Sign up for free and get 10,000 credits instantly

Starter credits for new creators, added to your account on the day you sign up.

Notice: PixAI iOS App Temporarily Unavailable on the App Store — Dear PixAI users, The PixAI iOS app is currently unavailable for search and download on the App Store. We are actively w…

View details
AI artwork
Generate for Free

ut yatu

uy

ut yatu

More to See

Comments

before-and-after, ten years apart, split composition, two-panel vertical, same viewpoint repeated, morning light left panel, evening light right panel, single tree, sapling to full tree, dirt path to paved lane, one bench, weathered wood to repainted slats, triptych of two stacked panels, no people, no text, no logos, no readable signage Two stacked panels share one exact camera position, a low eye-level wide shot from the same spot on the ground, so the horizon line sits on the same pixel row in both. Upper panel, ten years ago: a narrow packed-dirt path runs from the bottom edge toward a low rise, worn into two soft ruts by foot traffic, its edges crumbling into loose gravel; a waist-high sapling stands off to the left of the path with three thin branches and a tie of baling twine around its trunk, its shadow short and crisp under a cool high morning sun coming in from the upper right; a bare weathered wooden bench sits on the right verge, one slat cracked and sagging, paint long gone, grain silvered and split. Lower panel, ten years later, same bench, same path line, same horizon: the sapling has become a broad tree whose canopy fills the upper third of the frame, trunk thick and bark furrowed, the twine gone, long dappled shadows flung across the lane from a low warm evening sun entering from the left; the path is now a paved lane with a shallow concrete curb, the curb cracked in one place and a weed pushing up through the seam; the bench has been repainted a deep green on its slats but its iron legs are still rusted, and moss has gathered only along the upward-facing top edge of the backrest where rain sits. Same bench contact points repeat identically in both panels — legs planted in the same two spots, the right rear foot sunk a finger's width into the soil. An empty sky in both panels, clear and unmarked, no birds, no clouds beyond a thin haze at the horizon in the lower panel. Palette discipline: cool blue-grey and straw-yellow in the upper panel, warm amber and deep green in the lower, with the concrete lane a neutral grey-white that anchors both. No figures anywhere; the only things that moved are the tree, the surface and the paint. Quiet, accumulating.
Show Parameters
Original Prompt
10 years of area change
Mode
flash
Size
1104 x 1824
Prompt Helper

