Karl Friedrich Wilhelm

The Creators Corner (re-up)

• Model: Krea 2 Turbo

• Size: 832 X 1345 (1.12 MP)

• Used settings:

  • Prompt: A heavy oak writing desk dominates the foreground, its surface cluttered with a brass inkwell, a worn quill, a half-emptied clay pipe, scattered sheets of paper and a small oil lamp casting a warm amber pool of light. The open book sits mid-ground, pushed slightly back toward the center of the desk, its left page blazing in warm morning gold, the right page swallowed by bruised violet-black storm clouds that seem to spill from beyond the room. Behind the book, a tall arched window with a cross mullion frames the torn sky: left half – electric cerulean, sun-drenched, almost aggressive in its brightness; right half – churning indigo and charcoal, lightning flickering at the horizon. The divide runs razor-sharp down the book's spine and continues through the window pane. The full stone recess surrounds the window, masonry rising above the keystone, its rough surface catching the amber lamplight. Painted with a palette knife, thick impasto ridges catching the light, visible knife strokes and dabbed texture in every layer, wet-on-wet alla prima freshness, no glazing, no smoothing – raw, gestural, confident. Palette limited to cadmium yellow, alizarin crimson, cobalt blue, ivory black, lead white. The impasto peaks where the light hits, the valleys where shadow pools. Feels like a German Expressionist canvas from 1925 – the urgency of Kirchner, the color violence of Fauvism, the physicality of paint laid on so thick you could scrape it off. No text, no lettering, no writing anywhere in the image.
  • Using base image: No
  • Aspect Ratio: portrait_tall

A bear ru(i)ns the Village Bakery

• Model: Krea 2 Turbo

• Size: 1280 X 960 (1.23 MP)

• Used settings:

  • Prompt: A massive grizzly bear mid-attack inside a small rural pastry shop, roaring with jaws wide open, tongue visible, slobber dripping, eyes bloodshot and narrowed in a snarl, front paws slamming down on the shattered glass counter, body hunched forward in a charging lunge, claws digging into the wooden floor. the bear's fur is bristling, saliva flying. Cakes, croissants and pastries exploding outward from the impact, sugar and dough crumbs suspended in the air. The baker, an older man in a white apron and chef's hat, stumbling backward out of the shop with wide terrified eyes and arms flailing. The baker is absolutely shocked. In the background through the open door, several villagers on the village square cowering behind walls and doorframes, watching in horror. Old half-timbered houses frame the scene. Low camera angle looking up at the bear. In the style of a Baroque oil painting, Caravaggio style, dramatic chiaroscuro, warm golden side light, dark background, violent dynamic composition, visible brushwork, Rembrandt lighting, high resolution.
  • Using base image: No
  • Aspect Ratio: landscape

Zugbegegnung im Mittelgebirge ca. 1968

• Model: Photonic

• Size: 1688 X 1120 (1.89 MP)

• Used settings:

  • Prompt: Masterful oil painting, highly photorealistic with bold impasto brushstrokes in all planes. Subject: Head-on train encounter on a two-track line through a German Mittelgebirge, circa 1962. Wide establishing shot, viewed from a rocky outcrop on the hillside above the valley; the track curves gently through the valley, both trains visible on the curve; each train occupies no more than 15% of the frame width, both fully visible within a vast landscape. Left track: DB Baureihe 01 steam locomotive (dark grey, streamlined smokebox), front view visible, approaching, pulling blue-and-cream 1960s express coaches at full speed, headlamp blazing. Right track: a red DB V100 dieselpike (dark red), rear view visible, receding into the distance, pulling a short rake of open and covered freight wagons. Atmosphere: Massive billowing steam plume from the 01 fills the upper-left, backlit by low sun, glowing gold at edges. Faint haze of particulate between the trains. Setting: Narrow valley, steep forested hillsides in late-autumn palette (russet, ochre, deep green). Moss-covered stone arch bridge over a stream in foreground. Layered Mittelgebirge ridges in blue-grey atmospheric perspective; small white church steeple and farmhouses on the nearest ridge. Oldfashioned german Railway signal showing hp0 on the right side beside the right track. Lighting: Golden hour, low sun behind left hillside, long warm raking light, steam backlit. Sky: pale gold at horizon to cool blue-grey overhead, streaked cirrus, rose-tinted cumulus on horizon. Style: Oil on canvas, photorealistic accuracy of form and light, but every surface shows confident, directional brushwork — swirling impasto in steam, mosaic dabs in forest, quick linear strokes in ballast, broad horizontal strokes in sky, thick broken highlights on locomotives. Canvas texture subtly visible. No digital smoothing. Mood: Nostalgic, grand, melancholic — the last golden age of steam.
  • Using base image: Yes

