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C9I

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C9I

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1figure, lone figure, gaunt figure, heavy tattered black cloak, hood up, walking, mid-stride, from behind, cinematic tracking shot, wide shot, vertical composition, dead misty forest, November, bare claw-like trees, wet rotting leaves, mud, puddles, heavy bruised gray sky, low fog, three large ravens, ravens circling overhead, following, omen, rusted lantern, lantern in hand, sickly green glow, toxic green accents, desaturated blacks, deep grays, chiaroscuro, gothic surrealism, hyperdetailed, film grain, melancholic, isolation, despair, no eye contact with viewer, back to viewer, long shadow, The camera tracks behind and slightly to the left of the figure at a low, near-hip height, so the cloaked back fills the left third of a tall 2:3 frame and the forest recedes in long vertical claw-shapes to the right of it. The figure is a lone, gaunt silhouette: a heavy tattered black cloak hangs off narrow shoulders, its hood pulled forward so only a sliver of jaw and neck shows in profile as the head turns a fraction to the right; the hem trails in the muck, wet and blackened, one frayed edge dragging a shallow furrow of disturbed leaf-litter behind it. Mid-stride, the figure's left boot is planted in mud that holds a print and half-sucks free at the heel, the right leg lifted just clear of the ground; the cloak swings and catches behind the leading hip. From a slack arm the rusted lantern hangs on a bent wire handle, its corroded ribs eating the green light — the glow spills down onto the wet leaves and stands in small bright caustics only on the up-facing surfaces of puddles and polished leaf skin, while the mud around it stays a dead, matte brown-gray. The lantern is the only warm-cool source of colour in the frame; beyond its sickly green pool, the November forest is black, gray and damp, light coming from a bruised, heavy overcast sky that presses low between the bare claw-like trees. The ground fills the bottom third in hyperdetail: soaked, rotting leaves in overlapping layers of brown and black, half-sunk in gray-brown mud, the odd rib of a fallen branch, a scatter of black water where the sky reflects dull and broken. Mist bands the midground at ankle and knee height, thinning where the lantern light crosses it and thickening to hide the far tree line; the nearest trunks are clawed, split and bark-stripped, receding in crisp detail behind the figure and dissolving into flat gray silhouettes deep in the frame. Above and ahead, three large ravens circle: one high and near the top-right corner, wings spread with primaries splayed and catching a rim of pale gray sky; one banking steeply mid-frame above the figure's hood, head tilted down toward it; one lower on the left, its silhouette crossing the green lantern haze so its wing edges pick up the toxic glow. Their spiral reads as a slow, patient following, the lowest bird's shadow sliding over the mud a beat behind the figure's stride. Lighting is hard chiaroscuro: the sky's cold gray backlight rims the hood, shoulders and the leading edge of the cloak, dropping the figure's front and most of the forest into desaturated black; the green lantern adds a single low, poisoned accent that touches the wet leaves, the lowest raven's underside and the inner seam of the trailing cloak, leaving everything else in deep gray. The palette holds to black, gray, brown and that one sick green, not a colour more. Long, faint shadows stretch forward from the figure toward the viewer, the footprint and the dragged hem the only evidence of passage. Film grain sifts the whole frame; gothic surrealism in the clawed trees and the too-deliberate circling birds. Quiet dread, desolate.
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Melancholic dark art illustration of a lone, gaunt figure wrapped in a heavy, tattered black cloak walking through a dead, misty forest in November. The ground is covered in wet, rotting leaves and mud. Three large ravens are circling above the figure, following it like omens. The trees are bare and claw-like, the sky is a heavy, bruised gray. The figure carries a rusted lantern with a sickly green glow. Isolation, despair, gothic surrealism, hyperdetailed, chiaroscuro, desaturated blacks, deep grays, subtle toxic green accents, cinematic tracking shot, film grain, by Gustave Doré, masterpiece, 8K --ar 2:3 --v 6
Modalità
pro
Dimensione
992 x 992
Metodo di campionamento
Euler
Negativo
lowres, worst quality, low quality, bad anatomy, explicit
Helper di Prompt

