lettering crisp and gold-leafed, tilted with the board's own slight sway. The train is a retro-futurist hybrid: a riveted iron-and-lacquered-wood carriage body in deep oxblood and verdigris, brass window frames, curved copper roof ribs, and a nose shaped like a Muromachi shrine gable, its front lamp glowing warm amber through drifting steam. It has just braked; white steam curls out from beneath the carriage skirt and rolls along the planks, catching the light. The train doors are flung open and packed with women. In the near doorway a yujo leans half out over the threshold, one geta on the platform edge and one foot still up on the carriage step, her heavy silk kimono in crimson and gold floral brocade slipping forward off her shoulder as she stretches her arm toward the crowd, long trailing hem pooling over the door sill; her shimada updo is heavy with gold kanzashi that catch the lantern light, and her chin is lifted, mouth open mid-call, eyes fixed on a specific man below her. Behind her shoulder a second woman in a violet kimono juts her hand out past the door frame, palm up, fingers curling in a beckoning gesture. In the next doorway a geisha leans out with her whole torso, subdued indigo kimono with long hanging sleeves swinging free, white powdered face struck by the platform light, one sleeve raised and one hand beckoning, her gaze angled down at the disembarking men. A third and fourth woman crowd behind them in both doorways, sleeves and kanzashi overlapping in a bright wall of silk, every pair of eyes aimed down at the platform crowd. Steam slides around their hems. On the platform, groups of male clients step down and forward, one man in a brown cotton yukata caught mid-stride with his geta just touching the plank, his shoulder turning as he looks up at the near doorway; another in a dark haori over kimono behind him with a hand raised to his collar and his eyes on the beckoning geisha; two more behind them bunched close, one laughing open-mouthed, both angled toward the train. Their gazes converge on the women in the doorways, and the women's gazes come back down on them. Beyond the train, the street opens: a dense Muromachi-style timber arcade of two-storey machiya facades with deep eaves, exposed beams, lattice fronts and vermilion pillars, threaded with retro-futurist details — brass pipework running along the fascia, glass-and-copper lamp housings shaped like paper lanterns, riveted iron brackets, a curved copper canopy. Rows of red and amber lanterns hang in receding perspective down the arcade, and behind the lattice a warm-lit interior glow and silhouettes of further figures suggest the district's business; the far end of the street dissolves into steam and lantern haze. Distant signage is illegible texture, painted brush marks blurred by distance. Light comes from the lanterns — warm amber and deep red, low and raking, striking the women's faces and the front of the train while the arcade's upper storeys fall into cool shadow with a faint blue-green cast from the copper roof sheen. The brass and gold-leaf surfaces throw small hot highlights; the lacquered carriage side holds a long soft reflection of the lantern row. Palette is held to oxblood, verdigris, gold, indigo and lantern amber against the pale wood of the planks, nothing else admitted. Retro-futuristic anime rendering with crisp cel-shaded edges, Muromachi timber geometry rendered with clean graphic precision, warm-to-cool two-tone shading, visible wood grain and lacquer sheen on the foreground planks, fine steam and lantern haze for depth. Bustling, theatrical.
歡氏
AI artwork
歡氏
retro-futuristic, Muromachi-style futurism, Muromachi period aesthetic, bustling shopping street, train station inside a red-light district, yukaku, train entering the street, wooden plank platform, yujo crowding the train doorway, geisha crowding the train doorway, beckoning, soliciting, groups of male clients disembarking, many subjects, crowd, wide shot, dutch angle, from below, steam, warm lantern light, sign reading "遊廓站", kimono, geta, kanzashi, shimada updo, white makeup, haori, yukata, retro-futuristic lanterns, exposed timber beams, hanging paper lanterns, motion blur on the train nose, atmospheric perspective The camera sits low at platform level and tilts a few degrees off horizontal, looking up the length of the wooden plank platform so the arriving train dominates the left third of the frame and presses toward the viewer with strong foreshortening. The platform runs from the lower right corner back toward the train's front car, its wide waxed cypress planks laid crosswise, dark seams between them glossy with recent damp, iron-banded plank edges worn pale where thousands of geta have struck them. A carved wooden station board hangs from the platform's timber frame, its lacquered characters "遊廓站" lit by a small brass lantern hung beneath it, the lettering crisp and gold-leafed, tilted with the board's own slight sway. The train is a retro-futurist hybrid: a riveted iron-and-lacquered-wood carriage body in deep oxblood and verdigris, brass window frames, curved copper roof ribs, and a nose shaped like a Muromachi shrine gable, its front lamp glowing warm amber through drifting steam. It has just braked; white steam curls out