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AI art "House in forest"
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House in forest

settra 的 AI 作品「House in forest」，發布於 PixAI。使用模型：Tsubaki.2。

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A medium shot from a slightly elevated angle depicts a weathered, dark wooden house nestled deep within a dense, nocturnal forest. The house is composed of aged, textured timber with visible grains and decaying planks, positioned centrally in the frame. A single, small attic window emits a dim, flickering yellow light, casting a faint glow against the surrounding darkness. Parked directly in front of the building is a sleek, matte black van, its metallic surface reflecting the moonlight with subtle specular highlights. The surrounding environment is filled with towering, gnarled trees with thick, interlacing branches and deep green foliage that blends into the shadows. The atmosphere is eerie and suspenseful, lit by a cool, pale moonlight that creates high-contrast shadows and deep blues throughout the scene. Soft moonlight filtering through the canopy creates a subtle depth of field, with floating dust particles and a light mist clinging to the forest floor, enhancing the mysterious and isolated mood.
顯示參數
原始提示詞
Best quality, high resolution anime style picture of wooden dark house deep in forest at night. There is a dim light visible in one small attic's window. Black van car is parked in front of building.
模式
pro
尺寸
768 x 1280
反向提示詞
worst quality, photorealistic, bad anatomy, blur, low resolution

使用的模型和 LoRA

Tsubaki.2 - AI Model封面圖片

PixAI DiT.2

Tsubaki.2
20.06k

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AI artwork
Avatar image of もちょ
no humans, no people, scenery, background scenery, old western-style mansion, aged forest, forest, tall trees, overgrown, moss-covered stone wall, ivy, cracked plaster, dark windows, empty windows, abandoned, overcast daylight, fog, atmospheric perspective, from below, wide shot, low angle, dutch angle, no figures, empty scene, no characters, desaturated palette, cold green and grey, deep shadow, landscape composition A wide low-angle shot tilted slightly off level looks up through the aged forest at an old western-style mansion, and every part of the frame is empty of people: no figure stands on the gravel forecourt, no silhouette fills the dark windows, the door hangs ajar on nothing but blackness. The mansion rises in the midground on a low mossy stone foundation, its two storeys of pale cracked plaster streaked with damp, its slate roof sagging along one ridge, its tall narrow windows set in even bays with shutters hanging from single hinges. Ancient trees crowd it on three sides; their trunks, thick as columns and furred with lichen, lean in from foreground left and right, one massive trunk cutting vertically through the near edge of the frame so the mansion is seen between and behind it. Roots have pushed up through the gravel of the forecourt in a fan, cracking the path into lifted slabs. Ivy climbs the whole east wall and spills over the eaves, drawn tight where it clings and hanging slack in loops where it leaves the stone. Ground mist pools knee-deep among the trunks and thins as it nears the house, so the building's base fades into white while its roofline stands sharp against a flat overcast sky. Light is one diffuse grey source from above and behind the clouds; it strikes only the upward-facing planes — the roof slates, the tops of the exposed roots, the horizontal ledges of the window sills — while the plaster under the eaves and the whole of the recessed doorway sit in flat shadow, and no cast shadows fall anywhere. The palette is locked to cold desaturated green in the moss, ivy and mist, wet grey in the slate and stone, and bone-pale plaster, with no warm colour admitted except a faint rust bleed where an iron gutter bracket has stained the wall beneath it. Moss grows only on the north faces of the trunks and never on their sunless undersides. The forest dominates the frame and the house is a thing being slowly taken back by it; still, damp, expectant.
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