Sign up free, get 10,000 credits

Starter credits added when you sign up.

Notice: About Recent Slower Generation Speeds and Limited Computing Resources — Dear PixAI Community, Thank you for your continued love and support for PixAI. Recently, generation speeds on PixAI have…

View details
AI artwork
Jana Secara Percuma

C9I

Avatar image of C9I

C9I

Lebih Banyak untuk Dilihat

Komen

1 burial chamber, no humans, ancient Scottish burial cairn interior, low narrow passage, claustrophobic vault, massive cracked stone sarcophagus at center, slightly open lid with dark seam, thick black smoke pouring from the crack, ravens emerging from the crack, one rusted lantern, sickly yellow lantern light, glowing Celtic runes carved into stone walls, moss on stone walls, cold stone grays, deep blacks, chiaroscuro, hyperdetailed charcoal and ink texture, film grain, cinematic tracking shot, wide shot, low camera, slight dutch angle, extreme foreground raven silhouette, coulisse framing, damp wet stone, condensation streaks, cosmic dread, charcoal and ink illustration The camera sits low and close to the floor of the passage, a cinematic tracking shot caught mid-push down the cairn's entrance corridor: two dry-stone jambs rise wet and out of focus at the extreme left and right edges of the frame, and the low lintel stone cuts the top of the view so the chamber roof is never fully seen — the composition boxes the eye inward to the sarcophagus at the center. The sarcophagus is a single massive block of cold gray stone, longer than a man is tall, its lid shoved a hand's width askew along one long edge so a black seam opens down the middle; the lid's lip rests on the rim at two contact points, grit and broken chips of stone scattered on the rim where it has ground shut. From that seam thick black smoke rises and spills over both long sides in a slow heavy roll, clinging low against the floor before climbing, and three ravens push up out of the crack — one already airborne and near the ceiling with its wings half-folded in the smoke, one perched on the shifted lid with its claws gripping the stone edge and its head turned down into the opening, one still emerging, only its shoulders, head and one wing clear of the black. Every head in the frame faces the sarcophagus or the smoke: the perched raven looks down into the crack, the flying one wheels back toward the lid. A single rusted lantern hangs from an iron hook driven into the wall at the far left, its housing eaten orange-brown and flaking, and it is the only light source. Its flame burns small and dirty; the light strikes the near left face of the sarcophagus and the left jamb of the passage, throwing a weak hot pool across the wet floor stones, and beyond that pool the darkness is total and unreadable — the right half of the chamber, the far corners and the roof above the smoke go to pure deep black. The lantern's glow lies sickly yellow across the smoke's underside, so the smoke glows dull ochre where it thins and stays black where it thickens; the ravens' feathers pick up a thin yellow rim along their upper edges only, and their shadows smear long and wrong across the flagstones toward the camera. The walls are dressed dry-stone slabs furred with moss in the damp joints and along the top edges where water runs, the moss a blackened green in the low light; chiseled into the slabs are ancient Celtic runes — spiral triquetras and interlaced knotwork grooves — cut deep and glowing from within with a cold pale blue-green light that is far weaker than the lantern, so the wall reads as a faint patterned constellation against the black. The runes nearest the sarcophagus burn brightest where the damp has not dulled them; those along the right wall barely register. Water beads on the stone and runs in thin dark seams down the joints, gathering in a shallow puddle on the floor beside the sarcophagus's near corner, where the puddle's still surface holds a shrunken, dim, ochre reflection of the lantern flame — softer and darker than its source — and the reflection shivers whenever the smoke drags across it. Charcoal and ink texture throughout: granular black hatching in the shadows, dry dragged charcoal across the cold stone grays, ink spatter at the frame edges; the palette held to deep black, cold stone gray, moss green-black, sickly yellow and the faint pale blue-green of the runes, nothing else admitted; heavy cinematic film grain over the whole frame. Claustrophobic, buried alive, cosmic dread.
Paparkan Parameter
Prompt Asal
Dark art horror illustration of the dark, damp interior of an ancient Scottish burial cairn. The stone walls are covered in glowing, ancient Celtic runes and moss. In the center lies a massive, cracked stone sarcophagus, slightly open. Thick black smoke and ravens are emerging from the crack. A single, rusted lantern casts a sickly yellow light on the terrifying scene. The feeling of being buried alive, claustrophobia, cosmic dread, hyperdetailed charcoal and ink texture, chiaroscuro, deep blacks, cold stone grays, sickly yellow glow, cinematic tracking shot, film grain, by H.R. Giger and Zdzisław Beksiński, masterpiece, 8K --ar 2:3 --v 6
Mod
pro
Saiz
992 x 992
Kaedah Pensampelan
Euler
Negatif
lowres, worst quality, low quality, bad anatomy, explicit
Pembantu Prompt

