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yux

はじめまして、生成AI初心者です！ むちむち、ぽっちゃり体型、その他色々フェチ持ちです🫶 色々作って遊んでますので、良かったら見ていって下さいね〜😀

日本
1,378Takip Edilenler738Takipçi24.99kAlınan Beğeniler
EserlerKoleksiyonlar
AI artwork
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1girl, solo, mature female, japanese, round face, thick lips, long hair, blonde hair, straight hair, hair down, hair spread out, fluffy hair ends, dark skin, black skin, tan skin, glossy skin, shiny skin, sweaty skin, sweat, sweat on face, sweat on body, armpit sweat, sweaty armpits, hairy armpits, stubble armpits, plump, chubby, fat, huge breasts, saggy belly, huge butt, thick arms, thick thighs, wide hips, frilled dress, floral print dress, satin dress, long dress, slit dress, white dress, pink dress, green dress, blue dress, purple dress, multicolored dress, black stockings, floral pattern stockings, garter straps, pin heels, high heels, handbag, luxury handbag, box bag, rimless glasses, frameless glasses, nail art, elaborate nails, flashy nails, one hand up, peace sign, v, crossed legs, sitting, sitting on table, eating, holding spoon, open mouth, :d, grin, full smile, huge smile, teeth, closed eyes, happy, looking down, from above, diagonal angle, viewed from above, high angle, cowboy shot, sweat drop, sweat on chest, sweat on thighs, indoors, luxury hotel, hotel room, window, daylight, table, food, parfait, ice cream, chocolate ice cream, strawberry ice cream, vanilla ice cream, chocolate sauce, whipped cream, chocolate banana, fruit, strawberry, wine bottle, prosciutto, salad, pizza, still life, tablecloth, heavy shadows, warm light, high contrast, masterpiece, high quality The camera looks down on her from a diagonal high angle, slightly in front of her right shoulder: a mature Japanese woman with a round face and thick lips sits perched on the edge of a polished marble-topped table pushed flush against a tall floor-to-ceiling hotel window, the city outside blown to a pale bright haze behind her. Her body is heavy and plush -- huge breasts pressing the satin taut across her chest, a soft saggy belly folding above the waistband, vast hips and buttocks spreading over the table's edge, thick arms and thick legs. Her skin is a deep black tan, oiled-looking with sweat, highlit along each rounded plane; her long straight blonde hair falls down both sides of her round face, the ends fluffed and loosened into soft curls, a few strands stuck wetly to her cheeks and neck. Rimless frameless glasses sit on her nose, catching a thin line of window light. Both arms are lifted and exposed, and under each arm the stubble of the hairy armpits is visible, beaded with sweat that runs down to darken the satin at her sides; no sleeves cover the armpits. The frilly floral satin dress -- white, pink, green, blue and purple blossoms scattered across the glossy fabric, ruffled layers at the shoulders and hem -- wraps her torso, slips open along a high side slit to bare one thick thigh, and its fabric clings damply to her chest and belly. Black floral-patterned garter stockings sheath her thick legs up to mid-thigh, garter straps disappearing under the hem; pinstripe pin heels point from her crossed legs, one slim heel hooked behind the opposite calf. She eats with total delight: her mouth is wide open in a beaming full smile, teeth showing, eyes screwed shut in crescents, a little chocolate sauce at the corner of her thick lips. Her right hand holds a long spoon hefted above a towering parfait glass, the spoon just dipping into whipped cream; her left hand is raised beside her head, two fingers snapped up in a peace sign, flashy elaborate nail art glossing every nail in a bright mixed pattern of colour and glitter. Sweat beads on her knuckles, her collarbones, the shelf of her cleavage, her forehead, and drips off her chin. Across the same table, arranged around her: the parfait glass layered with chocolate ice cream, strawberry ice cream and vanilla ice cream, chocolate sauce darkening the whipped cream swirl, chunks of chocolate-coated banana and a heap of fruit -- strawberries, kiwi, orange, blueberries -- spilling over the rim; a green wine bottle standing beside a shallow plate of prosciutto salad, the cured ham folded in ribbons with greens glistening under oil; a pizza still steaming in its box, cheese pulling where a slice has been lifted. Beside her hip on the table sits a structured luxury handbag with a glossy gold clasp, its strap looping down over the marble edge. Light comes from the window behind and beside her, cool and broad, wrapping the silhouette of her shoulders and hair in a bright rim and throwing soft warm bounce up into her face and the food; shadows pool under her chin, under the table's lip, inside the parfait glass and the folds of the dress. The palette is rich and deep -- black-brown skin, buttery blonde hair, the sugar pinks, greens and blues of the dress and the parfait fruit, white marble and city haze -- against the dark wood of the room's interior. On the tabletop, the sheen of sweat on her forearm prints a thin glossy smear where she has rested it, and a single drop of condensation slides down the cold wine bottle to ring its base. Unashamedly indulgent, sunlit and greedy.
