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AI art "場地圭介" featuring #Tokyo Revengers
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場地圭介

#Tokyo Revengers
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eripan

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character: baji_keisuke, copyright: tokyo_revengers 1boy, solo, baji keisuke, long black hair, hair down, yellow-brown eyes, tsurime, sharp gaze, yukata, dark navy yukata with thin white pinstripes, yukata slightly open at the front, chest partially exposed, barefoot, sitting, sitting on zabuton, seiza loosened into a slouch, one knee up, leaning back on one hand, head tilt, relaxed, at ease, faint lopsided smile, half-closed eyes, looking to the side, tatami room, washitsu, shoji screens, engawa, steaming teacup, from above, three-quarter view, medium shot, warm afternoon light The camera looks down from slightly above and off to his right, so the tatami mat grid runs diagonally beneath him and the low table at the frame's edge sits smaller than it should — he is at ease enough to have slid down in the space. He sits on a zabuton on the tatami with his weight rocked back onto his left hand, palm flattened on the mat behind his hip, fingers splayed; his right knee is drawn up and his right forearm rests across it, wrist loose, hand hanging empty. The yukata's collar is pulled open at the chest — one lapel slipped down off his shoulder line, the other still riding his collarbone — exposing a wedge of bare chest and the hollow of his throat, the sash tied low and a little crooked where he shifted. The hem has fallen open over his drawn-up knee, and his bare feet are planted flat on the mat in front of him, toes relaxed, heels slightly lifted, the left foot nearer the camera. His long black hair falls loose, the ends fanned out and slightly crushed against the mat where his head is tilted, one strand lying across his open collar. His chin is tipped, and his yellow-brown eyes slide off toward the open shoji at the left of the frame, not toward the lens, with a half-lidded, unhurried lopsided smile — the look of a man listening to someone off-screen rather than posing. Behind him the shoji screens are slid a hand's width apart onto the engawa, and the afternoon sun comes in through that gap as the room's only strong light: a warm band of it crosses the tatami, catches the edge of his yukata sleeve and the rim of the teacup on the low table, and leaves the far corner of the room and the underside of the table in a soft, deep shade. Steam from the teacup lifts and bends in that band of light, drifting toward the open screen. Palette: the straw-yellow and green-grey of the tatami, the dark navy of the yukata, the paper-white shoji, and warm gold in the light band. Quiet, unhurried, effortlessly at ease.
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東京リベンジャーズの場地圭介。温泉宿の浴衣を着ている。少し、前がはだけている。裸足。温泉宿の和室に座って寛いでいる。
Tryb
pro
Rozmiar
1104 x 1824
Metoda próbkowania
Euler
Niepożądane
lowres, worst quality, low quality, bad anatomy, explicit
Pomocnik podpowiedzi

Model i LoRA użyte

Tsubaki.3 - AI Model cover image

PixAI DiT.3

Tsubaki.3
6.67k

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character: baji_keisuke, copyright: tokyo_revengers 1boy, solo, baji keisuke, long black hair, loose unbound long hair falling past the shoulders, yellow-brown eyes, tsurime sharp upward-tilted eyes, yukata, indigo cotton yukata with a thin white pinstripe, front of the yukata hanging open in a loose V, bare chest visible in the open gap, barefoot, bare feet, sitting, sitting on tatami, relaxed, at ease, seiza loosened into a slouch, one knee drawn up, arm support, leaning back on one hand, head tilted back, looking up, half-closed eyes, light smile, open mouth, from below, low angle, cowboy shot, japanese-style room, washitsu, tatami floor, shoji screens, wooden veranda, engawa, open shoji, steaming outdoor hot spring beyond, yukata sleeves, bare legs, sunlight through shoji, warm afternoon light, dust motes The camera sits low on the tatami, close to the floor, tilted up: the view is from below and slightly to his right, a cowboy shot that crops him at mid-thigh so the tatami fills the bottom edge and a shoji frame rises behind his shoulder. He is alone in the washitsu of a hot spring inn, seated on the tatami with his weight pitched back onto his left hand, palm flat and fingers spread against the woven mat, while his right knee is drawn up and his right forearm rests across it, wrist slack, hand hanging. His left leg folds under him along the mat, the foot turned sole-up so the pale underside of the toes and heel read clearly; both feet are bare, the yukata hem pooled around his shins. The indigo yukata is tied low and loose, and the front hangs open in a slack V from his collarbones down to the knot, the two lapels falling apart so the bare plane of his chest shows between them, cloth slipping off one shoulder. His head is tipped back against the shoji frame, long black hair spilling loose over his shoulders and down his back, a few strands caught on the open collar. His eyes are half-lidded, looking up and off past the top of the frame toward the light, a lazy open-mouthed smile with one corner pulled higher; his chest rises in an unhurried breath. Behind him the shoji screens stand half-slid open onto a wooden engawa, and beyond that the inn's outdoor bath sends up a steady column of steam that drifts in through the opening, softening the garden behind it and catching the light. Late-afternoon sun comes in low through the shoji from camera left, warm and raked: it lays bright patches of paper-filtered light across the tatami, the mat's weave showing as fine parallel ribs with shadowed seams between the mats, and it strikes the edge of his jaw, the open collar and the top of his bared chest while the underside of his raised knee and the hollow of the yukata's gap stay in cool shadow. His cast shadow falls short and soft to the right across the mat. The steam just inside the room makes the air visible where it crosses the sunbeam, and where it touches the paper of the shoji the paper has gone faintly translucent. Palette: indigo and off-white for the yukata and shoji paper, warm straw of the tatami, dark wood of the frame, and the honeyed gold of low sun, skin kept warm against the cool cloth. Quiet, unhurried, at ease.
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