Model & LoRA yang digunakan

Tsubaki.3 - AI Model cover image

PixAI DiT.3

Tsubaki.3
7.25k

Imej Serupa

Papar lagi
AI artwork
Avatar image of C9I
1 burial chamber, no humans, ancient Scottish burial cairn interior, low narrow passage, claustrophobic vault, massive cracked stone sarcophagus at center, slightly open lid with dark seam, thick black smoke pouring from the crack, ravens emerging from the crack, one rusted lantern, sickly yellow lantern light, glowing Celtic runes carved into stone walls, moss on stone walls, cold stone grays, deep blacks, chiaroscuro, hyperdetailed charcoal and ink texture, film grain, cinematic tracking shot, wide shot, low camera, slight dutch angle, extreme foreground raven silhouette, coulisse framing, damp wet stone, condensation streaks, cosmic dread, charcoal and ink illustration The camera sits low and close to the floor of the passage, a cinematic tracking shot caught mid-push down the cairn's entrance corridor: two dry-stone jambs rise wet and out of focus at the extreme left and right edges of the frame, and the low lintel stone cuts the top of the view so the chamber roof is never fully seen — the composition boxes the eye inward to the sarcophagus at the center. The sarcophagus is a single massive block of cold gray stone, longer than a man is tall, its lid shoved a hand's width askew along one long edge so a black seam opens down the middle; the lid's lip rests on the rim at two contact points, grit and broken chips of stone scattered on the rim where it has ground shut. From that seam thick black smoke rises and spills over both long sides in a slow heavy roll, clinging low against the floor before climbing, and three ravens push up out of the crack — one already airborne and near the ceiling with its wings half-folded in the smoke, one perched on the shifted lid with its claws gripping the stone edge and its head turned down into the opening, one still emerging, only its shoulders, head and one wing clear of the black. Every head in the frame faces the sarcophagus or the smoke: the perched raven looks down into the crack, the flying one wheels back toward the lid. A single rusted lantern hangs from an iron hook driven into the wall at the far left, its housing eaten orange-brown and flaking, and it is the only light source. Its flame burns small and dirty; the light strikes the near left face of the sarcophagus and the left jamb of the passage, throwing a weak hot pool across the wet floor stones, and beyond that pool the darkness is total and unreadable — the right half of the chamber, the far corners and the roof above the smoke go to pure deep black. The lantern's glow lies sickly yellow across the smoke's underside, so the smoke glows dull ochre where it thins and stays black where it thickens; the ravens' feathers pick up a thin yellow rim along their upper edges only, and their shadows smear long and wrong across the flagstones toward the camera. The walls are dressed dry-stone slabs furred with moss in the damp joints and along the top edges where water runs, the moss a blackened green in the low light; chiseled into the slabs are ancient Celtic runes — spiral triquetras and interlaced knotwork grooves — cut deep and glowing from within with a cold pale blue-green light that is far weaker than the lantern, so the wall reads as a faint patterned constellation against the black. The runes nearest the sarcophagus burn brightest where the damp has not dulled them; those along the right wall barely register. Water beads on the stone and runs in thin dark seams down the joints, gathering in a shallow puddle on the floor beside the sarcophagus's near corner, where the puddle's still surface holds a shrunken, dim, ochre reflection of the lantern flame — softer and darker than its source — and the reflection shivers whenever the smoke drags across it. Charcoal and ink texture throughout: granular black hatching in the shadows, dry dragged charcoal across the cold stone grays, ink spatter at the frame edges; the palette held to deep black, cold stone gray, moss green-black, sickly yellow and the faint pale blue-green of the runes, nothing else admitted; heavy cinematic film grain over the whole frame. Claustrophobic, buried alive, cosmic dread.
C9I
AI artwork
Avatar image of C9I
1 burial chamber, no humans, ancient Scottish burial cairn interior, low narrow passage, claustrophobic vault, massive cracked stone sarcophagus at center, slightly open lid with dark seam, thick black smoke pouring from the crack, ravens emerging from the crack, one rusted lantern, sickly yellow lantern light, glowing Celtic runes carved into stone walls, moss on stone walls, cold stone grays, deep blacks, chiaroscuro, hyperdetailed charcoal and ink texture, film grain, cinematic tracking shot, wide shot, low camera, slight dutch angle, extreme foreground raven silhouette, coulisse framing, damp wet stone, condensation streaks, cosmic dread, charcoal and ink illustration The camera sits low and close to the floor of the passage, a cinematic tracking shot caught mid-push down the cairn's entrance corridor: two dry-stone jambs rise wet and out of focus at the extreme left and right edges of the frame, and the low lintel stone cuts the top of the view so the chamber roof is never fully seen — the composition boxes the eye inward to the sarcophagus at the center. The sarcophagus is a single massive block of cold gray stone, longer than a man is