from beneath the carriage skirt and rolls along the planks, catching the light. The train doors are flung open and packed with women. In the near doorway a yujo leans half out over the threshold, one geta on the platform edge and one foot still up on the carriage step, her heavy silk kimono in crimson and gold floral brocade slipping forward off her shoulder as she stretches her arm toward the crowd, long trailing hem pooling over the door sill; her shimada updo is heavy with gold kanzashi that catch the lantern light, and her chin is lifted, mouth open mid-call, eyes fixed on a specific man below her. Behind her shoulder a second woman in a violet kimono juts her hand out past the door frame, palm up, fingers curling in a beckoning gesture. In the next doorway a geisha leans out with her whole torso, subdued indigo kimono with long hanging sleeves swinging free, white powdered face struck by the platform light, one sleeve raised and one hand beckoning, her gaze angled down at the disembarking men. A third and fourth woman crowd behind them in both doorways, sleeves and kanzashi overlapping in a bright wall of silk, every pair of eyes aimed down at the platform crowd. Steam slides around their hems. On the platform, groups of male clients step down and forward, one man in a brown cotton yukata caught mid-stride with his geta just touching the plank, his shoulder turning as he looks up at the near doorway; another in a dark haori over kimono behind him with a hand raised to his collar and his eyes on the beckoning geisha; two more behind them bunched close, one laughing open-mouthed, both angled toward the train. Their gazes converge on the women in the doorways, and the women's gazes come back down on them. Beyond the train, the street opens: a dense Muromachi-style timber arcade of two-storey machiya facades with deep eaves, exposed beams, lattice fronts and vermilion pillars, threaded with retro-futurist details — brass pipework running along the fascia, glass-and-copper lamp housings shaped like paper lanterns, riveted iron brackets, a curved copper canopy. Rows of red and amber lanterns hang in receding perspective down the arcade, and behind the lattice a warm-lit interior glow and silhouettes of further figures suggest the district's business; the far end of the street dissolves into steam and lantern haze. Distant signage is illegible texture, painted brush marks blurred by distance. Light comes from the lanterns — warm amber and deep red, low and raking, striking the women's faces and the front of the train while the arcade's upper storeys fall into cool shadow with a faint blue-green cast from the copper roof sheen. The brass and gold-leaf surfaces throw small hot highlights; the lacquered carriage side holds a long soft reflection of the lantern row. Palette is held to oxblood, verdigris, gold, indigo and lantern amber against the pale wood of the planks, nothing else admitted. Retro-futuristic anime rendering with crisp cel-shaded edges, Muromachi timber geometry rendered with clean graphic precision, warm-to-cool two-tone shading, visible wood grain and lacquer sheen on the foreground planks, fine steam and lantern haze for depth. Bustling, theatrical.
歡氏
AI artwork
歡氏
retro-futuristic, Muromachi-style futurism, Muromachi period aesthetic, bustling shopping street, train station inside a red-light district, yukaku, train entering the street, wooden plank platform, yujo crowding the train doorway, geisha crowding the train doorway, beckoning, soliciting, groups of male clients disembarking, many subjects, crowd, wide shot, dutch angle, from below, steam, warm lantern light, sign reading "遊廓站", kimono, geta, kanzashi, shimada updo, white makeup, haori, yukata, retro-futuristic lanterns, exposed timber beams, hanging paper lanterns, motion blur on the train nose, atmospheric perspective The camera sits low at platform level and tilts a few degrees off horizontal, looking up the length of the wooden plank platform so the arriving train dominates the left third of the frame and presses toward the viewer with strong foreshortening. The platform runs from the lower right corner back toward the train's front car, its wide waxed cypress planks laid crosswise, dark seams between them glossy with recent damp, iron-banded plank edges worn pale where thousands of geta have struck them. A carved wooden station board hangs from the platform's timber frame, its lacquered characters "遊廓站" lit by a small brass lantern hung beneath it, the lettering crisp and gold-leafed, tilted with the board's own slight sway. The train is a retro-futurist hybrid: a riveted iron-and-lacquered-wood carriage body in deep oxblood and verdigris, brass window frames, curved copper roof ribs, and a nose shaped like a Muromachi shrine gable, its front lamp glowing warm amber through drifting steam. It has just braked; white steam curls out from beneath the carriage skirt and rolls along the planks, catching the light. The train doors are flung open and packed with women. In the near doorway a yujo leans half out over the threshold, one geta on the platform edge and one foot still up on the carriage step, her heavy silk kimono in crimson and gold floral brocade slipping forward off her shoulder as she stretches her