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歡氏

歡氏

歡氏

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1girl, multiple girls, crowd, many geisha, oiran, courtesans, retro-futuristic, Muromachi-period aesthetic, fusion of 15th-century Japanese architecture and futuristic technology, vintage color palette, train station, wooden platform, wooden floorboards, train interior, train windows, platform beside train, soliciting, beckoning, waving, leaning toward train windows, partially undressed, loose kimono, open collar, bare shoulder, elaborate kanzashi hair ornaments, styled updo, heavy silk kimono, vibrant reds and golds, wide trailing hems, multiple men, male clients, disembarking, stepping down from train, holding hands, leading woman by the hand, wooden geta sandals, hakama, yukata, red-light district, brothel district doubling as station, lively shopping street beyond, station name sign, sign reading "遊廓駅", vertical wooden station signboard, from below, wide shot, low angle, dramatic perspective, dutch angle, warm lantern glow, dusk, confident, alluring, slightly smug, half-closed eyes, blush, motion lines, N/A, crowd energy, several subjects, looking at another, looking up A low-angle wide shot looks up from the wooden platform at a train halted beside it: the platform is laid in worn wooden floorboards, their long seams running straight toward the track so the planks converge and lift toward the carriages, and the station's Muromachi timber posts — dark lacquered beams with exposed rafters — rise behind the platform while slim futuristic light strips are set flush into their undersides; above and beyond the roof the lively shopping street glows in a warm vintage palette of faded vermilion, gold, indigo and aged cream, its covered arcade and hanging banners receding into dusk. The carriages themselves wear that same fusion: dark wood-braced bodies with brass fittings and softly humming illuminated window frames, standing on tracks that gleam under the platform lamps. Crowded along the platform below the windows stands a dense row of courtesans and geisha in heavy silk kimono of vibrant red and gold, wide trailing hems pooled on the boards, elaborate kanzashi ornaments set in tall styled updos, each turned up toward the carriage windows with one arm raised — fingers curled in beckoning, sleeves sliding back from the wrists — their collars loosened just at the throat and several leaning in close to the glass, mouths open mid-call, eyes lifted to the men inside; nearest the foreground one of them stands with her kimono pulled visibly open at the chest and shoulder, the silk sagging off one side so a bare collarbone and the inner edge of her underlayer catch the lamplight, her chin tilted up and her lids half lowered as she reaches toward a window. From the carriage door at the right of the frame the male clients step down onto the boards, geta clacking, hakama and cotton yukata creased from sitting: one man at the threshold grips the door rail with his free hand while his other hand is closed firmly around a courtesan's hand, her fingers laced in his as she draws him down the last step, her body angled back toward him, her gaze up on his face and his eyes down on hers; behind them other men file out between the raised sleeves, some already with a woman at their elbow, and the whole platform reads as a brothel that happens also to be a station. High on a timber post at the left, angled to face the platform and lit from above by one lamp so its paint is bright and its edges throw a small shadow on the wood, hangs the station signboard carrying the vertical lettering "遊廓駅". The lamps along the platform are the dominant light, warm and low, laying gold across the tops of updos, the lacquered beams and the shoulders of the men while shadow collects deep between the bodies and beyond the arcade; the pooled silk hems near the front darken toward the frame edge. Retro-futuristic Muromachi atmosphere, clamorous and 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、藝妓等女子們在火車外對著火車上招呼客人，有個甚至衣裳稍微解開，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、男人們走下火車，有的牽著妓女的手走下火車，他們都是來嫖妓的...
