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AI art "ロードとグレイ達 Road, Grey, and the others"
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ロードとグレイ達 Road, Grey, and the others

ロードエルメロイ2世のハーレム完成! Lord El-Melloi II's harem is complete!

#ahoge#Piersi#Okulary#Sukienka#Kapelusz#Czarne włosy#Szare włosy#strój formalny#Warkocz#zielone oczy#niebieskie oczy#zamknięte oczy#Książka#Lord El-Melloi II#Waver Velvet#Seria Fate#trzymanie#Regresja wieku#kanapa#czarne rękawiczki#Fate/Grand Order#kaptur#Lord El-Melloi II's Case Files#półka na książki#dywan#Gray
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W PixAI prompty są domyślnie publiczne, ale twórcy mogą je ukryć w każdej opublikowanej pracy. Autor tej pracy zdecydował się to zrobić, więc słowa użyte do wygenerowania obrazu pozostają prywatne — widzi je wyłącznie autor. Ukrycie promptu nie zmienia niczego więcej: praca nadal jest publiczna, a Ty możesz ją polubić, skomentować i udostępnić jak zwykle.
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character: endministrator_(arknights), male_endministrator_(arknights), priestess_(arknights), doctor_(arknights), copyright: arknights 4girls, 1boy, family picture, family photo, group photo, husband and wife, married couple, looking at viewer, priestess \(arknights\): long brown hair, black hairband with bow, purple eyes, white coat, black turtleneck, black skirt, black pantyhose, doctor \(arknights\): black hooded coat, hood up, long multicolored hair in a low ponytail, blue eyes, black gloves, male endministrator \(arknights\): short black hair, blue eyes, white sweater, open coat, endministrator \(arknights\): short black hair, grey-blue eyes, white turtleneck sweater, black coat, black pantyhose, wedding ring, parent and child, older brother, little sister, standing, seated, eye contact, warm smile, soft window light, indoor, close-up group portrait, from slightly below, cowboy shot, depth of field The picture is a close family portrait shot slightly from below, the camera tipped up so the four of them stack into a gentle pyramid against a plain pale wall. In the centre the father stands behind everyone, tall black hooded coat and raised hood framing his face, his long multicoloured hair gathered in a low ponytail that falls forward over one shoulder of the black coat, black-gloved hands resting heavy and flat on the shoulders of the two children in front of him; his chin is lowered, and his blue eyes look straight into the lens with a quiet, tired warmth. To his right the mother sits on a low wooden bench drawn close, her long brown hair spilling down past the black hairband and its bow, the white coat open over the black turtleneck and black skirt, her black-pantyhosed legs crossed at the ankle; her hip is turned toward her husband, one hand laid lightly over the back of the little sister's small shoulder, and her purple eyes are lifted to the viewer with a soft, closed-lip smile. In front of the father's right side the big brother stands with his weight on one foot, a half-step ahead of the others, short black hair falling over his brow, the white sweater bright inside his open coat, one hand slipped into his coat pocket and the other hanging free; his blue eyes catch the lens with a lopsided, slightly smug half-grin, one brow a touch higher than the other. Tucked in front on the father's left, the little sister leans back against her brother's arm, short black hair neat around her face, the white turtleneck sweater and black coat and black pantyhose making her a small dark-and-white shape; her head tilts toward her mother, but her grey-blue eyes find the viewer under a shy, wide gaze, both hands clasped together at her waist. On the mother's left hand, resting over the little sister's shoulder, a plain gold wedding ring sits plain on the ring finger and catches the light. The light is a single soft window source from the left, cool daylight, so the left sides of all four faces are bright and the right sides fall into a gentle grey shadow, and short soft shadows of the four of them fall onto the pale wall behind, slightly overlapping; the palest warm cream of the wall is the only background tone, the pigment of the group reduced to black, white, warm brown and the few bright accents of eyes and ring. The air smells of nothing in particular, and the stillness of the photograph holds them all at the same breath -- steady, tender, and domestic.
Sam Daniel

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