【公告】關於近期生成速度變慢及運算資源緊張的說明 — 親愛的 PixAI 社群成員： 感謝您一直以來對 PixAI 的喜愛與支持！ 近期 PixAI 的生成速度較平時慢，排隊時間也比平常更長，造成不便，我們深感抱歉。 原因說明 在 Tsubaki.3 上線後，大家的使用熱情帶動 GPU 資源需…
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Kurumi Tokisaki's Timeless Elegance
There's always been something captivating about Kurumi Tokisaki's chaotic elegance, and this stunning backdrop of gears and moonlight really brings out her mysterious charm. I love how the intricate clockwork contrasts with her beautiful, dangerous smile. If you enjoy this piece, please leave a like and follow for more content! I'd love to hear your thoughts in the comments.
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- 原始提示詞
- character: tokisaki_kurumi, knee-up portrait viewed from a dramatic low-angle perspective, Kurumi Tokisaki standing upon the edge of an enormous clock face moments before midnight, one foot balanced upon the weathered metal surface while her body twists elegantly toward the viewer, long black hair and flowing dress swept violently by the wind, pale porcelain skin illuminated by distant moonlight, heterochromia with one vivid crimson red eye and one luminous golden clock eye glowing intensely beneath long dark lashes, expression carrying a beautiful yet unsettling smile as though she knows something inevitable is about to happen, one arm extended outward toward the viewer, fingers slightly reaching forward, the other hand clutching the folds of her dress as ribbons and lace trail behind her, intricate gothic attire of black velvet, tattered crimson silk, layered lace, and antique clockwork ornaments, towering clock hands crossing behind her silhouette, swirling fog and drifting rose petals caught within the wind, dark palette of obsidian black, deep crimson, midnight blue, and tarnished gold, cinematic lighting, atmosphere of impending fate, light novel illustration style, intricate line detail, refined facial features, detailed eyes, clean outlines, smooth shading, highly detailed anime artwork
- 模式
- pro
- 尺寸
- 1104 x 1824
- 反向提示詞
- lowres, worst quality, low quality, NSFW, (nsfw:1.2),(nude:1.6),(nipple:1.2),naked
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character: tokisaki_kurumi
1girl, solo, tokisaki kurumi, long black hair, red and black twin-tails, asymmetrical twin-tails, heterochromia, one red eye, one golden yellow eye, clock face in iris, golden clock-face pupil, gothic lolita dress, black and red frilled dress, corset bodice, detached sleeves, from below, dutch angle, looking down at viewer, smug, half-closed eyes, lopsided smirk, raised eyebrow, head tilt, arms spread, one hand raised with fingers curled, clock face behind her, giant golden clock dial, roman numerals, clock hands, angel wings of clockwork, black and crimson energy, dark void background, floating gears, red and black palette,
The camera sits low and canted, looking up past the hem of her skirt as she leans over the viewer from a slight tilt, so the whole frame is pulled into a gentle dutch angle. She is caught mid-threat, not mid-pose: her weight rides her back hip, one boot forward at the edge of the frame, both arms flung wide and low — the left hand open and lifting as if to catch a falling gear, the right hand raised near her shoulder with the fingers half-curled around a summon that has not yet arrived. Her twin-tails are not symmetric: the left tail, black through most of its length, breaks into a red-dyed tip near the knee, and the right tail, red at the crown, darkens to black before curling in the air behind her. Both tails are caught in a slow updraft and trail outward and upward, the ribbons that bind them pulled taut.
Her head is tipped and turned a little toward her left shoulder; she looks down her nose at the viewer, one brow arched high, one lip corner pulled into a lopsided smirk, the eyes half-lidded with lazy confidence. The heterochromia is the anchor of the face: the left iris is a deep blood red, the right iris a bright gold, and inside that gold eye a tiny clock face is set into the pupil — fine black numerals ringing the iris, a hair-thin clock hand frozen just past twelve, catching the light so the gold reads brighter than the red. The clock face in the gold eye is the only crisp text in the frame; everything the dial behind her carries is ornamental and half-swallowed by shadow.
Behind her, filling the upper two-thirds of the frame, the angel Zafkiel spreads as a colossal clock face: a gilt ring of roman numerals, an inner dial of concentric rings, and two long hands that sweep outward like wings, one pointing up and one across. The dial does not sit flat behind her — it is tilted in space, so its lower edge dips toward her shoulders and its upper rim recedes into darkness, and she overlaps its centre, her right shoulder crossing in front of the numeral six. From the dial's hub, black and crimson streamers and a scatter of floating gear-wheels drift down around her, some passing behind her arms, one gear hovering just above her open left palm.
The light comes from the dial itself: a cold gold radiance off the numerals and hands, striking the right side of her face and the gold eye, rimming the red side of her hair and the frilled edge of her sleeve, and leaving the left side of her body in deep red-black shadow. The gold does not spill far — beyond the dial's glow the void is absolute, a near-black field with a faint crimson haze low in the corners. The palette admits only black, crimson red and antique gold, the gold living in the dial, the eye and the hair's red tip, nothing else. Her shadow is cast down toward the viewer, stretched and softened by the low angle. Effortlessly ominous.
fric
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