Nov 6, 2026 12:59 AM
AI artwork
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A mature, gentle-looking housewife with straight silver hair featuring golden inner highlights sits at a dining table with her husband, happily enjoying a meal. She has a plump, soft face with a slightly chubby neckline, full lips with light purple lipstick, and a beauty mark near her mouth. Her voluptuous figure includes large breasts, thick thighs, a slightly rounded belly, and plump arms. She wears a black turtleneck sweater with rolled-up sleeves and a long flared skirt with black and red-pink frills. The scene takes place at night in a well-lit dining kitchen. She cheerfully bites into a steak while sitting across from her husband. The table is lavishly set with a massive steak, a bowl of mashed potatoes, a plate of vichyssoise, a caprese salad with tomatoes and mozzarella, an aqua pazza dish, a heaping portion of bolognese pasta, and wine glasses filled with red and rosé wine. The background features kitchen shelves and warm ambient lighting. The artwork is highly detailed, with accurate hand anatomy and proper dining etiquette, emphasizing a cozy, indulgent atmosphere.
Nov 5, 2026 9:51 PM
AI artwork
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1girl, solo, mature woman, japanese woman, jet-black skin, dark skin, glossy skin, shiny skin, sweaty, drenched in sweat, armpit sweat, sweat stain under armpits, very fat, obese, huge breasts, sagging belly, huge ass, plump arms, thick legs, round face, thick lips, blonde hair, long hair, straight hair, blunt bangs, hair draping down both sides, fluffy wispy hair ends, frameless glasses, flashy nail art, colorful nails, frilly dress, floral print, satin dress, multicolored dress, white pink green blue purple dress, slit dress, flare dress, long dress, black floral garter stockings, stiletto heels, luxury handbag, sitting, legs crossed, crossed legs, peace sign, one hand up, v, beaming full smile, :d, open mouth, eating, parfait, chocolate banana, chocolate ice cream, strawberry ice cream, vanilla ice cream, whipped cream, chocolate sauce, fruit, wine bottle, prosciutto salad, pizza, table, window, luxury hotel, from above, looking up, looking at viewer, dutch angle, close-up, masterpiece, high quality, Viewed from diagonally above and slightly off-axis, the camera sits high and to her left, looking down past the rim of a window table in a luxury hotel: the woman fills the lower two-thirds of the frame, seated on the table's edge with her hip against the polished dark wood and both thighs crossed, the right leg laid over the left knee, the pointed stiletto heel of the upper foot hanging free in the air with the ankle strap pulled taut. Her round face is tilted up toward the lens, holding a full beaming open-mouthed smile with the thick lips parted and stretched wide, the cheeks pushing up beneath the rimless glasses so the eyes crescent over the lenses; the long straight blonde hair falls in two blunt side locks down past her collarbones with the wispy ends curling softly against her shoulders, and the blunt fringe sits level across the brow. Her right arm is bent up beside her head in a peace sign with two glossy nails flashing in the window light, the other hand holding a long parfait spoon deep in the tall glass parfait on the table: layers of chocolate ice cream, strawberry ice cream and vanilla ice cream, a chocolate banana wedge standing at the rim, thick whipped cream rosettes drooping under a glossy chocolate-sauce drizzle and a heap of cut fruit, the sauce running down the outside of the glass in slow beads. In front of her, spread across the white linen, are the open bottle of red wine with its dark shoulder catching a highlight, the prosciutto salad curling in ribbons of pale pink on a low plate, and a pizza with the cheese stretched and blistered at the cut edge. She wears the satin dress in a dense floral print of white, pink, green, blue and purple, the frills layered thick at the shoulders and hem; the slit opens over the crossed thigh to show the black floral garter stocking and its band biting into the plump leg. The satin pulls tight and shines over the huge breasts and taut across the sagging belly, and at both armpits the fabric is darkened by deep wet sweat stains spreading in rings through the print, her jet-black glossy skin slick and gleaming along the arms, the neck and the shoulders with droplets sliding down. The luxury handbag sits upright on the table edge at her hip, its clasp bright. The only light is the tall window behind and beside her: cool daylight rakes in from the upper left, striking the sheen along the top of her arms and the parfait glass, and the shadow side of her body falls deep and warm against the dark table, with the window frame's hard shadow laid diagonally across the linen and across the near edge of the pizza. The palette is held to glossy black skin, blonde gold, and the white-pink-green-blue-purple floral satin against the dark wood and white cloth, the chocolate and berry reds the only other accents. Rich, decadent, indulgent.