Harzvorland ähnliche Dampfzug-Szene

• Model: DaVinci2

• Size: 1688 X 1120 (1.89 MP)

• Used settings:

  • Prompt: A black, classic German steam locomotive pulls dark-blue passenger carriages through a snow-covered landscape of low, gently rolling hills. A partly frozen river runs beside the railway. The hills are smooth and continuous, with no mountains, peaks, cliffs, or angular rock formations. Frost and snow cover the land, and dark steam rises into the pale winter sky. Loose, simplified watercolor illustration with broad, transparent washes of color. Use large, flowing color shapes that softly run into one another. Keep edges soft and forms simplified; avoid visible brushstrokes, paper texture, fine lines, tiny details, intricate marks, and busy patterns. The train should remain clearly recognizable, while the landscape is suggested with broad areas of icy blue, pale gray, and white. Calm, wintry atmosphere, with a few warm orange lights on the locomotive. The locomotive’s lamps glow warmly and bright in contrast to the icy surrounding.
  • Using base image: Yes

zarter anfang

• Model: Photonic

• Size: 1688 X 1120 (1.89 MP)

• Used settings:

  • Prompt: Photorealistic close-up, slightly elevated angle looking down at the wall, the wall runs diagonally toward the bottom edge of the frame: Foreground: A low ruin wall made of red fired bricks, the stones are mostly broken, porous and covered in dark soot. Exactly one butterfly is slightly over the top of the wall, no more, no less. The butterfly has it's wings fully spread open. His position is slightly left of the center. His direction is heading towards the background. The butterfly-body is natural and realistic; only the wings are a new creation out of the colors: white, black and red, no more, no less. The butterfly is just taking off, hovering with wings spread barely above the wall, leaving a natural shadow on top of the wall. Background: An empty, deserted city with crumbling facades and in the distance a half-standing church ruin with a collapsed roof, just a very few very young trees are standing inbetween the crumbling stones and ruins. Lighting: soft, diffuse daylight, slightly hazy and melancholic mood, muted colors. Style: photorealistic, high resolution, focus on the butterfly and the wall, natural shadow casting.
  • Using base image: Yes

wie du gehst

• Model: Photonic

• Size: 1817 X 1022 (1.86 MP)

• Used settings:

  • Prompt: A white blurred human figure stands before a hazy, pale building featuring multiple dark, shadowy windows. The out-of-focus scene evokes a mysterious and melancholic mood, blending indistinct architectural details with a blurred presence in the foreground.
  • Using base image: Yes

comfy place ahead

• Model: Krea 2 Turbo

• Size: 1472 X 832 (1.22 MP)

• Used settings:

  • Prompt: Oil painting in the style of a tenebrist nocturne, combining the dramatic single-source lighting of Caravaggio with the atmospheric winter street scenes of John Atkinson Grimshaw. A narrow street in a small North German town, 1920, deep winter. A row of two-storey brick houses with steep, snow-covered gabled roofs and dark red-brown Klinker facades receding into the distance. Cobblestones half-buried under thick snow. Late night, dark sky, a bright full moon high above casting cold blue-white light across the scene. Historic gas lamps line the street, their faint greenish-white flame light pooling in small circles on the snow. All windows are dark except one single house in the rear middle ground, where warm golden light glows from the windows. This warm light spills onto the snow-covered street, painting a small pool of soft amber-gold on the ground before the house, creating a powerful contrast with the cold blue moonlight and the surrounding darkness. In the foreground, seen from behind, a lone man in a long dark overcoat walks briskly through the snow toward the distant lit house, his shoulders slightly hunched against the cold, his silhouette partially rim-lit by the warm glow ahead. The darkness is deep and dominant, swallowing most of the background. Visible brushstrokes, rich impasto in the light areas, thin glazes in the shadows. Mood: still, lonely, cold, intimate, faintly hopeful. Limited palette of deep blues, blacks, and warm golds.
  • Using base image: No
  • Aspect Ratio: landscape_wide

