서버 점검 안내 — 현재 서버 설비 일부에 대한 점검이 진행 중입니다. 점검 기간 동안 SDXL 및 Tsubaki.1 작업의 생성 속도가 평소보다 느려질 수 있습니다. 이용에 불편을 드려 죄송하며, 너그러운 양해 부탁드립니다. 정상화되…
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매개변수 표시
- 원본 프롬프트
- wide shot, no humans, landscape, autumn forest, bare trees, fallen leaves, graveyard, gravestones, path, morning, sunrise, sun, sunbeams, from behind, looking over graveyard, mountains, snow-capped mountains, distant mountains, yellow sky, blue sky, clear sky, gradient sky, dramatic sky, peaceful, serene, backlighting, long shadows, mist, golden hour, depth of field, A wide, elevated shot from behind the last stand of trees, as though the viewer has just stepped out of the treeline and stopped: the camera sits high on a slope at the forest's edge, looking down and out over a small country graveyard that lies below in the midground. Bare autumn trees frame both edges of the picture, their black trunks close to the lens and heavily foreshortened, their crown branches stripped to a lattice of fine dark lines against the bright sky; they lean inward and their twigs mesh across the top of the frame like a natural arch. Around their roots and across the foreground slope the ground is buried under deep drifts of fallen leaves -- rust, ochre, burnt orange and dull crimson -- banked against the trunks and pooled in the lee of every stone, thick enough that no soil shows. Below, the graveyard: two or three dozen weathered upright headstones and a few low slabs and crosses set in rough mown rows, pale grey limestone gone green-black with lichen and wet at the base, one or two leaning off true, grass cropped short and scattered with leaves blown down from the slope. A narrow dirt path threads from the near foreground, passing between the tree trunks and switchbacking down the slope into the burial ground, then on between the rows toward a low drystone wall at the far side, its surface pale and rutted, edged with fallen leaves that gather in its wheel ruts and along its margins. Beyond the wall the land falls away into a soft valley filled with a low flat layer of mist that fills the depressions like water and laps at the bases of the furthest stones, leaving their tops floating above it. Out of that mist rise the mountains: a broad ridge of dark forested foothills in the middle distance, blue-grey with aerial perspective, and behind them the high range, its peaks sharp and snow-covered, the snow catching the first light and turning pale rose-gold on the east-facing faces while the west faces stay cold blue. The sun has just cleared the eastern ridge, low in the frame on the left side, still half-occluded by the jagged silhouette of the mountain shoulder; the morning sky above is a wide gradient, brilliant yellow at the horizon fanning into warm gold and then through pale greenish-cyan into a deep clear blue at the top of the frame, with a few thin streaks of high cirrus flung horizontally across it, lit underneath. The sun's rays break past the ridge in visible pale shafts through the mist, and the light rakes almost horizontally across the whole land, so every headstone and every tree trunk throws a long shadow stretching toward the right foreground; the tops and east faces of the stones catch the warm light while their western sides and the ground behind them stay in cool shadow. A single column of thin grey smoke rises without wind from somewhere beyond the far wall, the only moving thing in the picture. The palette is disciplined: warm ochres, rusts, golds and pale yellows in the leaves, the path and the sky's low band; cool blue-greys in the mist, the mountains and every shadow; and a bone-grey third for the stones, nothing else admitted. The only specular highlights are the wet lichen on the stones, the dewed upper faces of the leaves and the snowfields of the peaks, which are the brightest things in the frame after the sky. The composition leads the eye down the pale path from the near left toward the lit gravestones and out to the snow peaks on the vanishing axis, with the dark trees serving as a framing arch that keeps the sky as the widest, emptiest area of the image -- deliberate negative space. Still air, no wind; the leaves lie where they have fallen and the mist lies flat and undisturbed, its top edge sharp where the sun strikes it and blurred where it rolls into the valley shade. A profound, quiet stillness.