Nov 5, 2026 10:25 AM
#Göğüs#Gözlük#Elbise
AI artwork
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2 horses, 2 fairies, silver coat, silver mane, silver tail, flowing mane, large green pumpkin carriage, pumpkin carriage, flying, flying through sky, night, night sky, moon, full moon, starry sky, stars, clouds, city below, cityscape from above, aerial view, looking down, sweets, candy, confectionery, scattering, scattering sweets, trailing candy, small fairy, fairy wings, translucent wings, leaning out, leaning forward, carriage in right background, horses in left foreground, from above, from side, wide shot, high quality, masterpiece, rich fantasy colors, no text Seen from above and slightly to the side, the frame opens on the two silver horses sweeping through the left foreground, their coats a bright gleaming silver that catches the moonlight along the shoulders and crests of their necks; their manes and tails stream back in long silver ribbons torn sideways by the speed, forelegs gathered and hind legs stretched out behind as they beat through the air, harness straps pulling taut over their chests and haunches toward the carriage behind them. Their heads are angled forward and inward toward the direction of flight, ears pricked, breath visible as faint plumes, eyes wide and dark, focused on the air ahead rather than the viewer. Behind and to the right rear of the frame hangs the huge green pumpkin carriage, its ribbed sides deep emerald with paler green ridges, a curling vine stem and carved window openings glowing warm from within; the whole bulk tilts slightly as it is towed, the golden wheels spinning free in the empty air with nothing beneath them. From the pumpkin's wide carved opening near the top, two small fairies lean out over the rim — one with both hands and torso clear of the edge, one half-crouched on the lip — their translucent wings flickering silver and green, arms sweeping wide as they fling handfuls of sweets outward: candies, wrapped bonbons and sugar drops catch the moon's white light and scatter down and back in a glittering trail that breaks into the dark behind the carriage, some already falling far below and shrinking to sparks. Below, the city lies far down in the lower part of the frame, a dense field of rooftops, spires, lanes and warm window lights reduced to small shapes with real depth, its streets faintly veiled in mist so distance reads as distance. The night sky fills the rest: a full moon high and slightly left, hard-edged and bright, ringed by a soft halo, with stars scattered across deep indigo that shades toward violet and teal near the horizon; thin luminous clouds drag past the moon and catch its light on the side facing it, dark on the far side. Light comes from the moon alone as the key: it strikes the horses' silver flanks and the near ridges of the pumpkin, the candy trail flashes where each piece turns a lit face toward it, and the carriage's interior glow spills warm gold onto the fairies' faces, arms and shoulders as a second, smaller source. Shadows fall away from the moon along the carriage's underbelly and the horses' far sides, and every candy and fairy casts a tiny shadow onto the pumpkin skin or into open air. Palette is a rich fantasy register of deep indigo, violet and moonlight silver against emerald green and warm gold, saturated and clean, with high contrast between lit silver and dark sky. Crisp detail on the horses' heads, the fairies' hands and the candy at the moment it leaves their fingers; the city simplified but never flat. Exuberant, luminous.