Model & LoRA used

Tsubaki.3 Flash - AI Model cover image

PixAI DiT.3

Tsubaki.3 Flash
1.70k

Similar Images

Show more
AI artwork
uy
before-and-after, ten years apart, split composition, two-panel vertical, same viewpoint repeated, morning light left panel, evening light right panel, single tree, sapling to full tree, dirt path to paved lane, one bench, weathered wood to repainted slats, triptych of two stacked panels, no people, no text, no logos, no readable signage Two stacked panels share one exact camera position, a low eye-level wide shot from the same spot on the ground, so the horizon line sits on the same pixel row in both. Upper panel, ten years ago: a narrow packed-dirt path runs from the bottom edge toward a low rise, worn into two soft ruts by foot traffic, its edges crumbling into loose gravel; a waist-high sapling stands off to the left of the path with three thin branches and a tie of baling twine around its trunk, its shadow short and crisp under a cool high morning sun coming in from the upper right; a bare weathered wooden bench sits on the right verge, one slat cracked and sagging, paint long gone, grain silvered and split. Lower panel, ten years later, same bench, same path line, same horizon: the sapling has become a broad tree whose canopy fills the upper third of the frame, trunk thick and bark furrowed, the twine gone, long dappled shadows flung across the lane from a low warm evening sun entering from the left; the path is now a paved lane with a shallow concrete curb, the curb cracked in one place and a weed pushing up through the seam; the bench has been repainted a deep green on its slats but its iron legs are still rusted, and moss has gathered only along the upward-facing top edge of the backrest where rain sits. Same bench contact points repeat identically in both panels — legs planted in the same two spots, the right rear foot sunk a finger's width into the soil. An empty sky in both panels, clear and unmarked, no birds, no clouds beyond a thin haze at the horizon in the lower panel. Palette discipline: cool blue-grey and straw-yellow in the upper panel, warm amber and deep green in the lower, with the concrete lane a neutral grey-white that anchors both. No figures anywhere; the only things that moved are the tree, the surface and the paint. Quiet, accumulating.
ut yatu
AI artwork
uy
before-and-after, ten years apart, split composition, two-panel vertical, same viewpoint repeated, morning light left panel, evening light right panel, single tree, sapling to full tree, dirt path to paved lane, one bench, weathered wood to repainted slats, triptych of two stacked panels, no people, no text, no logos, no readable signage Two stacked panels share one exact camera position, a low eye-level wide shot from the same spot on the ground, so the horizon line sits on the same pixel row in both. Upper panel, ten years ago: a narrow packed-dirt path runs from the bottom edge toward a low rise, worn into two soft ruts by foot traffic, its edges crumbling into loose gravel; a waist-high sapling stands off to the left of the path with three thin branches and a tie of baling twine around its trunk, its shadow short and crisp under a cool high morning sun coming in from the upper right; a bare weathered wooden bench sits on the right verge, one slat cracked and sagging, paint long gone, grain silvered and split. Lower panel, ten years later, same bench, same path line, same horizon: the sapling has become a broad tree whose canopy fills the upper third of the frame, trunk thick and bark furrowed, the twine gone, long dappled shadows flung across the lane from a low warm evening sun entering from the left; the path is now a paved lane with a shallow concrete curb, the curb cracked in one place and a weed pushing up through the seam; the bench has been repainted a deep green on its slats but its iron legs are still rusted, and moss has gathered only along the upward-facing top edge of the backrest where rain sits. Same bench contact points repeat identically in both panels — legs planted in the same two spots, the right rear foot sunk a finger's width into the soil. An empty sky in both panels, clear and unmarked, no birds, no clouds beyond a thin haze at the horizon in the lower panel. Palette discipline: cool blue-grey and straw-yellow in the upper panel, warm amber and deep green in the lower, with the concrete lane a neutral grey-white that anchors both. No figures anywhere; the only things that moved are the tree, the surface and the paint. Quiet, accumulating.
ut yatu
AI artwork
uy
before-and-after, ten years apart, split composition, two-panel vertical, same viewpoint repeated, morning light left panel, evening light right panel, single tree, sapling to full tree, dirt path to paved lane, one bench, weathered wood to repainted slats, triptych of two stacked panels, no people, no text, no logos, no readable signage Two stacked panels share one exact camera position, a low eye-level wide shot from the same spot on the ground, so the horizon line sits on the same pixel row in both. Upper panel, ten years ago: a narrow packed-dirt path runs from the bottom edge toward a low rise, worn into two soft ruts by foot traffic, its edges crumbling into loose gravel; a waist-high sapling stands off to the left of the path with three thin branches and a tie of baling twine around its trunk, its shadow short and crisp under a cool high morning sun coming in from the upper right; a bare weathered wooden bench sits on the right verge, one slat cracked and sagging, paint long gone, grain silvered and split. Lower panel, ten years later, same bench, same path line, same horizon: the sapling has become a broad tree whose canopy fills the upper third of the frame, trunk thick and bark furrowed, the twine gone, long dappled shadows flung across the lane from a low warm evening sun entering from the left; the path is now a paved lane with a shallow concrete curb, the curb cracked in one place and a weed pushing up through the seam; the bench has been repainted a deep green on its slats but its iron legs are still rusted, and moss has gathered only along the upward-facing top edge of the backrest where rain sits. Same bench contact points repeat identically in both panels — legs planted in the same two spots, the right rear foot sunk a finger's width into the soil. An empty sky in both panels, clear and unmarked, no birds, no clouds beyond a thin haze at the horizon in the lower panel. Palette discipline: cool blue-grey and straw-yellow in the upper panel, warm amber and deep green in the lower, with the concrete lane a neutral grey-white that anchors both. No figures anywhere; the only things that moved are the tree, the surface and the paint. Quiet, accumulating.
ut yatu

