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ๅ ใฎๅฐใๆนใธ
ๅ ใฎๅฐใๆนใธ AI art by suzu on PixAI. Made with Tsubaki.3.
Show Parameters
- Original Prompt
- ใในใใซใALIVEใ็ตถๆใๅฑๆใซๅคใใใคใกใผใธใฎ้ขจๆฏ
- Mode
- pro
- Size
- 1056 x 1888
- Sampling Method
- Euler
- Negative
- lowres, worst quality, low quality, bad anatomy, explicit
Prompt Helper
Model & LoRA used
Similar Images
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l
L
lucas
n
scenery, no humans, wide shot, from below, dutch angle, evening, blue sky, white clouds, orange clouds, black clouds, sunset, cloudscape, layered clouds, backlighting, atmospheric perspective, gradient sky, sun low on the horizon, low horizon line, open sky, natural lighting, detailed sky
A wide, low-angle view tilted slightly off level, so the horizon runs as a shallow diagonal across the bottom eighth of the frame and the sky fills almost everything above it; the camera sits near ground level looking up into the clouds, which gives the nearest cloud banks a slow swell of foreshortening as they lean overhead. The sky is built in horizontal strata that read from bottom to top as one continuous evening. At the horizon the blue is pale and washed with warm haze; a band of blue sky climbs above it, deepening toward the top of the frame into a cooler, cleaner blue. Across the low sky a chain of white clouds runs, lit from beneath along their flat bases and bright along their western edges. Above and behind them the orange clouds mass in long, torn horizontal ribbons, saturated tangerine and apricot where the sun catches them, shading into rose and dull ember on their shadowed undersides. Highest and heaviest sit the black clouds: dense, hard-edged silhouettes stacked in the upper third, so dark they hold almost no detail, their ragged lower contours bitten out against the orange and white behind them. The sun is low and out of frame behind the black bank, so every lit surface is a rim, every face turned toward the viewer is in shadow, and the brightest part of the picture is the gap of sky between the black clouds and the orange ribbons. Because the light comes from behind, the white clouds show opaque, luminous tops and grey-violet flat bottoms; the orange clouds glow at their edges and go dim in their bodies; the black clouds are pure unlit mass. Depth comes from scale โ crisp-edged small clouds high and distant, softer blurred foreground wisps drifting near the lens. The ground is only a sliver of dark, indistinct land along the very bottom edge, kept as a silhouette with no readable detail, so nothing competes with the sky. Palette is restricted to four colors โ deep blue, warm white, tangerine-orange, and near-black โ and nothing else is admitted. Quiet, vast, gathering dusk.
nanpan
n
scenery, no humans, wide shot, from below, dutch angle, evening, blue sky, white clouds, orange clouds, black clouds, sunset, cloudscape, layered clouds, backlighting, atmospheric perspective, gradient sky, sun low on the horizon, low horizon line, open sky, natural lighting, detailed sky
A wide, low-angle view tilted slightly off level, so the horizon runs as a shallow diagonal across the bottom eighth of the frame and the sky fills almost everything above it; the camera sits near ground level looking up into the clouds, which gives the nearest cloud banks a slow swell of foreshortening as they lean overhead. The sky is built in horizontal strata that read from bottom to top as one continuous evening. At the horizon the blue is pale and washed with warm haze; a band of blue sky climbs above it, deepening toward the top of the frame into a cooler, cleaner blue. Across the low sky a chain of white clouds runs, lit from beneath along their flat bases and bright along their western edges. Above and behind them the orange clouds mass in long, torn horizontal ribbons, saturated tangerine and apricot where the sun catches them, shading into rose and dull ember on their shadowed undersides. Highest and heaviest sit the black clouds: dense, hard-edged silhouettes stacked in the upper third, so dark they hold almost no detail, their ragged lower contours bitten out against the orange and white behind them. The sun is low and out of frame behind the black bank, so every lit surface is a rim, every face turned toward the viewer is in shadow, and the brightest part of the picture is the gap of sky between the black clouds and the orange ribbons. Because the light comes from behind, the white clouds show opaque, luminous tops and grey-violet flat bottoms; the orange clouds glow at their edges and go dim in their bodies; the black clouds are pure unlit mass. Depth comes from scale โ crisp-edged small clouds high and distant, softer blurred foreground wisps drifting near the lens. The ground is only a sliver of dark, indistinct land along the very bottom edge, kept as a silhouette with no readable detail, so nothing competes with the sky. Palette is restricted to four colors โ deep blue, warm white, tangerine-orange, and near-black โ and nothing else is admitted. Quiet, vast, gathering dusk.
nanpan
n
scenery, no humans, wide shot, from below, dutch angle, evening, blue sky, white clouds, orange clouds, black clouds, sunset, cloudscape, layered clouds, backlighting, atmospheric perspective, gradient sky, sun low on the horizon, low horizon line, open sky, natural lighting, detailed sky
A wide, low-angle view tilted slightly off level, so the horizon runs as a shallow diagonal across the bottom eighth of the frame and the sky fills almost everything above it; the camera sits near ground level looking up into the clouds, which gives the nearest cloud banks a slow swell of foreshortening as they lean overhead. The sky is built in horizontal strata that read from bottom to top as one continuous evening. At the horizon the blue is pale and washed with warm haze; a band of blue sky climbs above it, deepening toward the top of the frame into a cooler, cleaner blue. Across the low sky a chain of white clouds runs, lit from beneath along their flat bases and bright along their western edges. Above and behind them the orange clouds mass in long, torn horizontal ribbons, saturated tangerine and apricot where the sun catches them, shading into rose and dull ember on their shadowed undersides. Highest and heaviest sit the black clouds: dense, hard-edged silhouettes stacked in the upper third, so dark they hold almost no detail, their ragged lower contours bitten out against the orange and white behind them. The sun is low and out of frame behind the black bank, so every lit surface is a rim, every face turned toward the viewer is in shadow, and the brightest part of the picture is the gap of sky between the black clouds and the orange ribbons. Because the light comes from behind, the white clouds show opaque, luminous tops and grey-violet flat bottoms; the orange clouds glow at their edges and go dim in their bodies; the black clouds are pure unlit mass. Depth comes from scale โ crisp-edged small clouds high and distant, softer blurred foreground wisps drifting near the lens. The ground is only a sliver of dark, indistinct land along the very bottom edge, kept as a silhouette with no readable detail, so nothing competes with the sky. Palette is restricted to four colors โ deep blue, warm white, tangerine-orange, and near-black โ and nothing else is admitted. Quiet, vast, gathering dusk.
nanpan
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