Nov 4, 2026 7:55 AM
#Fate serisi#Fate/Grand Order
AI artwork
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2 horses, 2 fairies, silver coat, silver mane, silver tail, flowing mane, large green pumpkin carriage, pumpkin carriage, flying, flying through sky, night, night sky, moon, full moon, starry sky, stars, clouds, city below, cityscape from above, aerial view, looking down, sweets, candy, confectionery, scattering, scattering sweets, trailing candy, small fairy, fairy wings, translucent wings, leaning out, leaning forward, carriage in right background, horses in left foreground, from above, from side, wide shot, high quality, masterpiece, rich fantasy colors, no text Seen from above and slightly to the side, the frame opens on the two silver horses sweeping through the left foreground, their coats a bright gleaming silver that catches the moonlight along the shoulders and crests of their necks; their manes and tails stream back in long silver ribbons torn sideways by the speed, forelegs gathered and hind legs stretched out behind as they beat through the air, harness straps pulling taut over their chests and haunches toward the carriage behind them. Their heads are angled forward and inward toward the direction of flight, ears pricked, breath visible as faint plumes, eyes wide and dark, focused on the air ahead rather than the viewer. Behind and to the right rear of the frame hangs the huge green pumpkin carriage, its ribbed sides deep emerald with paler green ridges, a curling vine stem and carved window openings glowing warm from within; the whole bulk tilts slightly as it is towed, the golden wheels spinning free in the empty air with nothing beneath them. From the pumpkin's wide carved opening near the top, two small fairies lean out over the rim — one with both hands and torso clear of the edge, one half-crouched on the lip — their translucent wings flickering silver and green, arms sweeping wide as they fling handfuls of sweets outward: candies, wrapped bonbons and sugar drops catch the moon's white light and scatter down and back in a glittering trail that breaks into the dark behind the carriage, some already falling far below and shrinking to sparks. Below, the city lies far down in the lower part of the frame, a dense field of rooftops, spires, lanes and warm window lights reduced to small shapes with real depth, its streets faintly veiled in mist so distance reads as distance. The night sky fills the rest: a full moon high and slightly left, hard-edged and bright, ringed by a soft halo, with stars scattered across deep indigo that shades toward violet and teal near the horizon; thin luminous clouds drag past the moon and catch its light on the side facing it, dark on the far side. Light comes from the moon alone as the key: it strikes the horses' silver flanks and the near ridges of the pumpkin, the candy trail flashes where each piece turns a lit face toward it, and the carriage's interior glow spills warm gold onto the fairies' faces, arms and shoulders as a second, smaller source. Shadows fall away from the moon along the carriage's underbelly and the horses' far sides, and every candy and fairy casts a tiny shadow onto the pumpkin skin or into open air. Palette is a rich fantasy register of deep indigo, violet and moonlight silver against emerald green and warm gold, saturated and clean, with high contrast between lit silver and dark sky. Crisp detail on the horses' heads, the fairies' hands and the candy at the moment it leaves their fingers; the city simplified but never flat. Exuberant, luminous.
Nov 4, 2026 7:55 AM
#Gökyüzü#ay#Açık hava
AI artwork
Avatar image of yux
2 horses, 2 fairies, silver coat, silver mane, silver tail, flowing mane, large green pumpkin carriage, pumpkin carriage, flying, flying through sky, night, night sky, moon, full moon, starry sky, stars, clouds, city below, cityscape from above, aerial view, looking down, sweets, candy, confectionery, scattering, scattering sweets, trailing candy, small fairy, fairy wings, translucent wings, leaning out, leaning forward, carriage in right background, horses in left foreground, from above, from side, wide shot, high quality, masterpiece, rich fantasy colors, no text Seen from above and slightly to the side, the frame opens on the two silver horses sweeping through the left foreground, their coats a bright gleaming silver that catches the moonlight along the shoulders and crests of their necks; their manes and tails stream back in long silver ribbons torn sideways by the speed, forelegs gathered and hind legs stretched out behind as they beat through the air, harness straps pulling taut over their chests and haunches toward the carriage behind them. Their heads are angled forward and inward toward the direction of flight, ears pricked, breath visible as faint plumes, eyes wide and dark, focused on the air ahead rather than the viewer. Behind and to the right rear of the frame hangs the huge green pumpkin carriage, its ribbed sides deep emerald with paler green ridges, a curling vine stem and carved window openings glowing warm from within; the whole bulk tilts slightly as it is towed, the golden wheels spinning free in the empty air with nothing beneath them. From the pumpkin's wide carved opening near the top, two small fairies lean out over the rim — one with both hands and torso clear of the edge, one half-crouched on the lip — their translucent wings flickering silver and green, arms sweeping wide as they fling handfuls of sweets outward: candies, wrapped bonbons and sugar drops catch the moon's white light and scatter down and back in a glittering trail that breaks into the dark behind the carriage, some already falling far below and shrinking to sparks. Below, the city lies far down in the lower part of the frame, a dense field of rooftops, spires, lanes and warm window lights reduced to small shapes with real depth, its streets faintly veiled in mist so distance reads as distance. The night sky fills the rest: a full moon high and slightly left, hard-edged and bright, ringed by a soft halo, with stars scattered across deep indigo that shades toward violet and teal near the horizon; thin luminous clouds drag past the moon and catch its light on the side facing it, dark on the far side. Light comes from the moon alone as the key: it strikes the horses' silver flanks and the near ridges of the pumpkin, the candy trail flashes where each piece turns a lit face toward it, and the carriage's interior glow spills warm gold onto the fairies' faces, arms and shoulders as a second, smaller source. Shadows fall away from the moon along the carriage's underbelly and the horses' far sides, and every candy and fairy casts a tiny shadow onto the pumpkin skin or into open air. Palette is a rich fantasy register of deep indigo, violet and moonlight silver against emerald green and warm gold, saturated and clean, with high contrast between lit silver and dark sky. Crisp detail on the horses' heads, the fairies' hands and the candy at the moment it leaves their fingers; the city simplified but never flat. Exuberant, luminous.