arm toward the crowd, long trailing hem pooling over the door sill; her shimada updo is heavy with gold kanzashi that catch the lantern light, and her chin is lifted, mouth open mid-call, eyes fixed on a specific man below her. Behind her shoulder a second woman in a violet kimono juts her hand out past the door frame, palm up, fingers curling in a beckoning gesture. In the next doorway a geisha leans out with her whole torso, subdued indigo kimono with long hanging sleeves swinging free, white powdered face struck by the platform light, one sleeve raised and one hand beckoning, her gaze angled down at the disembarking men. A third and fourth woman crowd behind them in both doorways, sleeves and kanzashi overlapping in a bright wall of silk, every pair of eyes aimed down at the platform crowd. Steam slides around their hems. On the platform, groups of male clients step down and forward, one man in a brown cotton yukata caught mid-stride with his geta just touching the plank, his shoulder turning as he looks up at the near doorway; another in a dark haori over kimono behind him with a hand raised to his collar and his eyes on the beckoning geisha; two more behind them bunched close, one laughing open-mouthed, both angled toward the train. Their gazes converge on the women in the doorways, and the women's gazes come back down on them. Beyond the train, the street opens: a dense Muromachi-style timber arcade of two-storey machiya facades with deep eaves, exposed beams, lattice fronts and vermilion pillars, threaded with retro-futurist details — brass pipework running along the fascia, glass-and-copper lamp housings shaped like paper lanterns, riveted iron brackets, a curved copper canopy. Rows of red and amber lanterns hang in receding perspective down the arcade, and behind the lattice a warm-lit interior glow and silhouettes of further figures suggest the district's business; the far end of the street dissolves into steam and lantern haze. Distant signage is illegible texture, painted brush marks blurred by distance. Light comes from the lanterns — warm amber and deep red, low and raking, striking the women's faces and the front of the train while the arcade's upper storeys fall into cool shadow with a faint blue-green cast from the copper roof sheen. The brass and gold-leaf surfaces throw small hot highlights; the lacquered carriage side holds a long soft reflection of the lantern row. Palette is held to oxblood, verdigris, gold, indigo and lantern amber against the pale wood of the planks, nothing else admitted. Retro-futuristic anime rendering with crisp cel-shaded edges, Muromachi timber geometry rendered with clean graphic precision, warm-to-cool two-tone shading, visible wood grain and lacquer sheen on the foreground planks, fine steam and lantern haze for depth. Bustling, theatrical.
歡氏

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AI artwork
Avatar image of Kani x
character: tenma_tsukasa "", , , digital illustration, cel shading, iridescent palette, pastel aesthetic, pastel colors, soft gradients, subtle color shifts, "painterly semi-realistic anime: faceted torn-glass shading, loose linework, warm golden rim light, lens-flare/prism edges, jewel or earthy palette, large gradient eyes, ornate vintage costuming, dynamic off-balance poses.", pastel_candy_style, dreamy pastel anime illustration, delicate soft lineart, luminous glossy eyes, gentle glowing lighting, glossy hair highlights, intricate frills and decorative details, tenma tsukasa, sitting on a pile of stars with a high angle, one hand over his eye, light reflecting off his face. darkness below but harsh light up ahead, hair swept back, looking up, side high angle, star theme, Tenma tsukasa looking up, dark themes""
Kani x
1#프로젝트 세카이 컬러풀 스테이지!#텐마 츠카사
AI artwork
Avatar image of リオ
character: kagamine_rin, copyright: vocaloid lumiglaze_pastel_opal_painting, beautiful colors, magical lighting, hnyst01 anime illustration style, masterpiece, best quality, ultra-detailed, delicate illustration, detailed illustration, anime illustration, Kagamine Rin, VOCALOID, solo, side profile portrait, close-up composition, eyes gently closed, peaceful expression, listening to music, short golden blonde hair, distinctive white hair bow, delicate facial features, black and white sailor collar, futuristic headphones, a large compact disc perfectly aligned with the headphone earcup, the CD itself visually functioning as the headphone earcup, circular CD rings surrounding her ear, iridescent reflective disc surface, concentric circles framing her face, face occupying most of the composition, head slightly tilted downward, hair softly framing her cheeks, vibrant yellow, golden orange, violet and hot pink color palette, Y2K music album cover design, retro futuristic CD packaging aesthetic, intricate geometric frames, transparent interface panels, thin circuit-like lines, orbiting circular graphics, decorative typography, abstract music symbols, tiny stars and sparkling highlights, layered graphic elements overlapping the portrait, asymmetrical layout, crisp geometric details, dense decorative composition, square format
リオ
14#카가미네 린#보컬로이드#로파이(Lofi) 드림
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
음뭐지 안되서 다시 부계만듬
5#진격의 거인#미카사 아커만
홈모델생성프로필