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AI art "A Bump in the Night"
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A Bump in the Night

A Bump in the Night AI art by Dermot on PixAI. Made with Tsubaki.2.

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Dermot

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A full body shot, low-angle view of a gorgeous woman in her 30s descending a grand Victorian staircase, facing the viewer. She has deep brown skin, a heart-shaped face, and vivid scarlet curly cropped hair. She wears a glossy white satin nightgown with a plunging lace V-neckline and a high side slit revealing her long, slim left leg, paired with white satin slippers, a silver key necklace, and a crimson ribbon on her left wrist. Her expression is brave and curious, with parted crimson lips and wide dark eyes. Her right hand holds a three-branched silver candelabra high, while her left hand slides along the carved oak banister. The environment is a gothic manor featuring a dark oak staircase with a crimson runner, faded grey damask walls with ancestral portraits, a stopped grandfather clock, and a shrouded crystal chandelier. A moonlight glow enters through a leaded window. The atmosphere is a suspenseful horror-slasher vibe. Lighting is dominated by flickering gold candlelight creating long shadows and a cool silver moonlit rim. The visual style is an anime illustration with clean inked linework and soft-gradient cel shading, utilizing a muted grey wash palette where only her scarlet hair and crimson accents provide vivid color.
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Original Prompt
A full-body, low-angle illustration of a woman in her 30s, a scream queen in an old manor house at the hour every clock in it stops, a candelabra her only company and a creak on the stair ahead, the viewer looking up at her. The vibe is horror and slasher, and the whole image feels suspenseful, gothic and clearly sensual, white satin, candle flame and long shadows. She is lovely and gorgeous, with a long-legged build: average height, with a short torso and legs that make up most of her height, a slim body, a small waist, narrow hips and long, slim thighs, quick and light in every step, the one who always outruns the dark, and large, full breasts. She has deep brown skin with a rich, satiny finish, a heart-shaped face with high cheekbones, a small, softly rounded nose and full, soft lips, dark, softly curved brows, and large, dark brown eyes with long, thick lashes. Her expression is curious and brave, her full crimson lips parted a little and one dark brow a fraction higher than the other, her dark brown eyes wide and bright but never afraid. Her hair is a curly crop: very short hair, close at the back and sides with her ears showing, and a soft cap of small, tight, springy curls on top that tumble forward in a few loose ringlets onto her forehead, and its colour is a scarlet: a vivid, pure, bright red with no orange or purple in it. She wears a long nightgown of glossy white satin, cut on the bias so that it pours over every curve of her body, on two thin satin straps, with a deep V neckline edged in fine ivory lace that plunges between her full breasts and shows their inner curves and the length of her breastbone. The satin clings to her small waist and her narrow hips and falls to the middle of her calves, its side slit open to the top of her knee so the long, slim length of her left leg shows with every step, and its hem is edged in a narrow band of the same ivory lace. A pair of white satin slippers with tiny satin bows is on her feet, she wears a fine silver chain at her throat with a small antique silver key on it and small silver hoop earrings, and a thin crimson ribbon is tied in a bow round her left wrist. Her makeup is scream-queen glam: a smoky grey shadow on her lids, a sharp dark winged liner, long lashes, a soft blush on her cheekbones, groomed dark brows and a glossy crimson lip. Her short, rounded nails are lacquered a glossy crimson. The setting is the grand staircase of an old Victorian manor house, packed with detail: a wide staircase of dark oak curves down from a shadowy landing, its steps covered in a worn runner of crimson carpet held by tarnished brass rods, and its banister of carved oak ends in a newel post shaped like a coiled serpent. The walls are papered in faded grey damask, and a row of gilt-framed portraits of stern old ancestors in dark clothes climbs the wall beside the stairs, the eyes of the nearest one seeming to follow the viewer. A tall grandfather clock stands on the landing with its pendulum still and its hands stopped at three, and a great crystal chandelier hangs above the stairwell shrouded in a grey dust sheet. On the landing above, a tall arched window of small leaded panes lets in the cold glow of the moon, its heavy velvet curtains half drawn, and a long hall of closed doors stretches away into darkness, one of them standing a crack open. Cobwebs hang in the corners of the ceiling, a hall table at the foot of the stairs holds a vase of dead roses and an old rotary telephone, and a thin draught stirs the dust sheet. In the foreground, softly out of focus, the carved serpent of the newel post crosses the lower left corner, and a dead rose fallen on the crimson stair runner lies at the lower right. She descends the staircase step by step toward the viewer, her body facing the viewer and her weight on her right foot on the lower step while her left foot, in its white satin slipper, reaches down to the next, the slit of the nightgown falling open over her bare left leg. Her right hand holds a three-branched silver candelabra high beside her head, its three tall white candles burning, and her left hand slides lightly down the carved oak banister, her crimson nails bright against the dark wood. The draught from the hall above stirs the springy scarlet curls on her head and ripples the satin against her long legs, and she peers down at the viewer with her bright, brave dark eyes and her lips just parted. The three candle flames of the silver candelabra in her hand are the dominant light: they fall across her forehead, her cheekbones and the bridge of her nose in a soft, flickering gold, glow on her glossy crimson lips, put three tiny bright catchlights in each of her dark brown eyes and pour down over the plunging lace neckline, the clinging white satin and her bare leg in the slit, throwing her tall shadow up the wall among the portraits. The much weaker cold silver glow of the moon through the arched window on the landing lays a faint, cool rim along her shoulders and the top of her curls. The candlelight glints on the silver key at her throat, the hoops, the candelabra and the brass stair rods, and makes her scarlet curls glow like embers. Her deep brown skin takes a warm, satiny sheen wherever the light reaches, with a soft glow along her collarbones and her thigh. The house around her falls away into layered, cool grey shadow. Grey Wash style: clean inked linework with soft-gradient cel shading, a desaturated, muted palette of cool greys with only occasional muted colour accents, and a smooth, semi-flat finish with subtle painterly softness, where low-saturation greys and deep shadow carry the mood and her scarlet hair and the crimson accents are the only true colour, the candle flames rendered as one small, soft bloom of muted gold in a house of cool grey washes. Rendered in extreme detail, an intricate, hyper-detailed masterpiece: every fold of the bias-cut white satin nightgown, the ivory lace of its plunging neckline and hem, the side slit, the satin slippers and their bows, the crimson ribbon at her wrist, the silver key necklace and the hoops, the three-branched candelabra, the carved serpent newel post, the portraits on the damask wall, the stopped grandfather clock, the shrouded chandelier and the half-open door drawn sharply and precisely. The palette is muted and gothic: cool grey and charcoal, white satin and ivory lace, faded crimson carpet, a soft bloom of candle gold, deep brown skin and scarlet hair.
Mode
standard
Size
960 x 1280

Model & LoRA used

Tsubaki.2 - AI Model cover image

PixAI DiT.2

Tsubaki.2
20.02k

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