About the takishima asaka tag
takishima asaka is an artist tag that NovelAI Diffusion can use. On Danbooru it has 283 posts, and its best-rated still image scores 91. The samples above put the tag at the front of a fixed base prompt with seed 1234, so the differences between tags come from the tag alone.
How each model draws takishima asaka
Follows pose and expression instructions closely. Good for clean standing portraits.
Picks up face shape, line and palette more strongly. Good when you want the style to lead.
WAI illustrious SDXL v17, a local model. Shows how the same tag reads outside NovelAI.
Writing takishima asaka in a prompt
Put the artist tag near the front, then add the subject and quality tags.
takishima asaka, 1girl, solo, best quality, masterpiecetakishima asaka, hatsune miku, 1girltakishima asaka, potg (piotegu), 1girlThe mix example uses potg (piotegu), the closest style on this site. The negative prompt and the full settings are on the terms page.
How these samples were made
Every image uses 832×1216, seed 1234, 23 steps and the k_euler_ancestral sampler. The base prompt and negative prompt stay the same for every tag, and only the tag under test changes. Images flagged by the NSFW check are regenerated with a new seed or hidden.
From the Danbooru wiki
Japanese name: 滝島朝香. Name reading is best guess, but the artist did confirm part of the name is アサカ (Asaka) in twitter account.
Circle: +legacy
FAQ
Does NovelAI recognize takishima asaka?
Compare the samples on this page. Every tag on this site shares the same seed and base prompt, so any change you see comes from takishima asaka.
How do I write takishima asaka in a prompt?
Write "takishima asaka" near the front of the prompt and separate it from other tags with commas.
Which artists draw in a similar style to takishima asaka?
potg (piotegu), torinoko (miiko draw), deg (deguana) are the closest on this site, judged from the V4.5 samples.
Should I use V5 or V4.5?
V4.5 gives a stronger takishima asaka look. V5 gives steadier poses and fewer artifacts.