Nov 4, 2026 7:55 AM
#Çizme#Gökyüzü#ay
AI artwork
Avatar image of yux
little fairies, multiple fairies, 3 fairies, large green pumpkin carriage, flying carriage, night sky, starry sky, full moon, glowing moon, riding, rushing through sky, motion, glowing, translucent wings, gossamer wings, fairy, sleeveless dress, moss dress, green dress, flower crown, white flowers, jasmine, crystalline wand, violet wings, iridescent wings, pink petal skirt, peony skirt, leaf bodice, dew-drop earrings, golden wings, silver tunic, spider-silk tunic, acorn cap boots, flying, wind, hair blown back, from below, wide shot, foreshortening, dutch angle, dynamic composition, looking up, open mouth, grin, sparkling, night, deep blue palette, green, gold, violet, rim light, lens flare-free, Seen from below and slightly off-axis in a dutch tilt, the great green pumpkin carriage surges across the upper half of the frame on a diagonal from lower left to upper right, its ribbed vines and curly stem and swirled wheel-less underside lit from behind by the enormous full moon that hangs at the upper right, pale and crisp-edged with visible maria. The carriage is deep moss-green shading to near-black in its grooves, its shell glossy enough that the moonlight streaks along the ribs and its trailing tendrils and a few loose seeds whip backward in the slipstream. Three little fairies ride it: at the front lip of the carriage opening, one small fairy in a sleeveless dress of soft green moss with a crown of white jasmine flowers, one hand planted on the pumpkin rim, the other lifting her crystalline wand so it catches a pinpoint of moon-white, her translucent gossamer wings blurred by speed and her hair streaming straight back; just behind her, half-turned with one knee drawn up on the pumpkin's edge, a fairy with iridescent violet wings and a deep pink peony-petal skirt and a leaf-shaped bodice, dew-drop earrings swinging forward from the rush, her chin tipped back and her mouth open in a delighted shout, looking up past the carriage at the stars; and at the rear, crouched low and gripping a curling vine with both hands, a fairy with golden-tinted wings in a silver spider-silk tunic and little brown acorn-cap boots, grinning wide and glancing sideways at her companions. Each fairy's weight is committed to the surface she grips, weight on the balls of the feet or on one braced hip, skirts and wings and hair all dragged in the same backward direction, and each of the three looks along the line of travel or at one another, never at the viewer. The starry sky fills the rest of the frame in dense scatter, faint dust of the Milky Way banding behind the moon, a few larger stars with soft four-point flares; below the carriage the deep night-blue falls away toward an unlit horizon and thin ribbons of cloud streak past in the same diagonal, torn and lit only on the moon side, which is the one giveaway of the speed. The moon is the sole key: it rims every wing, hair edge and pumpkin rib in cool white, throws the fairies' faces into a soft blue-violet half-shadow, and leaves the underside of the carriage and the empty sky at the frame's lower left in deep shadow. The palette is strict -- night blue and near-black ground, one saturated pumpkin green, moon-white, with the fairies' own accents the only warm points: violet, peony pink, silver, and a fleck of gold. High detail on the fairies' faces, hands and the carriage's ribbed texture; the trailing sky simplified to a few clean cloud ribbons and star clusters. Exhilarated, luminous.