Explore more

Recommended Creators

You might like

AI artwork
Avatar image of Kani x
character: tenma_tsukasa "", , , digital illustration, cel shading, iridescent palette, pastel aesthetic, pastel colors, soft gradients, subtle color shifts, "painterly semi-realistic anime: faceted torn-glass shading, loose linework, warm golden rim light, lens-flare/prism edges, jewel or earthy palette, large gradient eyes, ornate vintage costuming, dynamic off-balance poses.", pastel_candy_style, dreamy pastel anime illustration, delicate soft lineart, luminous glossy eyes, gentle glowing lighting, glossy hair highlights, intricate frills and decorative details, tenma tsukasa, sitting on a pile of stars with a high angle, one hand over his eye, light reflecting off his face. darkness below but harsh light up ahead, hair swept back, looking up, side high angle, star theme, Tenma tsukasa looking up, dark themes""
Kani x
4#Hatsune Miku: Colorful Stage!#Tenma Tsukasa
AI artwork
Avatar image of リオ
character: kagamine_rin, copyright: vocaloid lumiglaze_pastel_opal_painting, beautiful colors, magical lighting, hnyst01 anime illustration style, masterpiece, best quality, ultra-detailed, delicate illustration, detailed illustration, anime illustration, Kagamine Rin, VOCALOID, solo, side profile portrait, close-up composition, eyes gently closed, peaceful expression, listening to music, short golden blonde hair, distinctive white hair bow, delicate facial features, black and white sailor collar, futuristic headphones, a large compact disc perfectly aligned with the headphone earcup, the CD itself visually functioning as the headphone earcup, circular CD rings surrounding her ear, iridescent reflective disc surface, concentric circles framing her face, face occupying most of the composition, head slightly tilted downward, hair softly framing her cheeks, vibrant yellow, golden orange, violet and hot pink color palette, Y2K music album cover design, retro futuristic CD packaging aesthetic, intricate geometric frames, transparent interface panels, thin circuit-like lines, orbiting circular graphics, decorative typography, abstract music symbols, tiny stars and sparkling highlights, layered graphic elements overlapping the portrait, asymmetrical layout, crisp geometric details, dense decorative composition, square format
リオ
21#Kagamine Rin#Vocaloid#Lofi Dream
AI artwork
음안
character: eren_yeager, mikasa_ackerman character: eren_yeager, mikasa_ackerman Mikasa Ackerman and Eren Yeager are captured in the middle of a desperate ODM maneuver above a ruined city street, with Mikasa much closer to the camera and Eren cutting across the background at a different angle. Mikasa twists her entire body sideways as she launches past the viewer, one arm extended forward with a blade in hand while the other reaches back toward Eren. Her black hair whips violently across the frame and her red scarf streams far behind her in a long sweeping curve. Eren is several meters behind her, angled sharply in the opposite direction as his ODM cables stretch from his gear toward a damaged rooftop, his green jacket and hair blown backward by the speed of the maneuver. The perspective is extremely dynamic: Mikasa's outstretched hand and blade are large in the foreground while her body rapidly narrows toward the center of the image. Eren appears smaller but perfectly clear behind her, creating a strong diagonal connection between them. Their ODM cables slice through the composition as thin steel lines, crossing the image at different angles and disappearing beyond the frame. One cable passes extremely close to the camera, creating a dramatic foreground line. The ruined city beneath them is not shown as a wide landscape. Broken rooftops, shattered windows, hanging masonry, and fragments of brick rush diagonally through the lower portion of the composition, giving the impression of immense speed. Several pieces of debris are suspended around Mikasa and Eren, each frozen at a different distance from the camera. Dust catches the sunlight in thin atmospheric streaks. Mikasa's Survey Corps uniform is sharply detailed and windswept, with the cropped brown jacket open over the fitted uniform, harness straps pulled taut across her body, white trousers, tall boots, and the Wings of Freedom insignia clearly visible. Eren wears his recognizable Survey Corps uniform and green jacket, with his harness, ODM equipment, and boots rendered with precise mechanical detail. A subtle graphic-design layer is integrated into the composition without overpowering the action: Wings of Freedom emblem are overlaid across the sky, Thin white directional lines follow the trajectories of Mikasa and Eren, while small restrained military-style markings and typography sit along the edges of the frame. The graphic elements reinforce the movement rather than becoming random decoration. The entire image is frozen at one extraordinary instant: Mikasa's scarf curves through the air, Eren's jacket flares behind him, cables are pulled completely taut, debris hangs in the air, dust streams diagonally through the sunlight, and both characters are caught at different points of the same sweeping maneuver. Nothing feels static. Painterly digital anime illustration, expressive textured brushwork, cinematic motion frozen in a single frame, extreme wide-angle perspective, dramatic foreshortening, strong diagonals, layered depth, detailed characters, flowing hair and fabric, taut cables, airborne debris, warm sunlight cutting through cool gray ruins, muted military colors with Mikasa's red scarf as the strongest accent, sophisticated composition, subtle graphic design, powerful silhouettes, intense expressions, visceral sense of speed, beautiful atmospheric lighting, energetic, cinematic
음뭐지 안되서 다시 부계만듬
9#Attack on Titan#Mikasa Ackerman
HomeModelsGenerateRecipeProfile