모드
ultra
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
6.22k

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AI artwork
歡氏
1girl, multiple girls, crowd, many geisha, oiran, courtesans, retro-futuristic, Muromachi-period aesthetic, fusion of 15th-century Japanese architecture and futuristic technology, vintage color palette, train station, wooden platform, wooden floorboards, train interior, train windows, platform beside train, soliciting, beckoning, waving, leaning toward train windows, partially undressed, loose kimono, open collar, bare shoulder, elaborate kanzashi hair ornaments, styled updo, heavy silk kimono, vibrant reds and golds, wide trailing hems, multiple men, male clients, disembarking, stepping down from train, holding hands, leading woman by the hand, wooden geta sandals, hakama, yukata, red-light district, brothel district doubling as station, lively shopping street beyond, station name sign, sign reading "遊廓駅", vertical wooden station signboard, from below, wide shot, low angle, dramatic perspective, dutch angle, warm lantern glow, dusk, confident, alluring, slightly smug, half-closed eyes, blush, motion lines, N/A, crowd energy, several subjects, looking at another, looking up A low-angle wide shot looks up from the wooden platform at a train halted beside it: the platform is laid in worn wooden floorboards, their long seams running straight toward the track so the planks converge and lift toward the carriages, and the station's Muromachi timber posts — dark lacquered beams with exposed rafters — rise behind the platform while slim futuristic light strips are set flush into their undersides; above and beyond the roof the lively shopping street glows in a warm vintage palette of faded vermilion, gold, indigo and aged cream, its covered arcade and hanging banners receding into dusk. The carriages themselves wear that same fusion: dark wood-braced bodies with brass fittings and softly humming illuminated window frames, standing on tracks that gleam under the platform lamps. Crowded along the platform below the windows stands a dense row of courtesans and geisha in heavy silk kimono of vibrant red and gold, wide trailing hems pooled on the boards, elaborate kanzashi ornaments set in tall styled updos, each turned up toward the carriage windows with one arm raised — fingers curled in beckoning, sleeves sliding back from the wrists — their collars loosened just at the throat and several leaning in close to the glass, mouths open mid-call, eyes lifted to the men inside; nearest the foreground one of them stands with her kimono pulled visibly open at the chest and shoulder, the silk sagging off one side so a bare collarbone and the inner edge of her underlayer catch the lamplight, her chin tilted up and her lids half lowered as she reaches toward a window. From the carriage door at the right of the frame the male clients step down onto the boards, geta clacking, hakama and cotton yukata creased from sitting: one man at the threshold grips the door rail with his free hand while his other hand is closed firmly around a courtesan's hand, her fingers laced in his as she draws him down the last step, her body angled back toward him, her gaze up on his face and his eyes down on hers; behind them other men file out between the raised sleeves, some already with a woman at their elbow, and the whole platform reads as a brothel that happens also to be a station. High on a timber post at the left, angled to face the platform and lit from above by one lamp so its paint is bright and its edges throw a small shadow on the wood, hangs the station signboard carrying the vertical lettering "遊廓駅". The lamps along the platform are the dominant light, warm and low, laying gold across the tops of updos, the lacquered beams and the shoulders of the men while shadow collects deep between the bodies and beyond the arcade; the pooled silk hems near the front darken toward the frame edge. Retro-futuristic Muromachi atmosphere, clamorous and seductive.
歡氏
AI artwork
歡氏
crowded scene, many people, 1 train, retro-futurism, Muromachi-era futurism, Muromachi period aesthetic, wooden plank platform, train station that is also a red-light district, shopping street, train arriving, groups of men disembarking, sexy courtesans, geisha, elaborate silk kimono, floral patterns, wide obi, traditional high hair buns, gold kanzashi hairpins, beckoning, soliciting, open train doors, warm lantern light, from below, wide shot, low camera, dramatic perspective, station sign, Japanese text A wide shot from low on the platform, camera tilted up from knee level so the arriving train and the station's timber eaves loom over the crowd. In the foreground the wooden plank platform runs diagonally away from the lens, boards worn pale down the centre where countless geta have passed, iron nails dark at every joint, the seams holding thin runnels of spilled water that catch the light. On the right, groups of male customers step down from the open doors of the train in bunched clusters, period kimono and hakama, one man's sandal reaching for the gap between car and platform, hands gripping the door frame and the brass rail, some already turning their heads towards the women with half-open mouths and raised brows. Along the platform edge to the left, courtesans and geisha stand in a loose row facing the doors, bodies angled three-quarter to the car, hips shifted onto one leg, sleeves raised, one lifting an open fan to chin height, another extending a bare forearm and crooking two fingers toward a man still on the step, a third leaning forward with both hands clasped at her waist, obi bows and trailing hem pooling on the boards around their feet. Their high buns are pinned with gold kanzashi that flicker each time the lantern light moves; eyes go to the men, lashes lowered, lips parted in faint closed-mouth smiles. Above, the station's Muromachi timber framing meets futuristic steel: deep-eaved rafters over the platform, bracket complexes carved with floral motifs, and along the far side a long illuminated fascia carrying a station board on which the name 「遊廓駅」 appears in bold lacquered characters on a dark ground, the lettering following the slight bow of the board. Beyond, the train's nose pushes into the shopping street, whose stalls and hanging lanterns crowd close to the rails under a low roof. Warm amber lantern light is the key, falling from the eaves and the shop fronts onto the top planes of faces, cloth and board, while beneath the train and behind the pillars the darkness goes absolute; the palette stays amber, deep indigo, vermilion and dark wood, saturated only in the kimono silk. Heat from the lanterns makes the air above the platform shimmer faintly, and every sleeve and hem is stirred toward the camera by the draught the train's arrival pushed down the platform. Bustling, sensual.