- 모드
- ultra
- 크기
- 1888 x 1056
- 샘플링 방식
- Euler
- 제외 조건
- lowres, worst quality, low quality, bad anatomy, explicit
프롬프트 도우미
모델 및 LoRA 사용
비슷한 작품
자세히 보기
wide shot, no humans, landscape, autumn forest, bare trees, fallen leaves, graveyard, gravestones, path, morning, sunrise, sun, sunbeams, from behind, looking over graveyard, mountains, snow-capped mountains, distant mountains, yellow sky, blue sky, clear sky, gradient sky, dramatic sky, peaceful, serene, backlighting, long shadows, mist, golden hour, depth of field, A wide, elevated shot from behind the last stand of trees, as though the viewer has just stepped out of the treeline and stopped: the camera sits high on a slope at the forest's edge, looking down and out over a small country graveyard that lies below in the midground. Bare autumn trees frame both edges of the picture, their black trunks close to the lens and heavily foreshortened, their crown branches stripped to a lattice of fine dark lines against the bright sky; they lean inward and their twigs mesh across the top of the frame like a natural arch. Around their roots and across the foreground slope the ground is buried under deep drifts of fallen leaves -- rust, ochre, burnt orange and dull crimson -- banked against the trunks and pooled in the lee of every stone, thick enough that no soil shows. Below, the graveyard: two or three dozen weathered upright headstones and a few low slabs and crosses set in rough mown rows, pale grey limestone gone green-black with lichen and wet at the base, one or two leaning off true, grass cropped short and scattered with leaves blown down from the slope. A narrow dirt path threads from the near foreground, passing between the tree trunks and switchbacking down the slope into the burial ground, then on between the rows toward a low drystone wall at the far side, its surface pale and rutted, edged with fallen leaves that gather in its wheel ruts and along its margins. Beyond the wall the land falls away into a soft valley filled with a low flat layer of mist that fills the depressions like water and laps at the bases of the furthest stones, leaving their tops floating above it. Out of that mist rise the mountains: a broad ridge of dark forested foothills in the middle distance, blue-grey with aerial perspective, and behind them the high range, its peaks sharp and snow-covered, the snow catching the first light and turning pale rose-gold on the east-facing faces while the west faces stay cold blue. The sun has just cleared the eastern ridge, low in the frame on the left side, still half-occluded by the jagged silhouette of the mountain shoulder; the morning sky above is a wide gradient, brilliant yellow at the horizon fanning into warm gold and then through pale greenish-cyan into a deep clear blue at the top of the frame, with a few thin streaks of high cirrus flung horizontally across it, lit underneath. The sun's rays break past the ridge in visible pale shafts through the mist, and the light rakes almost horizontally across the whole land, so every headstone and every tree trunk throws a long shadow stretching toward the right foreground; the tops and east faces of the stones catch the warm light while their western sides and the ground behind them stay in cool shadow. A single column of thin grey smoke rises without wind from somewhere beyond the far wall, the only moving thing in the picture. The palette is disciplined: warm ochres, rusts, golds and pale yellows in the leaves, the path and the sky's low band; cool blue-greys in the mist, the mountains and every shadow; and a bone-grey third for the stones, nothing else admitted. The only specular highlights are the wet lichen on the stones, the dewed upper faces of the leaves and the snowfields of the peaks, which are the brightest things in the frame after the sky. The composition leads the eye down the pale path from the near left toward the lit gravestones and out to the snow peaks on the vanishing axis, with the dark trees serving as a framing arch that keeps the sky as the widest, emptiest area of the image -- deliberate negative space. Still air, no wind; the leaves lie where they have fallen and the mist lies flat and undisturbed, its top edge sharp where the sun strikes it and blurred where it rolls into the valley shade. A profound, quiet stillness.
