壁画ができるかな？２（tsubaki3テスト）

１の続きです。お手本として、PixAI Reference Proさんで作ったものから。問題なく、壁にキャラクターを描いてくれていると感じます。 Can I create a mural? Part 2 (tsubaki3 test) This is a continuation of Part 1. As an example, here is an image generated using PixAI Reference Pro. It seems to be successfully drawing the character onto the wall without any issues.

#Girl

Published on Sep 10, 2026

七夢

Додатково див.

The entire image is filled edge-to-edge by the fresco mural and its stone wall surface. The mural itself is the complete scene. No surrounding room, no floor, no ceiling, no architecture outside the wall, no spectators, no furniture, no decorative frame, no museum display, no landscape outside the mural. The camera faces the gigantic wall almost straight-on, presenting the fresco as a vast continuous painted surface occupying the entire composition. Depict exactly one character as the sole subject of the monumental fresco. The character is large, prominent, elegant, and visually dominant, occupying a substantial portion of the wall. Preserve the character's recognizable identity, facial features, hairstyle, costume design, proportions, colors, and distinctive details while completely translating the character into an authentic traditional fresco painting. This must unmistakably look like a genuine fresco painted directly onto architectural plaster over massive stone masonry, NOT a modern illustration placed on top of a wall. Authentic buon fresco technique: mineral pigments painted into fresh wet lime plaster, pigments chemically bonded into the plaster surface, matte mineral coloration, subtle pigment absorption, translucent layers of earth pigments, natural lime-white highlights, delicate tonal transitions, slightly granular pigment deposits, irregular handmade brushwork, restrained but exceptionally beautiful traditional colors. The character must be physically integrated into the wall surface. Every part of the character — face, hair, eyes, clothing, hands, skin, shadows, outlines, and decorative details — shares the same fresco pigment texture and aged plaster material. No digitally smooth skin, no glossy anime rendering, no separate modern character layer. The enormous wall is constructed from ancient massive stone masonry covered with traditional lime plaster. Beneath and through the painted surface, subtly reveal natural wall irregularities: faint stone structure, uneven plaster thickness, handmade plaster texture, microscopic pores, mineral grains, hairline cracks, gentle abrasions, tiny areas of pigment loss, subtle discoloration, faded edges, ancient patina, and delicate weathering. These aged details must enhance the beauty rather than destroy the character. The face and important identifying features remain clearly readable, graceful, carefully preserved, and extraordinarily beautiful. Aging is refined and realistic, never excessively ruined. Show authentic fresco segmentation and craftsmanship: extremely subtle giornata boundaries where sections of wet plaster were completed during different working sessions, delicate variations in pigment density, slight tonal differences caused by plaster drying, faint underdrawing traces beneath selected painted areas, naturally softened contours, and mineral colors absorbed into lime. The fresco possesses the grandeur of a masterpiece created by history's finest mural painter: majestic composition, perfect visual balance, sophisticated classical craftsmanship, exquisite facial rendering, elegant anatomical structure, graceful pose, refined drapery, beautiful rhythmic lines, masterful use of negative space, monumental presence, and timeless artistic dignity. The character is represented entirely through fresco painting methods. Avoid photorealistic three-dimensional rendering. Forms are modeled through layered mineral pigments, traditional painted shading, controlled highlights, restrained outlines, and subtle fresco-style tonal transitions. The result should feel handmade, historical, monumental, sacred, poetic, and timeless. The surface remains predominantly matte and mineral-like. No glossy paint, no oil-paint impasto, no acrylic shine, no watercolor paper texture, no canvas weave. The colors appear embedded inside the plaster rather than sitting above it.

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