歡氏
AI artwork
歡氏
retro-futuristic, Muromachi-period futurism, train station platform, wooden plank platform, many geisha, many courtesans, oiran, kimono, wide obi, loosened kimono, one woman with clothing pulled open, bare collarbone, beckoning, outstretched arm, looking at another, train, train windows, steam locomotive, male passengers, crowd of men, disembarking, shopping street, yukaku, lanterns, station sign, "遊廓駅", wide shot, from below, dutch angle, depth of field, crowd, dusk, warm lantern light, detailed background The camera sits low on the platform boards and tilts a few degrees off level, looking up: the iron-and-lacquer flank of the train fills the right half of the frame in raking perspective, and the wooden platform with its long counter of women runs away to the left toward a shopping street receding between shophouses. Steam locomotive and its carriages have just drawn in along the platform edge, wheels still, boiler venting a thin curl of steam that drifts sideways over the crowd; the carriage doors stand open along the right. Behind and above the platform, a deep-eaved station roof carries beams of dark lacquered wood bound with brass filigree, paper lanterns in rows, and a clock face of brass and enamel — Muromachi lattice and shutter silhouettes reworked in iron plate, rivets and warm electric filaments. Between platform and street the shophouse facades crowd close, noren curtains and hanging signs above open-fronted stalls, all of it lit warm. Over the platform a long horizontal signboard of dark wood with brass edging hangs from the eave beams, its face turned toward the arriving train, and on it the station name is painted in bold ink brushstrokes: "遊廓駅", the characters biggest element of the lettering, with smaller illegible brushed script beneath. The board is seen at a slight upward slant from the low camera, and its lacquer catches the lantern light along the top edge; smaller identical name-plates repeat further down the platform, shrinking into the crowd. The platform is packed with geisha and courtesans in layered silk kimono, wide obi sashes tied high, tall lacquered hair dressed with many combs and pins, white-painted faces and red lips. Nearest the camera, at the left, one woman half-turns with her weight on her back hip, one arm raised and outstretched toward the open carriage door, hand beckoning with fingers curled, chin lifted, eyes locked on a man in the doorway; her kimono collar is pulled loose so the garment slips low off the back of her neck and one shoulder, the silk hanging open in a long diagonal to show bare collarbone and the top of her chest, sleeve drooping from her raised wrist. Around her a dense row of women lean toward the train, some on tiptoe, some with both hands cupped to call through the windows, sleeves and obi ends swinging with the motion; a few press close to the carriage glass and gesture to the men inside. Every face visible is angled toward the train or toward a specific passenger, mouths open mid-call. From the open doors along the right, a cluster of male passengers is stepping down onto the planks — men in cotton yukata and hakama, some with jackets pushed back, one with a hand on the doorframe as he lowers himself to the boards, another already down and turning toward the women, weight shifting forward. Their gazes cross with the women's: a man at the door meets the beckoning courtesan's eyes; a man on the planks looks up at a woman leaning from the platform edge. Behind them more men crowd the doorway in silhouette, descending in a group. Light comes from the paper lanterns strung overhead and from a warm glow out of the shop street, striking the tops of shoulders, the brass sign edging, the lacquer of the train and the glossy black hair of the women, with cool blue dusk sitting in the recesses under the eaves and inside the carriage. Palette: aged wood brown and lantern amber against the train's dark green-black iron and brass, white-painted faces, flashes of crimson and indigo silk in obi and kimono, and a soft violet dusk in the upper background. Crowded, warm, theatrical.
歡氏
AI artwork
歡氏
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.
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
#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
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