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AI artwork
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ut yatu

Arte IA di ut yatu su PixAI. Creato con Tsubaki.3 Flash.

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ut yatu

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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 โ€” 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.
Mostra parametri
Immissione richiesta originale
10 years of area change
Modalitร 
flash
Dimensione
1104 x 1824
Helper di Prompt

Modello e LoRA utilizzati

Tsubaki.3 Flash - AI Model cover image

PixAI DiT.3

Tsubaki.3 Flash
2.22k

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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 โ€” 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 โ€” 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 โ€” 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

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character: kaname_madoka_(magical_girl), copyright: mahou_shoujo_madoka_magica Kaname Madoka from Puella Magi Madoka Magica, pink twin tails tied with deep red ribbons, wearing her iconic magical girl costume, white corset-like bodice with delicate back lacing, voluminous layered white and pale pink ruffled skirt, crimson ribbons flowing loosely around her body, viewed from behind at a three-quarter angle, seated with her back gracefully arched, both arms extending naturally downward behind her back, one hand gently holding the opposite wrist, clearly separated hands, relaxed slender fingers, five distinct fingers on each hand, natural finger spacing, anatomically correct wrists, elegant delicate hands, visible knuckles, softly curved fingers, hands clearly visible against the white skirt, unobstructed hand silhouette, accurate hand anatomy, head tilted far backward, chin raised toward the darkness, face mostly hidden, elegant elongated silhouette, delicate exposed shoulders, soft loose strands of pink hair, dramatic asymmetrical composition, close medium shot, large skirt filling the lower frame, dark almost black background, dramatic directional lighting, pale ivory highlights, muted dusty pink, cold gray shadows, rich crimson accents, strong contrast between luminous fabric and deep darkness, thick impasto oil painting, expressive visible brushstrokes, heavy layered paint, rough palette knife texture, sculptural paint strokes, painterly edges, textured canvas, loose gestural painting, rich tactile surface, dramatic chiaroscuro, melancholic atmosphere, haunting beauty, full bleed composition, edge-to-edge artwork, no borders, no frame, textured illustration, grainy texture, crayon texture, chalky brushwork, impasto strokes, bold color blocking, stylized anime, flat shading, dry brush effect, atmospheric lighting, soft glow highlights, rough painterly anime style, visible textured brushstrokes, heavy impasto texture, scratchy charcoal-like linework, expressive gestural strokes, smudged edges, desaturated base tones with aggressive high-contrast color, sketch style, rough brushstroke
ใƒชใ‚ช
4#Puella Magi Madoka Magica#Madoka Kaname#Puella Magi Madoka Magica
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