Textured White Ceramic Sculpture with Golden Cracks

Kintsugi Sculpture Sándor Végh

Artist
SÁNDOR SZA...
DDG Model
Z-Image Turbo
Access
Public
Created
1mo ago
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- Info
  Kintsugi Sculpture Sándor Végh
  
  Model: Z-Image Turbo
  
  Size: 1664 X 2224 (3.70 MP)
  
  Used settings:
  
  Prompt: Create a coherent, standalone, fully three-dimensional sculpture in an artificial landscape. It stands upright due to the internal balance of its lowest porcelain layers and is surrounded by open air. There is no pedestal, plinth, base block, stand, wall, mounting, suspension system, or visible support. ARTIFICIAL SPACE: every pixel behind, around, beneath, and showing through the sculpture is a uniform, untextured, mid-dark neutral graphite gray spatial field, three shades darker than the porcelain. Empty and non-physical: no wall, floor, corner, horizon, landscape, or color variation. Show spatial separation with open air, depth, and edge contrast, never with a pedestal or floor shadow. Use the uploaded pen-and-ink drawing as a strict structural blueprint. HIGHEST PRIORITY: preserve its orientation, crop, composition, proportions, silhouettes, overlaps, recognizable forms, facial features, negative spaces and complete line system. Never add, remove, relocate, mirror, simplify or invent elements. Construct the sculpture FROM THE DRAWING’S LINES, not from smooth modeled masses. Every important ink stroke has a visible physical equivalent in snow-white porcelain. Contours become narrow raised ribs or membrane edges; fine strokes become slender micro-ribs. Parallel hatching becomes separate thin lamellae preserving direction, curvature, length, spacing, density and rhythm. Cross-hatching becomes intersecting lamellar systems at different depths. Dense regions use tightly spaced fine lamellae, never smooth solid blocks. Smooth porcelain occurs only where the source is blank. Never blur, merge, inflate or reinterpret the linework. From a nearly frontal view the drawing and its pen technique remain recognizable. Create real depth with curved hollow membranes, visible thickness, separated front-middle-rear layers, cavities, parallax and real air gaps. Original negative spaces remain genuine openings. This is a fully round spatial sculpture, never a flat image, print or wall relief. ONLY AFTER completing the detailed line-built sculpture, break it randomly into a moderate number of irregular porcelain shards and reassemble it with authentic gold-only kintsugi. Breaks are independent of the pen lines; gold never represents the drawing. Gold appears only between matching broken shard edges. Each gold joint connects two shards and continues to an outer or openwork edge, another joint, a junction or the hidden rear. Repaired shards may cross the face, but facial features and drawn linework remain unchanged. Add a few small gold-filled losses. The cold blue sky softly outlines the edges across from it. The glass itself remains clear, colorless, and transparent; all color comes only from the surrounding dawn light. Under the water, it shows only the faint, darker, slightly softened reflection of the full glass mass. Minimal, quiet landscape, no people, buildings, vegetation, or distracting objects. Subtle atmospheric realism
  
  Using base image: Yes
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Prompt: Create a coherent, standalone, fully three-dimensional sculpture in an artificial landscape. It stands upright due to the internal balance of its lowest porcelain layers and is surrounded by open air. There is no pedestal, plinth, base block, stand, wall, mounting, suspension system, or visible support. ARTIFICIAL SPACE: every pixel behind, around, beneath, and showing through the sculpture is a uniform, untextured, mid-dark neutral graphite gray spatial field, three shades darker than the porcelain. Empty and non-physical: no wall, floor, corner, horizon, landscape, or color variation. Show spatial separation with open air, depth, and edge contrast, never with a pedestal or floor shadow. Use the uploaded pen-and-ink drawing as a strict structural blueprint. HIGHEST PRIORITY: preserve its orientation, crop, composition, proportions, silhouettes, overlaps, recognizable forms, facial features, negative spaces and complete line system. Never add, remove, relocate, mirror, simplify or invent elements. Construct the sculpture FROM THE DRAWING’S LINES, not from smooth modeled masses. Every important ink stroke has a visible physical equivalent in snow-white porcelain. Contours become narrow raised ribs or membrane edges; fine strokes become slender micro-ribs. Parallel hatching becomes separate thin lamellae preserving direction, curvature, length, spacing, density and rhythm. Cross-hatching becomes intersecting lamellar systems at different depths. Dense regions use tightly spaced fine lamellae, never smooth solid blocks. Smooth porcelain occurs only where the source is blank. Never blur, merge, inflate or reinterpret the linework. From a nearly frontal view the drawing and its pen technique remain recognizable. Create real depth with curved hollow membranes, visible thickness, separated front-middle-rear layers, cavities, parallax and real air gaps. Original negative spaces remain genuine openings. This is a fully round spatial sculpture, never a flat image, print or wall relief. ONLY AFTER completing the detailed line-built sculpture, break it randomly into a moderate number of irregular porcelain shards and reassemble it with authentic gold-only kintsugi. Breaks are independent of the pen lines; gold never represents the drawing. Gold appears only between matching broken shard edges. Each gold joint connects two shards and continues to an outer or openwork edge, another joint, a junction or the hidden rear. Repaired shards may cross the face, but facial features and drawn linework remain unchanged. Add a few small gold-filled losses. The cold blue sky softly outlines the edges across from it. The glass itself remains clear, colorless, and transparent; all color comes only from the surrounding dawn light. Under the water, it shows only the faint, darker, slightly softened reflection of the full glass mass. Minimal, quiet landscape, no people, buildings, vegetation, or distracting objects. Subtle atmospheric realism
Started from image:

Prompt

Create a coherent, standalone, fully three-dimensional sculpture in an artificial landscape. It stands upright due to the internal balance of its lowest porcelain layers and is surrounded by open air. There is no pedestal, plinth, base block, stand, wall, mounting, suspension system, or visible support. ARTIFICIAL SPACE: every pixel behind, around, beneath, and showing through the sculpture is a uniform, untextured, mid-dark neutral graphite gray spatial field, three shades darker than the porcelain. Empty and non-physical: no wall, floor, corner, horizon, landscape, or color variation. Show spatial separation with open air, depth, and edge contrast, never with a pedestal or floor shadow. Use the uploaded pen-and-ink drawing as a strict structural blueprint. HIGHEST PRIORITY: preserve its orientation, crop, composition, proportions, silhouettes, overlaps, recognizable forms, facial features, negative spaces and complete line system. Never add, remove, relocate, mirror, simplify or invent elements. Construct the sculpture FROM THE DRAWING’S LINES, not from smooth modeled masses. Every important ink stroke has a visible physical equivalent in snow-white porcelain. Contours become narrow raised ribs or membrane edges; fine strokes become slender micro-ribs. Parallel hatching becomes separate thin lamellae preserving direction, curvature, length, spacing, density and rhythm. Cross-hatching becomes intersecting lamellar systems at different depths. Dense regions use tightly spaced fine lamellae, never smooth solid blocks. Smooth porcelain occurs only where the source is blank. Never blur, merge, inflate or reinterpret the linework. From a nearly frontal view the drawing and its pen technique remain recognizable. Create real depth with curved hollow membranes, visible thickness, separated front-middle-rear layers, cavities, parallax and real air gaps. Original negative spaces remain genuine openings. This is a fully round spatial sculpture, never a flat image, print or wall relief. ONLY AFTER completing the detailed line-built sculpture, break it randomly into a moderate number of irregular porcelain shards and reassemble it with authentic gold-only kintsugi. Breaks are independent of the pen lines; gold never represents the drawing. Gold appears only between matching broken shard edges. Each gold joint connects two shards and continues to an outer or openwork edge, another joint, a junction or the hidden rear. Repaired shards may cross the face, but facial features and drawn linework remain unchanged. Add a few small gold-filled losses. The cold blue sky softly outlines the edges across from it. The glass itself remains clear, colorless, and transparent; all color comes only from the surrounding dawn light. Under the water, it shows only the faint, darker, slightly softened reflection of the full glass mass. Minimal, quiet landscape, no people, buildings, vegetation, or distracting objects. Subtle atmospheric realism

More about Kintsugi Sculpture Sándor Végh

A full-body, high-angle view of a white, textured ceramic sculpture resembling a heavy-set man in a suit, with gold cracks running through it in the Kintsugi style, is placed against a dark gray background. The man in the sculpture is depicted in a standing position, slightly hunched forward, with a gentle smile on his face, eyes glancing to the left. His hair is parted on the left side, and he appears to be wearing a suit jacket and tie. The surface of the sculpture has a wood-grain-like texture, with numerous vertical and diagonal lines carved into the ceramic. The gold cracks are prominent and follow irregular paths across the entire figure, emphasizing the broken yet mended aesthetic of Kintsugi. Some cracks are wide, revealing bright gold, while others are hairline fractures. The lighting highlights the textures and cracks of the sculpture, creating subtle shadows and enhancing the three-dimensional effect. The background is a solid dark gray, allowing the white and gold of the sculpture to stand out.