Skye Hawkins
wide shot, no humans, landscape, autumn forest, bare trees, fallen leaves, graveyard, gravestones, path, morning, sunrise, sun, sunbeams, from behind, looking over graveyard, mountains, snow-capped mountains, distant mountains, yellow sky, blue sky, clear sky, gradient sky, dramatic sky, peaceful, serene, backlighting, long shadows, mist, golden hour, depth of field, A wide, elevated shot from behind the last stand of trees, as though the viewer has just stepped out of the treeline and stopped: the camera sits high on a slope at the forest's edge, looking down and out over a small country graveyard that lies below in the midground. Bare autumn trees frame both edges of the picture, their black trunks close to the lens and heavily foreshortened, their crown branches stripped to a lattice of fine dark lines against the bright sky; they lean inward and their twigs mesh across the top of the frame like a natural arch. Around their roots and across the foreground slope the ground is buried under deep drifts of fallen leaves -- rust, ochre, burnt orange and dull crimson -- banked against the trunks and pooled in the lee of every stone, thick enough that no soil shows. Below, the graveyard: two or three dozen weathered upright headstones and a few low slabs and crosses set in rough mown rows, pale grey limestone gone green-black with lichen and wet at the base, one or two leaning off true, grass cropped short and scattered with leaves blown down from the slope. A narrow dirt path threads from the near foreground, passing between the tree trunks and switchbacking down the slope into the burial ground, then on between the rows toward a low drystone wall at the far side, its surface pale and rutted, edged with fallen leaves that gather in its wheel ruts and along its margins. Beyond the wall the land falls away into a soft valley filled with a low flat layer of mist that fills the depressions like water and laps at the bases of the furthest stones, leaving their tops floating above it. Out of that mist rise the mountains: a broad ridge of dark forested foothills in the middle distance, blue-grey with aerial perspective, and behind them the high range, its peaks sharp and snow-covered, the snow catching the first light and turning pale rose-gold on the east-facing faces while the west faces stay cold blue. The sun has just cleared the eastern ridge, low in the frame on the left side, still half-occluded by the jagged silhouette of the mountain shoulder; the morning sky above is a wide gradient, brilliant yellow at the horizon fanning into warm gold and then through pale greenish-cyan into a deep clear blue at the top of the frame, with a few thin streaks of high cirrus flung horizontally across it, lit underneath. The sun's rays break past the ridge in visible pale shafts through the mist, and the light rakes almost horizontally across the whole land, so every headstone and every tree trunk throws a long shadow stretching toward the right foreground; the tops and east faces of the stones catch the warm light while their western sides and the ground behind them stay in cool shadow. A single column of thin grey smoke rises without wind from somewhere beyond the far wall, the only moving thing in the picture. The palette is disciplined: warm ochres, rusts, golds and pale yellows in the leaves, the path and the sky's low band; cool blue-greys in the mist, the mountains and every shadow; and a bone-grey third for the stones, nothing else admitted. The only specular highlights are the wet lichen on the stones, the dewed upper faces of the leaves and the snowfields of the peaks, which are the brightest things in the frame after the sky. The composition leads the eye down the pale path from the near left toward the lit gravestones and out to the snow peaks on the vanishing axis, with the dark trees serving as a framing arch that keeps the sky as the widest, emptiest area of the image -- deliberate negative space. Still air, no wind; the leaves lie where they have fallen and the mist lies flat and undisturbed, its top edge sharp where the sun strikes it and blurred where it rolls into the valley shade. A profound, quiet stillness.