Warmth of a loving russian Mother

• Model: Z-Image Turbo

• Size: 1600 X 912 (1.46 MP)

• Used settings:

  • Prompt: Scene: A modest Russian home interior, circa 1905. Densely furnished, almost no bare wall visible: wooden plank walls covered with a row of small icons and framed pictures, a low bench with folded linens and wool blankets along the back, an icon corner with a burning candle and gilded icon at the far right, a woven basket with eggs and a clay jug on a rough-hewn table, a blackened samovar with a cup on a side table, a wooden chair with a knitted shawl, a low brick stove with a darkened pot in the background, a narrow window on the left with a lace curtain and potted herb on the sill, a bundle of firewood in the corner, a worn dark rug on the floor. Subject: A Russian peasant woman in her late thirties with fair blonde hair in a loose knot secured by a cloth ribbon. Soft face, faint crow's-feet from laughter, matte complexion in warm ochre tones – no shine, no gloss. She wears a dark embroidered wool sarafan in deep wine-red with a white apron collar and a hand-knitted shawl. With both arms she cradles a small child (about 2 years old) tightly against her; her forehead rests against the child's, eyes closed in quiet affection. Her right hand is gently sunk into the child's hair. Details: – Composition: Medium shot, eye-level, the pair slightly left of center, occupying roughly one-third of canvas height. The environment carries equal visual weight. – Light: Cool window light from upper left on the face and shoulders; right side in warm brownish shadow. Candle casts a subtle golden glow on the icon. Stove emits faint amber glow from below. – Technique: Wet-into-wet, single sitting. Every brushstroke visible and confident – no overpainting, no smooth surface. – Paint: Heavy impasto, palette knife and broad brush, 2–3 mm thick on canvas, especially on cheeks, apron collar, dress folds, background. Canvas texture partially visible in darker areas. – Palette: Earthy, limited – deep wine-red, ochre, raw sienna, titanium white, ultramarine in shadows, cadmium yellow for the flame. No fluorescent colors. – Brushwork: Broad diagonal strokes in background; finer visible strokes in the face; bold sculptural strokes on fabric folds. – Texture: Tangible, plastic quality – knife marks and drag marks visible. Light-to-shadow transitions through layered thin glazes under the thick paint. – Complexion: Entirely matte, no specular highlights, no wet-look. Modeled through tone shifts only. Constraints: – No modern objects, no text, no signatures, no watermarks. – No photographic realism – must feel like a real hand-painted oil painting. – No excessive smoothing or "AI look" – brushwork energy is central. – No glossy highlights on the face or hands. – No large areas of empty bare wall. – No red or pink tones on the face or hands – keep them in neutral warm ochre and beige only.
  • Using base image: No
  • Aspect Ratio: landscape_wide

Nothing comes from Nothing

• Model: Z-Image Turbo

• Size: 1280 X 960 (1.23 MP)

• Used settings:

  • Prompt: A bare, freshly tilled field of brown loam, not a single seed sown, no sprouts. In the centre stands a farmer in a faded linen shirt and straw hat. His left hand holds an empty, upside-down seed packet made of brown paper – nothing falls out. His right hand holds a hoe, raised half-heartedly into the air, as if he's not sure what to do with it. His face is slightly scrunched, a grumpy, mildly exasperated little smile. In the background a low, sparse hedge and a pale, overcast sky. Vintage Oil painting, thick impasto, visible spatula strokes in the loam and in the paper texture of the packet, matte earthy tones – ochre, sienna, muted green, no gloss, no drama. Style: 17th-century Dutch genre painting, slightly caricatural, warm daylight, no pathos, no text.
  • Using base image: No
  • Aspect Ratio: landscape

Deep Dreamer

• Model: ChatGPT 2 (Base)

• Size: 2560 X 1440 (3.69 MP)

• Used settings:

  • Prompt: Oil painting from the early 1900s: A well-dressed man in a dark, well-fitting suit with tie and jacket is asleep, slumped on an upholstered sofa in a living room. The room is tastefully and classically furnished: dark wooden furniture, a tapestry on the wall, an antique side table, a grandfather clock, and a small rug. On the table sits a lavish bouquet of showy flowers — dahlias, carnations, and roses — in an expensive, ornate porcelain vase, and next to it his hat, neatly set down. In the background, a large multi-paned window opens onto a flat, rural North German landscape: meadows, a few half-timbered houses, and a church steeple in the haze. Soft, warm daylight streams in from the left through the window. Painted in thick oil paint with visible impasto and clearly defined brushstrokes throughout. Warm muted palette, calm nostalgic mood. No modern objects, no text, no logos.
  • Using base image: No
  • Aspect Ratio: landscape_wide

European Village

• Model: DaVinci2

• Size: 2384 X 1664 (3.97 MP)

• Used settings:

  • Prompt: A village in Lower Saxony, tranquil clouds, sunshine, a rough style, bold brushstrokes, areas painted with a painting knife, applied with a palette knife, mixed media.
  • Using base image: Yes

Old Alleyway

• Model: DigitalDaVinci

• Size: 1688 X 1120 (1.89 MP)

• Used settings:

  • Prompt: A historical picture shows a grubby alleyway in a neighbourhood, lined with a row of buildings. In the foreground are two old, dilapidated buildings. The building on the left has a weathered façade of red-baked bricks, with dark green paint flaking off its pitted zinc gutters and downpipes, as well as a weathered green wooden door. The house number 17 is faintly visible above the door. To the right of the door, a small, faded nameplate hangs on the wall. To the left of the door is a narrow window with closed shutters. The building on the right has grey-brown, plastered exterior walls, and the paint on the façade is peeling off heavily. The plaster is also crumbling, revealing the red brickwork in places. The door stands open, offering a glimpse into the darkness inside. A dark, bare tree with sparse branches looms down from the top of the picture. The cobbled streets and paths are still wet from the rain; there are puddles. Front-lit scene. The sun is 5 degrees above the horizon, directly behind the camera position. Every surface facing the viewer is fully and evenly illuminated in warm amber light: the red brick wall faces the viewer and glows, the plaster faces the viewer and is lit, the green door faces the viewer and is lit, the open doorway shows darkness because it faces away from the sun. Shadows fall straight away from the viewer, deep into the alley. The puddles on the cobbles mirror the warm sky above. The sky is a clear warm amber gradient, brightest at the horizon, no clouds. In the middle ground, a road runs behind the two houses; a very beautiful, old-fashioned white carriage, drawn by two white horses, is slowly passing along it. The carriage is seen in profile, its white body fully lit in warm amber light on the visible side. It is positioned more towards the right-hand side of the lane, slightly off-centre. Although it is only in the middle ground, the carriage becomes the main subject of the picture due to the warm light on it. The coachman is wearing a black hat, a white frock coat and red trousers. He sits proudly on the box, but he seems to be feeling the cold. In the background, behind the carriage, a path leads to a stately estate on which stands a large house with red brick walls, dark green shutters, ornate white Baroque window frames and a black-tiled roof. This building stands out for its striking architecture and a dormer window. A gate in front of the stately building features fence panels painted light grey. On the far right stands a tall, dark-green tree, its branches reaching up into the sky. The lane itself is unpaved, with a rough, uneven surface and rubble scattered here and there. The entire scene conveys a mixture of old-fashioned charm and the weathered appearance of a 'lost place'. A painting in the style of John Constable, with warm low sunlight and detailed landscape observation.
  • Using base image: No
  • Aspect Ratio: auto

Alte Eiche

• Model: DaVinci2

• Size: 1592 X 1192 (1.90 MP)

• Used settings:

  • Prompt: A mighty, 200-year-old oak with yellow and red leaves, set amidst a grey and dark blue stone landscape, viewed from below, looking up into the tree’s crown. Diffuse, warm backlight from the low autumn sun. Oil paints applied in extra-thick layers, wild impasto, enormous textures, clearly visible brushstrokes in the thick paint.
  • Using base image: Yes

Pale Gaze, Yellow Streaks © by Cypress Cankles

• Model: ChatGPT 2 (Base)