Nov 4, 2026 7:47 AM
#Sivri kulaklar#Etek#Elbise
AI artwork
Avatar image of yux
little fairies, multiple fairies, 3 fairies, large green pumpkin carriage, flying carriage, night sky, starry sky, full moon, glowing moon, riding, rushing through sky, motion, glowing, translucent wings, gossamer wings, fairy, sleeveless dress, moss dress, green dress, flower crown, white flowers, jasmine, crystalline wand, violet wings, iridescent wings, pink petal skirt, peony skirt, leaf bodice, dew-drop earrings, golden wings, silver tunic, spider-silk tunic, acorn cap boots, flying, wind, hair blown back, from below, wide shot, foreshortening, dutch angle, dynamic composition, looking up, open mouth, grin, sparkling, night, deep blue palette, green, gold, violet, rim light, lens flare-free, Seen from below and slightly off-axis in a dutch tilt, the great green pumpkin carriage surges across the upper half of the frame on a diagonal from lower left to upper right, its ribbed vines and curly stem and swirled wheel-less underside lit from behind by the enormous full moon that hangs at the upper right, pale and crisp-edged with visible maria. The carriage is deep moss-green shading to near-black in its grooves, its shell glossy enough that the moonlight streaks along the ribs and its trailing tendrils and a few loose seeds whip backward in the slipstream. Three little fairies ride it: at the front lip of the carriage opening, one small fairy in a sleeveless dress of soft green moss with a crown of white jasmine flowers, one hand planted on the pumpkin rim, the other lifting her crystalline wand so it catches a pinpoint of moon-white, her translucent gossamer wings blurred by speed and her hair streaming straight back; just behind her, half-turned with one knee drawn up on the pumpkin's edge, a fairy with iridescent violet wings and a deep pink peony-petal skirt and a leaf-shaped bodice, dew-drop earrings swinging forward from the rush, her chin tipped back and her mouth open in a delighted shout, looking up past the carriage at the stars; and at the rear, crouched low and gripping a curling vine with both hands, a fairy with golden-tinted wings in a silver spider-silk tunic and little brown acorn-cap boots, grinning wide and glancing sideways at her companions. Each fairy's weight is committed to the surface she grips, weight on the balls of the feet or on one braced hip, skirts and wings and hair all dragged in the same backward direction, and each of the three looks along the line of travel or at one another, never at the viewer. The starry sky fills the rest of the frame in dense scatter, faint dust of the Milky Way banding behind the moon, a few larger stars with soft four-point flares; below the carriage the deep night-blue falls away toward an unlit horizon and thin ribbons of cloud streak past in the same diagonal, torn and lit only on the moon side, which is the one giveaway of the speed. The moon is the sole key: it rims every wing, hair edge and pumpkin rib in cool white, throws the fairies' faces into a soft blue-violet half-shadow, and leaves the underside of the carriage and the empty sky at the frame's lower left in deep shadow. The palette is strict -- night blue and near-black ground, one saturated pumpkin green, moon-white, with the fairies' own accents the only warm points: violet, peony pink, silver, and a fleck of gold. High detail on the fairies' faces, hands and the carriage's ribbed texture; the trailing sky simplified to a few clean cloud ribbons and star clusters. Exhilarated, luminous.