Skye Hawkins
wide shot, no humans, landscape, autumn forest, bare trees, fallen leaves, graveyard, gravestones, path, morning, sunrise, sun, sunbeams, from behind, looking over graveyard, mountains, snow-capped mountains, distant mountains, yellow sky, blue sky, clear sky, gradient sky, dramatic sky, peaceful, serene, backlighting, long shadows, mist, golden hour, depth of field, A wide, elevated shot from behind the last stand of trees, as though the viewer has just stepped out of the treeline and stopped: the camera sits high on a slope at the forest's edge, looking down and out over a small country graveyard that lies below in the midground. Bare autumn trees frame both edges of the picture, their black trunks close to the lens and heavily foreshortened, their crown branches stripped to a lattice of fine dark lines against the bright sky; they lean inward and their twigs mesh across the top of the frame like a natural arch. Around their roots and across the foreground slope the ground is buried under deep drifts of fallen leaves -- rust, ochre, burnt orange and dull crimson -- banked against the trunks and pooled in the lee of every stone, thick enough that no soil shows. Below, the graveyard: two or three dozen weathered upright headstones and a few low slabs and crosses set in rough mown rows, pale grey limestone gone green-black with lichen and wet at the base, one or two leaning off true, grass cropped short and scattered with leaves blown down from the slope. A narrow dirt path threads from the near foreground, passing between the tree trunks and switchbacking down the slope into the burial ground, then on between the rows toward a low drystone wall at the far side, its surface pale and rutted, edged with fallen leaves that gather in its wheel ruts and along its margins. Beyond the wall the land falls away into a soft valley filled with a low flat layer of mist that fills the depressions like water and laps at the bases of the furthest stones, leaving their tops floating above it. Out of that mist rise the mountains: a broad ridge of dark forested foothills in the middle distance, blue-grey with aerial perspective, and behind them the high range, its peaks sharp and snow-covered, the snow catching the first light and turning pale rose-gold on the east-facing faces while the west faces stay cold blue. The sun has just cleared the eastern ridge, low in the frame on the left side, still half-occluded by the jagged silhouette of the mountain shoulder; the morning sky above is a wide gradient, brilliant yellow at the horizon fanning into warm gold and then through pale greenish-cyan into a deep clear blue at the top of the frame, with a few thin streaks of high cirrus flung horizontally across it, lit underneath. The sun's rays break past the ridge in visible pale shafts through the mist, and the light rakes almost horizontally across the whole land, so every headstone and every tree trunk throws a long shadow stretching toward the right foreground; the tops and east faces of the stones catch the warm light while their western sides and the ground behind them stay in cool shadow. A single column of thin grey smoke rises without wind from somewhere beyond the far wall, the only moving thing in the picture. The palette is disciplined: warm ochres, rusts, golds and pale yellows in the leaves, the path and the sky's low band; cool blue-greys in the mist, the mountains and every shadow; and a bone-grey third for the stones, nothing else admitted. The only specular highlights are the wet lichen on the stones, the dewed upper faces of the leaves and the snowfields of the peaks, which are the brightest things in the frame after the sky. The composition leads the eye down the pale path from the near left toward the lit gravestones and out to the snow peaks on the vanishing axis, with the dark trees serving as a framing arch that keeps the sky as the widest, emptiest area of the image -- deliberate negative space. Still air, no wind; the leaves lie where they have fallen and the mist lies flat and undisturbed, its top edge sharp where the sun strikes it and blurred where it rolls into the valley shade. A profound, quiet stillness.
Skye Hawkins
wide shot, no humans, landscape, autumn forest, bare trees, fallen leaves, graveyard, gravestones, path, morning, sunrise, sun, sunbeams, from behind, looking over graveyard, mountains, snow-capped mountains, distant mountains, yellow sky, blue sky, clear sky, gradient sky, dramatic sky, peaceful, serene, backlighting, long shadows, mist, golden hour, depth of field,
A wide, elevated shot from behind the last stand of trees, as though the viewer has just stepped out of the treeline and stopped: the camera sits high on a slope at the forest's edge, looking down and out over a small country graveyard that lies below in the midground. Bare autumn trees frame both edges of the picture, their black trunks close to the lens and heavily foreshortened, their crown branches stripped to a lattice of fine dark lines against the bright sky; they lean inward and their twigs mesh across the top of the frame like a natural arch. Around their roots and across the foreground slope the ground is buried under deep drifts of fallen leaves -- rust, ochre, burnt orange and dull crimson -- banked against the trunks and pooled in the lee of every stone, thick enough that no soil shows.
