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AI artwork featuring #ทิวทัศน์, #ซากปรักหักพัง, #อาคาร and #The Fantasy City
สร้างฟรี

ทิวทัศน์, ซากปรักหักพัง

ภาพ AI โดย 安藤タケル บน PixAI สร้างด้วย Tsubaki.3 Flash

Contest Entry
I Want to See a Fantasy City!#The Fantasy City
#ทิวทัศน์#ซากปรักหักพัง#อาคาร
安

安藤タケル

ดูเพิ่มเติม

คอมเมนต์

low camera angle, wide shot, no humans, empty interior, megastructure, colossal rectangular pillars, skyscraper-sized support columns at varied depths, broken gantries, cable anchors, catwalk, thin walkway receding to vanishing point, catwalk entering from bottom of frame, horizon within the hall, dead plain, kilometers of empty floor, overhead darkness, no ceiling, pillars vanishing into black, layers of pillars, atmospheric perspective, gray fog, pale haze, volumetric haze, monochrome, grayscale, high contrast, ink linework, dense hatching, black and white manga shading, paper texture, film grain, cinematic, post-apocalyptic concept art The camera sits almost at floor level, wide and level, the dead plain's surface running from the bottom edge of the frame to a faint seam of horizon far across the hall; a needle-thin catwalk enters at the bottom center of the frame and runs dead straight away from the viewer, thinning with distance until it dissolves into haze long before it reaches anything, its handrails two hairline scratches of ink. Colossal rectangular pillars stand at wildly different depths: the nearest at the left third of the frame, close enough that its base is cut by the frame edge, its flanks ruled with vertical hatching and its foot lashed by broken gantries — buckled skeletal walkways and snapped cable anchors that dangle slack against the stone; the next rises at the right quarter, half eroded by fog; further ranks stand thinner and paler at the middle distance, and the farthest rows reduce to flat gray silhouettes stacked like a mountain range at dusk, each rank a step lighter than the one before as the pale haze thickens toward the seam of the horizon. The floor reads as kilometers of unbroken plate and grit, joint lines converging to the vanishing point, scoured clean, with not one footprint, not one loose cable crossing the catwalk's line. Overhead there is no ceiling: the tops of the pillars shear off into a wall of pure black that presses down from the upper third of the frame, and the two nearest columns simply stop where the darkness takes them. Light comes from the haze itself, a diffuse, sourceless glow rising off the plain at the far horizon, so the pillars' forward faces stay lit and their trailing edges fall into hard black; the darkness overhead has no reflection and eats the upper frame in absolute, ungraded tone. Palette is ink and paper only — black, paper white, and a narrow ladder of grays for the haze, with the deepest blacks reserved for the overhead void and the undersides of the gantries. Dense ink linework over grainy paper tooth, high-contrast manga shading in the crosshatched shadow, and a fine film grain over the whole plate, with the pillar bases sitting in the shallowest drift of haze at ground level. Absolutely still. Overwhelming scale, silent, desolate.
ดูพารามิเตอร์
โหมด
flash
ขนาด
2048 x 1152