Nov 4, 2026 7:47 AM
#çıplak ayak#Sivri kulaklar#Elbise
AI artwork
Avatar image of yux
little fairies, multiple fairies, 3 fairies, large green pumpkin carriage, flying carriage, night sky, starry sky, full moon, glowing moon, riding, rushing through sky, motion, glowing, translucent wings, gossamer wings, fairy, sleeveless dress, moss dress, green dress, flower crown, white flowers, jasmine, crystalline wand, violet wings, iridescent wings, pink petal skirt, peony skirt, leaf bodice, dew-drop earrings, golden wings, silver tunic, spider-silk tunic, acorn cap boots, flying, wind, hair blown back, from below, wide shot, foreshortening, dutch angle, dynamic composition, looking up, open mouth, grin, sparkling, night, deep blue palette, green, gold, violet, rim light, lens flare-free, Seen from below and slightly off-axis in a dutch tilt, the great green pumpkin carriage surges across the upper half of the frame on a diagonal from lower left to upper right, its ribbed vines and curly stem and swirled wheel-less underside lit from behind by the enormous full moon that hangs at the upper right, pale and crisp-edged with visible maria. The carriage is deep moss-green shading to near-black in its grooves, its shell glossy enough that the moonlight streaks along the ribs and its trailing tendrils and a few loose seeds whip backward in the slipstream. Three little fairies ride it: at the front lip of the carriage opening, one small fairy in a sleeveless dress of soft green moss with a crown of white jasmine flowers, one hand planted on the pumpkin rim, the other lifting her crystalline wand so it catches a pinpoint of moon-white, her translucent gossamer wings blurred by speed and her hair streaming straight back; just behind her, half-turned with one knee drawn up on the pumpkin's edge, a fairy with iridescent violet wings and a deep pink peony-petal skirt and a leaf-shaped bodice, dew-drop earrings swinging forward from the rush, her chin tipped back and her mouth open in a delighted shout, looking up past the carriage at the stars; and at the rear, crouched low and gripping a curling vine with both hands, a fairy with golden-tinted wings in a silver spider-silk tunic and little brown acorn-cap boots, grinning wide and glancing sideways at her companions. Each fairy's weight is committed to the surface she grips, weight on the balls of the feet or on one braced hip, skirts and wings and hair all dragged in the same backward direction, and each of the three looks along the line of travel or at one another, never at the viewer. The starry sky fills the rest of the frame in dense scatter, faint dust of the Milky Way banding behind the moon, a few larger stars with soft four-point flares; below the carriage the deep night-blue falls away toward an unlit horizon and thin ribbons of cloud streak past in the same diagonal, torn and lit only on the moon side, which is the one giveaway of the speed. The moon is the sole key: it rims every wing, hair edge and pumpkin rib in cool white, throws the fairies' faces into a soft blue-violet half-shadow, and leaves the underside of the carriage and the empty sky at the frame's lower left in deep shadow. The palette is strict -- night blue and near-black ground, one saturated pumpkin green, moon-white, with the fairies' own accents the only warm points: violet, peony pink, silver, and a fleck of gold. High detail on the fairies' faces, hands and the carriage's ribbed texture; the trailing sky simplified to a few clean cloud ribbons and star clusters. Exhilarated, luminous.
Nov 4, 2026 7:47 AM
#Elbise#kırmızı gözler#Gökyüzü
AI artwork
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little fairies, multiple fairies, 3 fairies, large green pumpkin carriage, flying carriage, night sky, starry sky, full moon, glowing moon, riding, rushing through sky, motion, glowing, translucent wings, gossamer wings, fairy, sleeveless dress, moss dress, green dress, flower crown, white flowers, jasmine, crystalline wand, violet wings, iridescent wings, pink petal skirt, peony skirt, leaf bodice, dew-drop earrings, golden wings, silver tunic, spider-silk tunic, acorn cap boots, flying, wind, hair blown back, from below, wide shot, foreshortening, dutch angle, dynamic composition, looking up, open mouth, grin, sparkling, night, deep blue palette, green, gold, violet, rim light, lens flare-free, Seen from below and slightly off-axis in a dutch tilt, the great green pumpkin carriage surges across the upper half of the frame on a diagonal from lower left to upper right, its ribbed vines and curly stem and swirled wheel-less underside lit from behind by the enormous full moon that hangs at the upper right, pale and crisp-edged with visible maria. The carriage is deep moss-green shading to near-black in its grooves, its shell glossy enough that the moonlight streaks along the ribs and its trailing tendrils and a few loose seeds whip backward in the slipstream. Three little fairies ride it: at the front lip of the carriage opening, one small fairy in a sleeveless dress of soft green moss with a crown of white jasmine flowers, one hand planted on the pumpkin rim, the other lifting her crystalline wand so it catches a pinpoint of moon-white, her translucent gossamer wings blurred by speed and her hair streaming straight back; just behind her, half-turned with one knee drawn up on the pumpkin's edge, a fairy with iridescent violet wings and a deep pink peony-petal skirt and a leaf-shaped bodice, dew-drop earrings swinging forward from the rush, her chin tipped back and her mouth open in a delighted shout, looking up past the carriage at the stars; and at the rear, crouched low and gripping a curling vine with both hands, a fairy with golden-tinted wings in a silver spider-silk tunic and little brown acorn-cap boots, grinning wide and glancing sideways at her companions. Each fairy's weight is committed to the surface she grips, weight on the balls of the feet or on one braced hip, skirts and wings and hair all dragged in the same backward direction, and each of the three looks along the line of travel or at one another, never at the viewer. The starry sky fills the rest of the frame in dense scatter, faint dust of the Milky Way banding behind the moon, a few larger stars with soft four-point flares; below the carriage the deep night-blue falls away toward an unlit horizon and thin ribbons of cloud streak past in the same diagonal, torn and lit only on the moon side, which is the one giveaway of the speed. The moon is the sole key: it rims every wing, hair edge and pumpkin rib in cool white, throws the fairies' faces into a soft blue-violet half-shadow, and leaves the underside of the carriage and the empty sky at the frame's lower left in deep shadow. The palette is strict -- night blue and near-black ground, one saturated pumpkin green, moon-white, with the fairies' own accents the only warm points: violet, peony pink, silver, and a fleck of gold. High detail on the fairies' faces, hands and the carriage's ribbed texture; the trailing sky simplified to a few clean cloud ribbons and star clusters. Exhilarated, luminous.