Below, the graveyard: two or three dozen weathered upright headstones and a few low slabs and crosses set in rough mown rows, pale grey limestone gone green-black with lichen and wet at the base, one or two leaning off true, grass cropped short and scattered with leaves blown down from the slope. A narrow dirt path threads from the near foreground, passing between the tree trunks and switchbacking down the slope into the burial ground, then on between the rows toward a low drystone wall at the far side, its surface pale and rutted, edged with fallen leaves that gather in its wheel ruts and along its margins.
Beyond the wall the land falls away into a soft valley filled with a low flat layer of mist that fills the depressions like water and laps at the bases of the furthest stones, leaving their tops floating above it. Out of that mist rise the mountains: a broad ridge of dark forested foothills in the middle distance, blue-grey with aerial perspective, and behind them the high range, its peaks sharp and snow-covered, the snow catching the first light and turning pale rose-gold on the east-facing faces while the west faces stay cold blue.
The sun has just cleared the eastern ridge, low in the frame on the left side, still half-occluded by the jagged silhouette of the mountain shoulder; the morning sky above is a wide gradient, brilliant yellow at the horizon fanning into warm gold and then through pale greenish-cyan into a deep clear blue at the top of the frame, with a few thin streaks of high cirrus flung horizontally across it, lit underneath. The sun's rays break past the ridge in visible pale shafts through the mist, and the light rakes almost horizontally across the whole land, so every headstone and every tree trunk throws a long shadow stretching toward the right foreground; the tops and east faces of the stones catch the warm light while their western sides and the ground behind them stay in cool shadow. A single column of thin grey smoke rises without wind from somewhere beyond the far wall, the only moving thing in the picture.
The palette is disciplined: warm ochres, rusts, golds and pale yellows in the leaves, the path and the sky's low band; cool blue-greys in the mist, the mountains and every shadow; and a bone-grey third for the stones, nothing else admitted. The only specular highlights are the wet lichen on the stones, the dewed upper faces of the leaves and the snowfields of the peaks, which are the brightest things in the frame after the sky. The composition leads the eye down the pale path from the near left toward the lit gravestones and out to the snow peaks on the vanishing axis, with the dark trees serving as a framing arch that keeps the sky as the widest, emptiest area of the image -- deliberate negative space. Still air, no wind; the leaves lie where they have fallen and the mist lies flat and undisturbed, its top edge sharp where the sun strikes it and blurred where it rolls into the valley shade. A profound, quiet stillness.
Skye Hawkins
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memento mori 💀
^( aricat )^
10
the angel of divination
ᯓᯓ 𝙘𝙤𝙘𝙤𝙛𝙡𝙪𝙛𝙛𝙞
Sleeping with a dragon 🐉
ichikiki
𝄞 ⧽ lingyang ◞ 🌾゛
ichikiki
1#명조
🍷⸝꙳.˖
st4rlight
怖い場所×私のキャラクター
猫 (Cat) . neko_dekoven
Halloween Miku
𝕿𝖃𝕷
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kusuriuri
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2
A dreamy, ethereal anime illustration of a mysterious black-haired young man kneeling gracefully in shallow water, wearing an elegant dark gothic outfit with sheer flowing fabrics, delicate jewelry, and iridescent blue accents. A white dove flies beside him as he gently holds a glowing translucent orb. Flowing veils, delicate white flowers, floating feathers, and crystalline reflections surround him. Soft moonlike backlighting filters through translucent curtains, creating a melancholic, romantic atmosphere. Muted lavender, icy blue, silver, and pearl-white palette, delicate painterly anime style, intricate details, soft glowing highlights, dramatic shadows, beautiful fabric textures, cinematic composition, atmospheric lighting, elegant fantasy aesthetic, vertical portrait poster.
