Complex White Ceramic Sculpture with Gold Kintsugi Repairs

Gilded Porcelain Biomorphic Sculpture

Artist
SÁNDOR SZA...
DDG Model
Z-Image Turbo
Access
Public
Created
2w ago
Try
Public
51

0

7
- Share
  
  https://deepdreamgenerator.com/ddream/gqw9c1pf4ko COPY LINK
- Info
  Gilded Porcelain Biomorphic Sculpture
  
  Model: Z-Image Turbo
  
  Size: 1504 X 1152 (1.73 MP)
  
  Used settings:
  
  Prompt: Create one coherent, freestanding, fully three-dimensional sculpture in an abstract artificial space. It stands upright through the internal balance of its own lowest porcelain elements and is surrounded by open air. No pedestal, plinth, base block, stand, wall, mounting, hanging system or visible support. ARTIFICIAL SPACE: every pixel behind, around, beneath and visible through the sculpture is one uniform, untextured, medium-dark neutral graphite-grey spatial field, three stops darker than the porcelain. It is empty and nonphysical: no wall, floor, corner, horizon, scenery or colour variation. Show spatial separation through open air, depth and edge contrast, never through 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. Show a face only where present in the source. 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. No decorative surface cracks or isolated gold lines. Use dense, opaque, vitrified, high-fired hard-paste porcelain made from refined white kaolin. All surfaces, cavities, ribs, lamellae, edges and break cross-sections are brilliant achromatic optical snow-white, with zero ivory, cream, beige or yellow undertone. Apply a thin water-clear non-yellowing glaze with restrained porcelain sheen, preserving sharp micro-detail. Use calibrated D65 6500 K neutral light, soft frontal fill and gentle side-raking light. Shadows remain pale neutral cool grey. No coloured bounce light; gold colour stays inside the joints.
  
  Using base image: Yes
- Report
  
  Would you like to report this Dream as inappropriate?

Prompt: Create one coherent, freestanding, fully three-dimensional sculpture in an abstract artificial space. It stands upright through the internal balance of its own lowest porcelain elements and is surrounded by open air. No pedestal, plinth, base block, stand, wall, mounting, hanging system or visible support. ARTIFICIAL SPACE: every pixel behind, around, beneath and visible through the sculpture is one uniform, untextured, medium-dark neutral graphite-grey spatial field, three stops darker than the porcelain. It is empty and nonphysical: no wall, floor, corner, horizon, scenery or colour variation. Show spatial separation through open air, depth and edge contrast, never through 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. Show a face only where present in the source. 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. No decorative surface cracks or isolated gold lines. Use dense, opaque, vitrified, high-fired hard-paste porcelain made from refined white kaolin. All surfaces, cavities, ribs, lamellae, edges and break cross-sections are brilliant achromatic optical snow-white, with zero ivory, cream, beige or yellow undertone. Apply a thin water-clear non-yellowing glaze with restrained porcelain sheen, preserving sharp micro-detail. Use calibrated D65 6500 K neutral light, soft frontal fill and gentle side-raking light. Shadows remain pale neutral cool grey. No coloured bounce light; gold colour stays inside the joints.
Started from image:

Prompt

Create one coherent, freestanding, fully three-dimensional sculpture in an abstract artificial space. It stands upright through the internal balance of its own lowest porcelain elements and is surrounded by open air. No pedestal, plinth, base block, stand, wall, mounting, hanging system or visible support. ARTIFICIAL SPACE: every pixel behind, around, beneath and visible through the sculpture is one uniform, untextured, medium-dark neutral graphite-grey spatial field, three stops darker than the porcelain. It is empty and nonphysical: no wall, floor, corner, horizon, scenery or colour variation. Show spatial separation through open air, depth and edge contrast, never through 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. Show a face only where present in the source. 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. No decorative surface cracks or isolated gold lines. Use dense, opaque, vitrified, high-fired hard-paste porcelain made from refined white kaolin. All surfaces, cavities, ribs, lamellae, edges and break cross-sections are brilliant achromatic optical snow-white, with zero ivory, cream, beige or yellow undertone. Apply a thin water-clear non-yellowing glaze with restrained porcelain sheen, preserving sharp micro-detail. Use calibrated D65 6500 K neutral light, soft frontal fill and gentle side-raking light. Shadows remain pale neutral cool grey. No coloured bounce light; gold colour stays inside the joints.

More about Gilded Porcelain Biomorphic Sculpture

An intricate porcelain sculpture, primarily white with gold accents, is presented against a dark gray background. The sculpture is abstract and biomorphic, composed of multiple flowing, curved, and undulating forms that suggest organic shapes like wings, leaves, or shell fragments. Many of these forms feature delicate, parallel ridges or striations, creating a sense of texture and movement. Gold lines and patches are visible where parts of the white porcelain appear to be joined or cracked, reminiscent of Kintsugi, the Japanese art of repairing broken pottery with lacquer dusted or mixed with powdered gold. Some internal sections reveal a delicate, cracked gold leaf pattern, contrasting with the smooth or ridged white surfaces. The overall composition is dynamic and fluid, with elements rising and extending outwards, creating an impression of lightness and elegance. The lighting highlights the glossy surface of the porcelain and casts subtle shadows, emphasizing the three-dimensionality of the artwork.