Oct 23, 2026

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AI art "夜の都市景観・ピクセルアート" featuring #pemandangan, #Tiada manusia, #Bercahaya, #Malam, #Pemandangan bandar, #Bandar, #Bangunan and #tiang lampu

Jana Secara Percuma

夜の都市景観・ピクセルアート

静まり返った夜の街並みを描いたピクセルアートです。青い街灯の光と、赤い自販機のコントラストがとても幻想的で、見ていると吸い込まれそうな気持ちになります。この静かな雰囲気がお気に入りです。もし気に入っていただけたら、いいねやフォローをよろしくお願いします！

#pemandangan #Tiada manusia #Bercahaya #Malam #Pemandangan bandar #Bandar #Bangunan #tiang lampu

Diterbitkan pada Nov 5, 2026

に

にはちゃんのあそびば（NIHACHANG）

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16-bit pixel art, Super Famicom RPG background, night city street, horizontal panoramic composition, wide shot, from side, true side view, deep blue-purple night sky, streetlights, evenly spaced light pools, utility poles, power lines, telephone wires, closed shop shutters, shutter doors, red vending machine, glowing vending machine, distant buildings, lit windows scattered, wet asphalt, streetlight reflections on road, puddle reflections, empty street, deserted, no humans, no characters, scenery only, no text, no letters, no writing, blank signs, unmarked signage, no billboards lettering, deep blue palette, cyan lamplight, red accent, pixel dithering, crisp pixel edges, limited color palette, 16-bit sprite tilework, panorama aspect A true side-on view, camera at street level, the road running flat and level straight across the full width of the frame as a horizontal band of wet asphalt; above it a band of dark storefronts and shuttered fronts, and above that the deep blue-purple night sky filling the upper third in smooth dithered gradients from near-black at the top to a softer indigo-violet at the horizon. Everything is drawn in a strict side elevation: poles, shutters and vending machine all stand square to the picture plane with no vanishing point, reading as a stage-flat backdrop. A row of utility poles marches across the frame at even intervals, each a dark silhouette with crossarms and a sagging catenary of power lines strung pole to pole, the wires dipping in shallow curves and crossing the sky in parallel lines that thin to single-pixel strokes at their highest sag. Under each pole a streetlamp throws a circular pool of pale cyan-white light down onto the pavement; these pools repeat at perfectly even spacing, and the far pools overlap into a continuous bright ribbon of reflected light down the wet road, each lamp repeated in a vertically stretched, slightly wavy column of reflection in the asphalt, broken into dashes by the road's surface texture. Between the pools the asphalt falls to near-black, with only faint blue rim-light on the puddles' edges. Beneath the lamps, a row of closed shopfronts: corrugated roller shutters pulled down to the ground, each one a plain unmarked metal face, ribbed with horizontal shading lines of grey-blue and shadow, catching a thin vertical streak of lamplight on its corrugations. All shutters and every signboard, placard and wall panel above them are completely blank and unmarked -- smooth painted surfaces with no lettering, no logos, no characters of any kind, only wear and grime rendered as pixel stipple. Set into this row, one vending machine stands against the wall, its front face a saturated red glowing panel, the only warm light in the scene: a soft red halo smeared on the pavement directly beneath it and a dull red kiss of light along the shutter edge beside it, its red reflection stretching down the wet ground. Its face is a red rectangle of evenly lit color with a few darker slot rectangles, all surfaces plain with no readable labels. Far behind the streetline, a band of distant buildings rises in silhouette against the indigo sky, their windows lit in scattered pinpricks of warm amber and pale yellow at irregular intervals -- some floors lit, most dark -- the windows small hard-edged pixel squares that thin and dim with distance. The whole background is quiet and deserted, no figures, no movement, only this still corridor of light and reflection. The palette holds three families: deep blue-purple for sky and shadows, cool cyan-white for the streetlamp pools and their reflections, and a single warm red for the vending machine with amber pinpricks for distant windows. Every edge is crisp pixel edges, every gradient done with ordered dithering, every surface built from a limited 16-bit palette with visible dither texture in the sky and the puddle reflections. The road reflects the lamps as blurred, vertically elongated smears darker than the lamps themselves, the light pooling only on the upward-facing wet plane. Silent, still, peacefully lonely night.

夜の都市景観・ピクセルアート

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