โมเดลและ LoRA ที่ใช้

Tsubaki.3 Flash - AI Model cover image

PixAI DiT.3

Tsubaki.3 Flash
2.15k

Creation Assistant

Mio.2
Agent
Mio.2

Minimal input, professional output

รูปภาพคล้ายกัน

ดูเพิ่มเติม
AI artwork
安
monochrome, grayscale, cold tones, no humans, no characters, vast empty abyss, extreme downward vanishing perspective, vertiginous drop, pov from a crumbling ledge, foreground concrete lip cutting diagonally across lower frame, jagged fractured edge, hairline cracks spidering toward camera, grit and dust trickling off the rim into the void, crumbling room corner in foreground, colossal subterranean cavern, overwhelming negative space, sparse ruined sci-fi towers, exposed iron skeletons, leaning towers, sheared towers, sea of pale gray haze, distant shadowy cavern walls, total blackness overhead, no visible ceiling, faint sourceless glow from far below, rim light on tower silhouettes, volumetric fog, god rays through haze, atmospheric perspective, depth layers, tiny scale reference towers dwarfed by the chamber, cinematic post-apocalyptic concept art, detailed digital painting, high detail, film grain, dread, awe The camera hangs just past the fractured lip of a crumbling interior corner, looking steeply down and out into a colossal subterranean abyss — a vertiginous three-quarter downward view where the concrete lip cuts a hard diagonal from the lower left toward the lower right of the frame, its nearest broken corner pushed close to the lens so the roughness of the aggregate reads oversized against everything below. Frost-white hairline cracks spider from the lip's inner edge toward the camera, widening slightly as they approach, and along the rim small chips and loose grit sit poised, a thin trickle of dust already slipping free of the edge and falling into open air, the grains catching the faint upwelling light as they drop and thinning to nothing within a few meters of the rim. The lip itself forms the only solid anchor in the whole image: a sharp dark band of near-black concrete in the extreme foreground, its top face faintly lit, its underside lost in shadow. Beyond and below the rim the chamber opens out with nothing to measure it against except the towers, which are made small by it. A sparse constellation of derelict mega-structures rises from a sea of pale gray haze that lies flat and luminous like a frozen tide kilometers down; the towers break through the haze in silhouette, their exposed iron skeletons showing as fine lattice against the glow — one leaning heavily across the frame mid-left, another sheared off clean and open to the sky partway up on the right, others standing thin and buckling, their bases swallowed by the pale sea. The haze between them softens each successive rank into flatter, lighter gray, so the near towers hold crisp black iron detail and the farthest dissolve to nearly the tone of the fog itself. Beyond the towers the cavern walls rise as distant gray masses of shadow, barely readable, their scale implied only by how little of them the light reaches. Overhead the chamber has no top: total blackness descends from the upper frame into pure void, and the darkness deepens rather than resolving, swallowing the walls as they climb until nothing is left but black. The light has no visible source. A faint pale glow wells up from far below out of the haze sea, dim and sourceless, and it strikes only the undersides and downward-facing planes of the towers and the ruin fragments, rimming their silhouettes in soft gray and leaving their upper faces black; the foreground lip, catching only a little of that upwelling, stays mostly dark with the light just grazing its top edge. Volumetric fog fills the middle distance, thick enough to glow where the light passes through it and dense enough to eat the tower bases first and the walls second; the fog brightens toward the bottom of the frame and darkens toward the top in a single smooth gradient. No cast shadows fall on the void — only the ambient occlusion of fog. The palette is strictly monochrome gray, cold and desaturated, black in the overhead void and the foreground concrete, mid-gray through the fog and the tower lattices, and a pale near-white only where the upwelling glow thickens in the deepest haze. Composition is overwhelmingly negative space: the diagonally thrusting ledge occupies the bottom third, the towers and fog the middle band, and the entire upper half is empty black — the vertigo comes from that emptiness being the largest thing in the picture. Detail is spent on the near aggregate and cracks of the ledge and on the crisp iron skeletons of the two nearest towers; the far ranks are simplified to silhouette and haze. Fine film grain sits over the whole plate, heaviest in the darker regions. Dread and awe.
安藤タケル
#ทิวทัศน์#ซากปรักหักพัง#อาคาร
AI artwork
安
no humans, 0girls, architecture focus, scenery, from below, wide shot, dutch angle, high contrast, monochrome, greyscale, heavy ink linework, dense crosshatching, black and white manga shading, vast multi-level machinery chamber, dungeon of dead engines, central void, at least a dozen hanging balconies, gantry decks at different heights, control consoles, turbine housings, pressure tanks, crooked stairs, catwalks ending midair, torn structure, colossal vertical pipes, spiral cable binds, hundreds of hanging cables, cable loops, unseen roof, pale haze layer at the bottom, machine silhouettes in haze, dense wall panels, rivets, blank warning-stripe plates, rusted plates, volumetric haze, film grain, cinematic post-apocalyptic concept art, oppressive megastructure scale, no text, no signage, dark, still, deserted. The shot is taken from below, tilted on a slight dutch angle, looking steeply up the flank of the chamber so the colossal pipes converge overhead toward a roof the frame never reaches: the central void opens at the left of the image, and the stacked decks recede up and away to the right in tiers of diminishing scale. Gantry decks and hanging balconies ring the void at a dozen different heights, none of them level with a neighbour; each deck is crowded edge to edge with dead control consoles, their angled faces blank and mottled, turbine housings with bolted flanges, and squat pressure tanks, and the decks nearest the bottom of the frame are drawn at large scale in dense hatched detail while the topmost tiers compress to a fringe of silhouetted outlines. Crooked stairs zigzag between levels, every flight slightly off-plumb, and catwalks run out from several decks and stop in midair where the structure has sheared away, their severed ends ragged and hanging over the drop with the torn plates curling down. Three colossal pipes rise vertically through the full height of the chamber like pillars, one in the foreground left half in deep shadow, the others further back catching a thin grey glare along one edge; each is wrapped in tight spiral cable binds winding in even continuous turns with a steadily shrinking pitch as they climb, and the binds tighten into knots where the pipes meet the deck brackets. Hundreds of thinner cables hang in slack loops from the invisible roof, layered at every depth, sagging over the void and crossing in front of the further decks and behind the nearer ones, so the whole upper frame is a veil of black hanging curves. The chamber bottom lies far below, lost in a faintly pale layer of haze that is the only light-toned mass in the image; through it the flat silhouettes of more machines and further pipe columns are barely visible, their edges fading upward into the murk. The walls between the decks are dense with rectangular panels, rivet rows and rusted warning-stripe plates, every plate painted with diagonal stripes only, blank, no lettering anywhere in the frame. Light comes from the pale haze at the bottom as the sole source: it rises and scatters, greying the undersides of decks and the inner faces of the pipes, leaving the tops of every console and balcony in near-solid black, and the inversion makes the overhead cables read as pure black against a dim grey field; no other light exists, and the upper chamber sinks toward absolute darkness. Palette is black, mid-grey and paper white only, with the density of hatched shadow carrying most of the surface. Dust lies thick on every upward-facing plane and hangs motionless in the light, cables perfectly still, no motion blur anywhere. Cinematic post-apocalyptic concept art, oppressive megastructure scale and density, dense ink linework with high-contrast black and white manga shading, volumetric haze, film grain; silent, dead, monumental.
安藤タケル
#ทิวทัศน์#ซากปรักหักพัง#อาคาร

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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
4#สาวน้อยเวทมนตร์ มาโดกะ#คานาเมะ มาโดกะ#สาวน้อยเวทมนตร์ มาโดกะ
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