• Size: 2560 X 1440 (3.69 MP)

• Used settings:

  • Prompt: Impasto painting. Surreal realism, futuristic aesthetic meet fashion in an ethereal and atmospheric. A portrait of a small Mediterranean house. A white and pale yellow thatched roof, window frames painted a delicate shade of yellow, and light grey shutters. The background is a grey autumn day with a few touches of yellow and pink. Mood is spiritual, poetic, kinetic details, painterly photo realism in the style of Antony Gormley, Ron Mueck, Julian Opie, and Ugo Rondinone, highly textured, impasto brushstroke
  • Using base image: No
  • Aspect Ratio: landscape_wide

The Wise Choice

• Model: ChatGPT 2 (Pro)

• Size: 2264 X 1504 (3.41 MP)

• Used settings:

  • Prompt: A cinematic film still, shot on 35mm anamorphic with shallow depth of field and a warm filmic color grade. The scene is a medium two-shot at chest height inside a cozy, magical potion shop. The camera is positioned slightly to the right, capturing both figures in a natural two-shot composition. The air throughout the shop is filled with visible golden dust motes and tiny sparkles catching the light — they drift slowly through the warm glow of brass lanterns and candle flames, creating a soft, glittering bokeh effect across the entire frame. The sparkle is dense and warm, like sunlight through a dusty cathedral. Behind a dark oak sales counter stands a strikingly beautiful 26-year-old woman. She has soft, natural light blonde hair, loose and unstyled, falling past her shoulders. Her face is youthful and fresh, with dark green eyes, a tailored fitted dark green blouse with a neat collar, and a slim feminine build. Her lips are pressed together in a soft, contained smile, two dimples visible on her cheeks, and a single tear of joy rolls down her right cheek. Her skin is smooth and youthful. Her gaze is fixed directly on the elderly man in front of her. In front of the counter stands an elderly man in a simple worn brown wool coat, slightly stooped. His expression is serious and weary — furrowed brow, heavy eyelids, tight mouth. Deep wrinkles, age spots. His body is angled toward the fourth bottle. His head follows his gaze — he is looking at exactly the spot his finger points to. His right index finger reaches from the right side and points at the label of the fourth bottle — the rightmost of the four. He is focused on that exact label. At the point, where his fingertip touches the glass, a soft, silver-white twinkle appears on the bottle — a single gentle star-shaped glint, like a fairy-tale wand touching an object in a classic fairy film. Quiet, delicate, glowing. On the counter, four identical clear glass potion bottles with cork stoppers sit in a row, each glowing with the same soft warm golden inner light. Their labels are large, bold, and clearly legible in a clean serif font, reading from left to right: "Become Rich", "Become Famous", "Become Young Again", "Learn to Forgive". Behind the counter, tall dark wood shelves hold dozens of indistinct glass bottles in amber, violet, and teal, some faintly glowing. The overall palette is warm amber, honey, and deep green with soft volumetric light rays cutting through the haze. The woman is a photorealistic, classically beautiful young woman in her mid-twenties — youthful features, smooth skin, well-groomed appearance. The elderly man is rendered with strict photorealistic age detail. The environment carries a subtle magical-realist glow. The mood is tender and bittersweet — her quiet joy against his weary resolve. Style note: The golden dust and sparkle must be clearly visible throughout the frame — not subtle, but present and warm, like a magical atmosphere made visible. No text, writing, letters, or lettering should appear anywhere in the image except on the four bottle labels.
  • Using base image: No
  • Aspect Ratio: auto

Autumn is Here

• Model: DaVinci2

• Size: 1688 X 1120 (1.89 MP)

• Used settings:

  • Prompt: Oil painting, thick expressive impasto, visible brushstrokes, rural northern Germany, 1930. A 6-year-old boy with short, wet, blond hair is cycling quickly down an old village road on a worn-out, much too large black ladies’ bicycle fitted with an old-fashioned light. He wants to get home before it gets dark, so he cycles hurriedly, leaning far forward and pedalling vigorously. His expression is extremely cheerful and confident. He is wearing a brown woollen jumper that is far too big and well-worn, loose, patched trousers rolled up to the knee, and scuffed leather shoes. Here and there, bright autumn leaves in fiery red, orange and golden yellow are scattered across the road, glistening in the rain and reflecting the warm glow of the gas lamps. The trees lining the road are crowned in rich purple, tangerine orange and gold, glowing in the rich light of the late afternoon. In the background stands a simple brick house with a thatched roof; warm candlelight shimmers through one of the windows. Behind it stretch flat meadows, and on the distant horizon rises a brick church with a slender tower. The sky on the horizon is bathed in rich tones of warm amber and deep pink – the last light of a golden autumn afternoon. Thick, expressive impasto strokes, heavy paint texture, vibrant saturated color palette, rich impasto highlights, visible canvas weave, painterly style, no text, no watermark. Golden-yellow and crimson maple trees line the dry street, and the warm light from the street lamps and the setting sun illuminates the scene. Thick, textured brushstrokes, sculptural, relief-like brushstrokes, an expressive painting style, a cosy yet melancholic atmosphere, cinematic lighting, a high level of detail – scale 1:1 – stylisation 750
  • Using base image: Yes

Fischerhuus

• Model: Krea 2 Turbo

• Size: 917 X 917 (0.84 MP)

• Used settings:

  • Prompt: A weathered wooden fishing boat moored on a stone jetty in a small Northern European harbour, wide landscape composition at eye level. The boat fills the foreground, its hull showing peeling paint, barnacle scars, coiled hemp ropes, rusted steel railings, and a tangle of fishing nets and buoys. Behind it, a continuous row of traditional Breton-style houses: red-fired brick façades, whitewashed half-timbered gables, dark green shutters, small dormer windows, and steep roofs of black and red clay tiles. Set between two of the houses, a cosy fishermen's pub with a hand-painted wooden sign reading "Fischerhuus". Black and white 35mm film photograph, coarse visible grain, deep crushed blacks and bright silver-white highlights, hard directional sunlight from camera-left casting long shadows across the quay, luminous blown-out sky, strong chiaroscuro contrast throughout. Sharp focus on the boat and pub sign, the far end of the house row softening gently into shallow depth of field. Documentary maritime photography, full-bleed frame, entirely traditional architecture, clean uncluttered composition.
  • Using base image: No
  • Aspect Ratio: landscape

On the way back, the rain had stopped

• Model: Krea 2 Turbo

• Size: 1280 X 960 (1.23 MP)

• Used settings:

  • Prompt: A thick, impasto oil painting, executed with a palette knife, depicting a view from the outdoor seating area of an old-fashioned café onto a dry autumn street in the city on a sunny autumn evening. In the distance, an old red tram approaches along the tracks. Golden-yellow and crimson maple trees line the dry street, and the warm light from the street lamps and the setting sun illuminates the scene. Thick, textured brushstrokes, sculptural, relief-like brushstrokes, an expressive painting style, a cosy yet melancholic atmosphere, cinematic lighting, a high level of detail – scale 1:1 – stylisation 750
  • Using base image: No
  • Aspect Ratio: landscape

Landleben: Kartoffeln mit Butter und Salz

• Model: Krea 2 Turbo

• Size: 1280 X 960 (1.23 MP)

• Used settings:

  • Prompt: A minimalist food photograph showing boiled potatoes on a white ceramic plate. The plate rests on an old wooden table, with a knife and fork placed next to it on a white napkin. The plate is decorated with a subtle, elegant onion-pattern—or geometric onion motif—entirely in blue. There is also a bowl of butter and a salt shaker on the table. In the softly blurred background, a vintage wooden cupboard, a window letting in soft natural daylight, and a small and slender ceramic vase with traditional german Bauernmalerei (peasant painting) floral motifs holding a small bouquet of garden flowers are visible. Soft, natural light; high resolution; photorealistic; 4K; culinary, but with a vintage aesthetic.
  • Using base image: No
  • Aspect Ratio: landscape

Landleben: Wohnküche

• Model: ChatGPT 2 (Pro)

• Size: 2224 X 1664 (3.70 MP)

• Used settings:

  • Prompt: Normal aussehende Frau in historischen norddeutschen Kleidern sitzt am Küchentisch der norddeutschen Küche im Jahr 1900. Sie schält Kartoffeln.
  • Using base image: Yes