Modello e LoRA utilizzati

Tsubaki.3 - AI Model cover image

PixAI DiT.3

Tsubaki.3
6.69k

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AI artwork
Avatar image of C9I
1figure, lone figure, gaunt figure, heavy tattered black cloak, hood up, walking, mid-stride, from behind, cinematic tracking shot, wide shot, vertical composition, dead misty forest, November, bare claw-like trees, wet rotting leaves, mud, puddles, heavy bruised gray sky, low fog, three large ravens, ravens circling overhead, following, omen, rusted lantern, lantern in hand, sickly green glow, toxic green accents, desaturated blacks, deep grays, chiaroscuro, gothic surrealism, hyperdetailed, film grain, melancholic, isolation, despair, no eye contact with viewer, back to viewer, long shadow, The camera tracks behind and slightly to the left of the figure at a low, near-hip height, so the cloaked back fills the left third of a tall 2:3 frame and the forest recedes in long vertical claw-shapes to the right of it. The figure is a lone, gaunt silhouette: a heavy tattered black cloak hangs off narrow shoulders, its hood pulled forward so only a sliver of jaw and neck shows in profile as the head turns a fraction to the right; the hem trails in the muck, wet and blackened, one frayed edge dragging a shallow furrow of disturbed leaf-litter behind it. Mid-stride, the figure's left boot is planted in mud that holds a print and half-sucks free at the heel, the right leg lifted just clear of the ground; the cloak swings and catches behind the leading hip. From a slack arm the rusted lantern hangs on a bent wire handle, its corroded ribs eating the green light — the glow spills down onto the wet leaves and stands in small bright caustics only on the up-facing surfaces of puddles and polished leaf skin, while the mud around it stays a dead, matte brown-gray. The lantern is the only warm-cool source of colour in the frame; beyond its sickly green pool, the November forest is black, gray and damp, light coming from a bruised, heavy overcast sky that presses low between the bare claw-like trees. The ground fills the bottom third in hyperdetail: soaked, rotting leaves in overlapping layers of brown and black, half-sunk in gray-brown mud, the odd rib of a fallen branch, a scatter of black water where the sky reflects dull and broken. Mist bands the midground at ankle and knee height, thinning where the lantern light crosses it and thickening to hide the far tree line; the nearest trunks are clawed, split and bark-stripped, receding in crisp detail behind the figure and dissolving into flat gray silhouettes deep in the frame. Above and ahead, three large ravens circle: one high and near the top-right corner, wings spread with primaries splayed and catching a rim of pale gray sky; one banking steeply mid-frame above the figure's hood, head tilted down toward it; one lower on the left, its silhouette crossing the green lantern haze so its wing edges pick up the toxic glow. Their spiral reads as a slow, patient following, the lowest bird's shadow sliding over the mud a beat behind the figure's stride. Lighting is hard chiaroscuro: the sky's cold gray backlight rims the hood, shoulders and the leading edge of the cloak, dropping the figure's front and most of the forest into desaturated black; the green lantern adds a single low, poisoned accent that touches the wet leaves, the lowest raven's underside and the inner seam of the trailing cloak, leaving everything else in deep gray. The palette holds to black, gray, brown and that one sick green, not a colour more. Long, faint shadows stretch forward from the figure toward the viewer, the footprint and the dragged hem the only evidence of passage. Film grain sifts the whole frame; gothic surrealism in the clawed trees and the too-deliberate circling birds. Quiet dread, desolate.
C9I
AI artwork
Avatar image of C9I
1figure, lone figure, gaunt figure, heavy tattered black cloak, hood up, walking, mid-stride, from behind, cinematic tracking shot, wide shot, vertical composition, dead misty forest, November, bare claw-like trees, wet rotting leaves, mud, puddles, heavy bruised gray sky, low fog, three large ravens, ravens circling overhead, following, omen, rusted lantern, lantern in hand, sickly green glow, toxic green accents, desaturated blacks, deep grays, chiaroscuro, gothic surrealism, hyperdetailed, film grain, melancholic, isolation, despair, no eye contact with viewer, back to viewer, long shadow, The camera tracks behind and slightly to the left of the figure at a low, near-hip height, so the cloaked back fills the left third of a tall 2:3 frame and the forest recedes in long vertical claw-shapes to the right of it. The figure is a lone, gaunt silhouette: a heavy tattered black cloak hangs off narrow shoulders, its hood pulled forward so only a sliver of jaw and neck shows in profile as the head turns a fraction to the right; the hem trails in the muck, wet and blackened, one frayed edge dragging a shallow furrow of disturbed leaf-litter behind it. Mid-stride, the figure's left boot is planted in mud that holds a print and half-sucks free at the heel, the right leg lifted just clear of the ground; the cloak swings and catches behind the leading hip. From a slack arm the rusted lantern hangs on a bent wire handle, its corroded ribs eating the green light — the glow spills down onto the wet leaves and stands in small bright caustics only on the up-facing surfaces of puddles and polished leaf skin, while the mud around it stays a dead, matte brown-gray. The lantern is the only warm-cool source of colour in the frame; beyond its sickly green pool, the