tall, its lid shoved a hand's width askew along one long edge so a black seam opens down the middle; the lid's lip rests on the rim at two contact points, grit and broken chips of stone scattered on the rim where it has ground shut. From that seam thick black smoke rises and spills over both long sides in a slow heavy roll, clinging low against the floor before climbing, and three ravens push up out of the crack — one already airborne and near the ceiling with its wings half-folded in the smoke, one perched on the shifted lid with its claws gripping the stone edge and its head turned down into the opening, one still emerging, only its shoulders, head and one wing clear of the black. Every head in the frame faces the sarcophagus or the smoke: the perched raven looks down into the crack, the flying one wheels back toward the lid. A single rusted lantern hangs from an iron hook driven into the wall at the far left, its housing eaten orange-brown and flaking, and it is the only light source. Its flame burns small and dirty; the light strikes the near left face of the sarcophagus and the left jamb of the passage, throwing a weak hot pool across the wet floor stones, and beyond that pool the darkness is total and unreadable — the right half of the chamber, the far corners and the roof above the smoke go to pure deep black. The lantern's glow lies sickly yellow across the smoke's underside, so the smoke glows dull ochre where it thins and stays black where it thickens; the ravens' feathers pick up a thin yellow rim along their upper edges only, and their shadows smear long and wrong across the flagstones toward the camera. The walls are dressed dry-stone slabs furred with moss in the damp joints and along the top edges where water runs, the moss a blackened green in the low light; chiseled into the slabs are ancient Celtic runes — spiral triquetras and interlaced knotwork grooves — cut deep and glowing from within with a cold pale blue-green light that is far weaker than the lantern, so the wall reads as a faint patterned constellation against the black. The runes nearest the sarcophagus burn brightest where the damp has not dulled them; those along the right wall barely register. Water beads on the stone and runs in thin dark seams down the joints, gathering in a shallow puddle on the floor beside the sarcophagus's near corner, where the puddle's still surface holds a shrunken, dim, ochre reflection of the lantern flame — softer and darker than its source — and the reflection shivers whenever the smoke drags across it. Charcoal and ink texture throughout: granular black hatching in the shadows, dry dragged charcoal across the cold stone grays, ink spatter at the frame edges; the palette held to deep black, cold stone gray, moss green-black, sickly yellow and the faint pale blue-green of the runes, nothing else admitted; heavy cinematic film grain over the whole frame. Claustrophobic, buried alive, cosmic dread.
C9I
AI artwork
Avatar image of C9I
1 burial chamber, no humans, ancient Scottish burial cairn interior, low narrow passage, claustrophobic vault, massive cracked stone sarcophagus at center, slightly open lid with dark seam, thick black smoke pouring from the crack, ravens emerging from the crack, one rusted lantern, sickly yellow lantern light, glowing Celtic runes carved into stone walls, moss on stone walls, cold stone grays, deep blacks, chiaroscuro, hyperdetailed charcoal and ink texture, film grain, cinematic tracking shot, wide shot, low camera, slight dutch angle, extreme foreground raven silhouette, coulisse framing, damp wet stone, condensation streaks, cosmic dread, charcoal and ink illustration The camera sits low and close to the floor of the passage, a cinematic tracking shot caught mid-push down the cairn's entrance corridor: two dry-stone jambs rise wet and out of focus at the extreme left and right edges of the frame, and the low lintel stone cuts the top of the view so the chamber roof is never fully seen — the composition boxes the eye inward to the sarcophagus at the center. The sarcophagus is a single massive block of cold gray stone, longer than a man is tall, its lid shoved a hand's width askew along one long edge so a black seam opens down the middle; the lid's lip rests on the rim at two contact points, grit and broken chips of stone scattered on the rim where it has ground shut. From that seam thick black smoke rises and spills over both long sides in a slow heavy roll, clinging low against the floor before climbing, and three ravens push up out of the crack — one already airborne and near the ceiling with its wings half-folded in the smoke, one perched on the shifted lid with its claws gripping the stone edge and its head turned down into the opening, one still emerging, only its shoulders, head and one wing clear of the black. Every head in the frame faces the sarcophagus or the smoke: the perched raven looks down into the crack, the flying one wheels back toward the lid. A single rusted lantern hangs from an iron hook driven into the wall at the far left, its housing eaten orange-brown and flaking, and it is the only light source. Its flame burns small and dirty; the light strikes the near left face of the sarcophagus and the left jamb of the passage, throwing a weak hot pool across the wet floor stones, and beyond that pool the darkness is total and unreadable — the right half of the chamber, the far corners and the roof above the smoke