,beautiful light,best shadow,color blink,s[im,long bangs,long eyelashes,ethereal light,painterly,high quality,masterpiece,
anipix
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frieren 💐
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High-angle full shot, camera positioned slightly above from side of the subject and looking down at — the frame is filled with the dark water, flowers, and ripples below, giving a top-down, floating perspective. wariza,
A girl with very long straight black hair and closed eyes stands in dark, rippling water, wearing a flowing white and green kimono with a floral pattern and a dark obi. Her long sleeves and skirt spread out across the surface of the water like fabric floating. Green butterflies and small white birds flutter around her, surrounded by dense blue and green flowers and lily pads, with soft light sparkling on the water.
Rich deep green, teal, and blue palette, intricate painterly detail, dreamy and ethereal mood, vertical composition.
,best quality,vivid colors,cel shading,lineart,anime style,best quality,crisp lineart,dreamy anime aesthetic,glow particles,pastel colors,artist: baozaohuang on x,digital art,medium lineart,
anipix
桂
夜間飛行２
桂
ethereal dreamy anime illustration of beautiful girl with long flowing silver white hair in high ponytail, glowing green blue eyes, small white angel wing near ear, blue flower hair clips with pearls, holding blue flowers near mouth and bouquet of blue irises, wearing elegant dark blue and white dress with pearl necklace and long sheer gloves, luminous fairy-like skin, large glowing full moon in background, dark blue starry night sky, white doves flying, sparkling stars and glitter effects, petals floating, floral silhouettes, musical staff lines overlay with cursive text "Kopper's Commission" and "COW SION", soft iridescent pastel palette of blue purple white, highly detailed, magical celestial atmosphere, glitter texture, ultra-detailed anime art. close up, dynamic perspective, ethereal casual aesthetic.
, painterly anime illustration, thin lineart, airy dreamy atmosphere, best quality, s[im, long bangs, long eyelashes, Artist: Lunar_815, masterpiece, best quality, ultra detailed, soft eyes, gentle expression, smooth shading, soft lighting
anipix
PLAY WITH ME?
リオ
character: qiao_ling, copyright: shiguang_dailiren
anime illustration, *medium shot, front angle at eye-level, centered chest to knees, framed inside a dutch angle tilted polaroid / social media post UI*, anime girl Jo from Link Click / Shiguang Dailiren with short black hair in high side ponytail with white maid headband lace, bangs, brown eyes, smiling with blush, wearing white high-neck ruffled short sleeve sweater with detached long knit arm warmers, light blue denim apron overalls with "Jo" embroidered, beaded colorful necklace with pink bunny pendant, colorful star hair clips, holding white piping bag decorating a white cream cake with dollops, on kitchen counter
foreground on counter: left small brown fluffy dog with blue bandana sticking tongue, right small white fluffy cat with blue eyes holding strawberry putting on cake
art style soft painterly modern anime, warm pastel color palette cream, light blue, pink, yellow, cozy kitchen background with teal cabinets, wooden shelves, sunlight
graphic overlay design as Instagram-style post: white Polaroid border with hand-written brown text "Yummy" left, "Welcome" bottom right with star doodles, circular avatar with "@Jo" and "+ FOLLOW" button, top right black Chinese text 「时光代理人 LINK CLICK」, small inset Polaroid photo bottom right of same girl winking eating with text "Day and Night", bottom like icons heart comment share bookmark, "20,451 views" and hashtag text 「# 乔苓的烘焙日记 # 叮咚！时光甜品铺持续接单中...」, decorative pink and blue and yellow blobs and stars around border, Luminous, pastel, high-key, vibrant, iridescent, gradient, glowing, soft-shaded, sun-drenched, saturated, crisp color blocking, defined shading, cool reflected light, luminous highlights, chunky stylized hair shapes, Artist: Lunar_815, masterpiece, best quality, ultra detailed, soft eyes, gentle expression, smooth shading, soft lighting
anipix
1
Abby, Rover & Verina • Flower Girl
Lord Potato
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