Nov 4, 2026 7:46 AM
#PixAI Halloween 2026
AI artwork
Avatar image of yux
copyright: resident_evil 4 soldiers, special forces squad, black helmet, gas mask, glowing red goggles, black protective armor, military boots, holding machine gun, combat knife, grenade, handgun, M1A2 rifle on back, research lab interior, biohazard outbreak, cautious exploration, one soldier operating communication equipment, one soldier maintaining heavy weapon, one soldier shooting doorknob with firearm, one soldier keeping watch at window, from side, wide shot, dutch angle, group shot, depth of field, dark palette with red accents, volumetric haze, muzzle flash light, high quality, masterpiece From a low, tilted side angle, a four-man special forces column threads through a ravaged research laboratory, staggered down the length of the corridor so each man reads at a different depth. All four wear identical black helmets with the visor raised over a full black rubber gas mask, its twin goggle lenses burning a flat, saturated red that throws a faint crimson sheen onto the cheek of the armor below; black segmented protective armor plates are strapped over matte black fatigues, pouches and magazine cells riding heavy at the belt, and thick military boots planted on cracked epoxy flooring. Each carries a combat knife sheathed inverted at the chest rig, a grenade clipped at the hip, a handgun holstered at the thigh, and an M1A2 rifle slung tight across the back, its barrel rising behind the shoulder. Nearest to the lens on the left, one soldier crouches half behind an overturned steel bench, machine gun braced across the bench edge, both gloved hands locked on the grip and handguard, his red lenses angled down the corridor; his weight sinks into the rear boot heel, the front knee driven forward, and the machine gun's sling hangs slack beneath the receiver. Beyond him at midground center, the second soldier kneels with a field radio open on the floor between his knees, one hand pressing a headset cup through the gas mask's strap, the other thumbing a dial, head tipped down toward the glowing frequency display so its green light rims the underside of his mask; a coiled cable runs from the radio to the pack at his shoulder. Slightly right and further back, the third soldier crouches over a heavy machine gun laid across his thighs, one gloved palm clamped on the feed tray cover while the other slides a belt of linked rounds into the feed, a spent casing between his fingertips; his helmet tips forward and one red goggle lens reflects the open receiver. At the far right of the frame, the fourth soldier stands squared to a laboratory door, pistol raised and angled down at the brass doorknob, the muzzle a hand's width from the metal, his off hand flat against the door frame above the lock, shoulder braced into the jamb, front boot wedged at the threshold. His head is turned so the profile of the mask and the red lens read against the door's pale panel. Through the wired safety glass of the window beside him the background holds a barred, blue-white inner lab: shattered fume hoods, spilled racks of vials, and a biohazard trefoil decal on the far wall, its red visible through the smeared pane. That fourth man's red lenses flick toward the glass, watching the corridor beyond the window while his pistol stays on the knob. The only primary light is a bank of failing ceiling fluorescents running down the corridor, cold and slightly green, which puts a hard highlight along each helmet crown and drops deep shadow beneath every chest plate; the radio display and the four red goggle lenses are the only warm-red points in the frame, and where the ceiling light dies at the far end the darkness is absolute. Emergency strobes bleed a slow red wash across the floor, glinting off the fallen glass and pooled liquid, and the haze in the air carries visible dust and a thin drifting vapor from a cracked pipe. Cold steel, black rubber, and blood-red accents only, nothing else admitted. Razor-sharp detail on the nearest mask, glove seams, and the linked belt of rounds; the far door and corridor resolving into soft haze. Tense, suffocating
Nov 1, 2026 4:06 AM
2#ayakta#Karanlık#Ateşli silah
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