go to pure deep black. The lantern's glow lies sickly yellow across the smoke's underside, so the smoke glows dull ochre where it thins and stays black where it thickens; the ravens' feathers pick up a thin yellow rim along their upper edges only, and their shadows smear long and wrong across the flagstones toward the camera. The walls are dressed dry-stone slabs furred with moss in the damp joints and along the top edges where water runs, the moss a blackened green in the low light; chiseled into the slabs are ancient Celtic runes — spiral triquetras and interlaced knotwork grooves — cut deep and glowing from within with a cold pale blue-green light that is far weaker than the lantern, so the wall reads as a faint patterned constellation against the black. The runes nearest the sarcophagus burn brightest where the damp has not dulled them; those along the right wall barely register. Water beads on the stone and runs in thin dark seams down the joints, gathering in a shallow puddle on the floor beside the sarcophagus's near corner, where the puddle's still surface holds a shrunken, dim, ochre reflection of the lantern flame — softer and darker than its source — and the reflection shivers whenever the smoke drags across it. Charcoal and ink texture throughout: granular black hatching in the shadows, dry dragged charcoal across the cold stone grays, ink spatter at the frame edges; the palette held to deep black, cold stone gray, moss green-black, sickly yellow and the faint pale blue-green of the runes, nothing else admitted; heavy cinematic film grain over the whole frame. Claustrophobic, buried alive, cosmic dread.
C9I
AI artwork
Avatar image of C9I
1 figure, lone hooded figure, hooded figure, tattered cloak, kneeling, kneeling before standing stone, ancient ruined stone circle, massive central standing stone, cracked stone, blue runic glow, glowing cracks, ravens, many ravens, perched on stones, wide shot, cinematic wide shot, from below, low camera, landscape composition, vertical, mist, fog, freezing rain, heavy rain, rain streaks, night, dark, chiaroscuro, desaturated blacks, cold misty grays, deep greens, sickly blue glow, film grain, oil painting texture, atmospheric black metal aesthetic, horror illustration, hyperdetailed, melancholic, oppressive, ominous, scottish highlands, moorland, heather, distant mountains, dark offering, blood offering, bare hands, no visible face, hood shadowed, back view, weathered megalith, lichen, wet stone, reflections in puddles, volumetric light, no text The camera sits low among the heather, tilted up from below the moor so the stones tower over the frame in a cinematic wide shot; the kneeling figure is small, set left of centre at the foot of the central megalith, back to the viewer, and the stone circle fills the frame's width while the misty Highland slopes recede into grey distance behind it. The massive central standing stone dominates the vertical centre — a pitted, lichen-blotched monolith broader at the base than three men laid end to end — split by a jagged fissure that climbs its face and forks across its crown; from inside that fissure the sickly pale blue runic light bleeds out, tracing carved spiral and zigzag marks that glow in soft cold halos, lighting the wet stone around each cut with the only saturated colour in the image. The lone hooded figure in the tattered cloak kneels on both knees on the rain-flattened turf before the monolith, the cloak's frayed hem pooling black and sodden around the boots, the hood pulled deep so the face is nothing but shadow; one bare hand rests flat against the wet stone at the base of the fissure while the other sets a dark offering down on a flat slab just in front of it — a shape of almost-black that reads by its wet sheen alone, its own thin reflection trembling in a puddle at the slab's edge. A murder of ravens fills the stones: a dozen and more perched motionless on the lintels and broken uprights, a few on the central stone's shoulders, all with heads turned down toward the kneeling figure, beaks shut, wings folded, no bird in flight — absolute silence held in the middle of the downpour. Thick freezing rain falls as long diagonal striations blown across the frame from upper left, hissing off the tops of the standing stones, running in threads down every vertical face, beading on the ravens' backs, and the flat puddles on the turf show the blue glow mirrored, fractured and darker than its source. Fog swallows the further ring of stones at forty paces and the moor rises into dark ridges beyond, heather in deep green going black at the edges of the light. The glowing fissure and the faint cold sky-bleed through the mist are the only light sources; everything outside their reach sinks to desaturated blacks and cold misty grays, and the chiaroscuro drives the ravens and the hood into silhouette. A thin haze of rain-spray glows where the blue light catches it. Hyperdetailed oil painting texture over dark atmospheric black metal horror illustration, film grain across the whole frame, palette held to desaturated blacks, cold misty grays and deep greens with the sickly blue glow as the single vivid note; oppressive and melancholic.
C9I

Terokai lebih banyak

Pengguna Disyorkan

Anda Mungkin Suka

AI artwork
Avatar image of リオ
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
リオ
2#Puella Magi Madoka Magica#Madoka Kaname#Puella Magi Madoka Magica
Laman UtamaModelJanaRecipeProfil