November forest is black, gray and damp, light coming from a bruised, heavy overcast sky that presses low between the bare claw-like trees. The ground fills the bottom third in hyperdetail: soaked, rotting leaves in overlapping layers of brown and black, half-sunk in gray-brown mud, the odd rib of a fallen branch, a scatter of black water where the sky reflects dull and broken. Mist bands the midground at ankle and knee height, thinning where the lantern light crosses it and thickening to hide the far tree line; the nearest trunks are clawed, split and bark-stripped, receding in crisp detail behind the figure and dissolving into flat gray silhouettes deep in the frame. Above and ahead, three large ravens circle: one high and near the top-right corner, wings spread with primaries splayed and catching a rim of pale gray sky; one banking steeply mid-frame above the figure's hood, head tilted down toward it; one lower on the left, its silhouette crossing the green lantern haze so its wing edges pick up the toxic glow. Their spiral reads as a slow, patient following, the lowest bird's shadow sliding over the mud a beat behind the figure's stride. Lighting is hard chiaroscuro: the sky's cold gray backlight rims the hood, shoulders and the leading edge of the cloak, dropping the figure's front and most of the forest into desaturated black; the green lantern adds a single low, poisoned accent that touches the wet leaves, the lowest raven's underside and the inner seam of the trailing cloak, leaving everything else in deep gray. The palette holds to black, gray, brown and that one sick green, not a colour more. Long, faint shadows stretch forward from the figure toward the viewer, the footprint and the dragged hem the only evidence of passage. Film grain sifts the whole frame; gothic surrealism in the clawed trees and the too-deliberate circling birds. Quiet dread, desolate.
C9I
AI artwork
Avatar image of C9I
1figure, lone figure, gaunt figure, heavy tattered black cloak, hood up, walking, mid-stride, from behind, cinematic tracking shot, wide shot, vertical composition, dead misty forest, November, bare claw-like trees, wet rotting leaves, mud, puddles, heavy bruised gray sky, low fog, three large ravens, ravens circling overhead, following, omen, rusted lantern, lantern in hand, sickly green glow, toxic green accents, desaturated blacks, deep grays, chiaroscuro, gothic surrealism, hyperdetailed, film grain, melancholic, isolation, despair, no eye contact with viewer, back to viewer, long shadow, The camera tracks behind and slightly to the left of the figure at a low, near-hip height, so the cloaked back fills the left third of a tall 2:3 frame and the forest recedes in long vertical claw-shapes to the right of it. The figure is a lone, gaunt silhouette: a heavy tattered black cloak hangs off narrow shoulders, its hood pulled forward so only a sliver of jaw and neck shows in profile as the head turns a fraction to the right; the hem trails in the muck, wet and blackened, one frayed edge dragging a shallow furrow of disturbed leaf-litter behind it. Mid-stride, the figure's left boot is planted in mud that holds a print and half-sucks free at the heel, the right leg lifted just clear of the ground; the cloak swings and catches behind the leading hip. From a slack arm the rusted lantern hangs on a bent wire handle, its corroded ribs eating the green light — the glow spills down onto the wet leaves and stands in small bright caustics only on the up-facing surfaces of puddles and polished leaf skin, while the mud around it stays a dead, matte brown-gray. The lantern is the only warm-cool source of colour in the frame; beyond its sickly green pool, the November forest is black, gray and damp, light coming from a bruised, heavy overcast sky that presses low between the bare claw-like trees. The ground fills the bottom third in hyperdetail: soaked, rotting leaves in overlapping layers of brown and black, half-sunk in gray-brown mud, the odd rib of a fallen branch, a scatter of black water where the sky reflects dull and broken. Mist bands the midground at ankle and knee height, thinning where the lantern light crosses it and thickening to hide the far tree line; the nearest trunks are clawed, split and bark-stripped, receding in crisp detail behind the figure and dissolving into flat gray silhouettes deep in the frame. Above and ahead, three large ravens circle: one high and near the top-right corner, wings spread with primaries splayed and catching a rim of pale gray sky; one banking steeply mid-frame above the figure's hood, head tilted down toward it; one lower on the left, its silhouette crossing the green lantern haze so its wing edges pick up the toxic glow. Their spiral reads as a slow, patient following, the lowest bird's shadow sliding over the mud a beat behind the figure's stride. Lighting is hard chiaroscuro: the sky's cold gray backlight rims the hood, shoulders and the leading edge of the cloak, dropping the figure's front and most of the forest into desaturated black; the green lantern adds a single low, poisoned accent that touches the wet leaves, the lowest raven's underside and the inner seam of the trailing cloak, leaving everything else in deep gray. The palette holds to black, gray, brown and that one sick green, not a colour more. Long, faint shadows stretch forward from the figure toward the viewer, the footprint and the dragged hem the only evidence of passage. Film grain sifts the whole frame; gothic surrealism in the clawed trees and the too-deliberate circling birds. Quiet dread, desolate.
C9I

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