FractalCaleidoscope

Everyone Out Of the Pool.

• Model: AIVision

• Size: 1024 X 1024 (1.05 MP)

• Used settings:

  • Prompt: Double exposure depicts a synchronized swimming team cavorting upon a background of deep space and 4D hyper-fractals. Visual storytelling depicts a starry galaxy with many individual human swimmers in appropriate attire and swimming goggles contorting their bodies and frolicking rhythmically in the cosmic currents which are edited into the place of water in this masterwork double-exposure. Hyper-realistic swimmers with perfect hands and regular and proportionate fingers emulate lifelike synchronized swimming routines complimenting each other and creating a unified whole of athletic frenzy in deep space. Correctly drawn swimmers with four fingers and a thumb on each hand, posture exudes confidence and athletic ability, each of these many swimmers aligned perfectly in position to the other swimmers and forming an artistic representation of a fractal flower with their own bodies.
  • Upscale & Enhance: 0
  • Aspect Ratio: square

Petit Angel II.

• Model: AIVision

• Size: 2236 X 2236 (5.00 MP)

• Used settings:

  • Prompt: A masterwork daguerreotype of a cherubic putto floating blissfully above a coloured repeating pattern of vibrant red opium poppies and skulls in the hyper-realistic style of Theodor De Bry. This vignette emphasizes the depth of the background by making the putto the visual focus. Visual storytelling depicts an illusion of depth by making a cherub hover before a background of wallpaper patterned in red opium poppies and skulls. Artistic embellishments give the illusion of
  • Upscale & Enhance: 5
  • Aspect Ratio: square

Petit Angel I.

• Model: Artistic 2

• Size: 1024 X 1024 (1.05 MP)

• Used settings:

  • Prompt: A masterwork daguerreotype of a cherubic putto floating blissfully above a coloured repeating pattern of vibrant red opium poppies and skulls in the hyper-realistic style of Theodor De Bry. This vignette emphasizes the depth of the background by making the putto the visual focus. Visual storytelling depicts an illusion of depth by making a cherub hover before a background of wallpaper patterned in red opium poppies and skulls. Artistic embellishments give the illusion of
  • Upscale & Enhance: 0
  • Aspect Ratio: square

Caladium Arbor.

• Model: Artistic 2

• Size: 1024 X 1024 (1.05 MP)

• Used settings:

  • Prompt: a full screen batiik representation of: [[The soul-enchantingly beautiful fuchsia and leafy-green dryad leans against a brass balustrade on the top floor of a multi-level brick and mortar arcade, arches receding into the distance beneath a hellish sky of multi-coloured intertwined streaks. She holds an ancient and weathered amphorae above her head pouring a trickle of luminescent honey upon the decorative and colourful blossoms and vines of her hair. Cursed Vegetative growth and Plant life has overtaken this caravansarai, black leaved nettles grow from between the bricks, English mandrake lines the walkways, dark ivy with puce edges on it's leaves grows up the decrepit and decaying gates. The fuchsia dryad, leans against the balustrade, parched and dusty, the bark that covers their perfect fingers, hands, arms, shoulders, neck, face, and body is cracked as drought-stricken. In her perfect dryad hands, she holds a amphorae and pours some of the luminescent honey-coloured oil therein atop her head and it's hair which is Carolina Jessamine with caladium poking through, Her eyes are white arctic poppies, her body is made of braided and interwove blackberry brambles bound strait with ficus strangulensis. A visual depiction of The wine of many seasons fed Thy mouth, and made it fair and clean; Sweet oil was poured out on thy head And ran down like cool rain between The strait close locks it melted in. The strong men and the captains knew Thy chambers wrought and fashioned With gold and covering of blue, And the blue raiment of thine head Who satest on a stately bed. All these had on their garments wrought The shape of beasts and creeping things, The body that availeth not, Flat backs of worms and veinèd wings, And the lewd bulk that sleeps and stings.]]
  • Upscale & Enhance: 0
  • Aspect Ratio: square

How May I Help Mew?

• Model: DreamForge

• Size: 1152 X 864 (1.00 MP)

• Used settings:

  • Prompt: an illustration of a cat filing it's taxes two days too late, while appearing frazzled and stressed.
  • Upscale & Enhance: 0
  • Aspect Ratio: landscape

All Will Be Well.

• Model: AIVision

• Size: 1024 X 1024 (1.05 MP)

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  • Prompt: A sorcerous Shaman-Chief prays for the safety of his forest-dwelling clan and their reindeer. This Baki magickal Shaman-Chief stands under a primeival forest with residual frost along the North side of the boles, elk-skin yurts set up in an authentic manner with multiple layers of hides wrapped along the bottom with sisal twine are grouped together in clumps of 5 yurts. The tribe's elks and reindeer are seen in the misty background, breath curling around their noses. Some elks and reindeer have lifelike antlers, the others are females and are expertly depicted to look like elks and reindeer in the distance of a nomadic Shaman Chief baki who ministers to the souls of his people and their herd. Subliminal battlfield motif. This baki Shaman-Chief prays for his tribe which has just won a victory but who will be subjected to vengence and revenge. While his warriors and their herds rest, the Bali Shaman-Chief addresses the God's and the Elk and reindeer. A visual depiction of :[[ The sun and the moon ownerless in blue Tengri . I left my people. To my father, to people, my ownerless orphans... I parted from my father, people, my ownerless orphans. I tied a belt bow in gold quiver from Kürtel-khan Al Urung at the age of seventy nine. My father Urung Külüg Toq Bögü Terikin, in the name of valor lords, came together. My people, be firm. The governor of people has left. Deserted people, ownerless relatives. I had not allowed soldiers to fall for my people fortune. I had captivated eight soldiers being in board. For sake of victories of my people, making. The grief for me was on hundred horses. I have died. My owner-less orphan horses. My four best horses, my eight-legged house, I had no grief (before). I parted from relatives, my ownerless common people, the orphans.]]
  • Upscale & Enhance: 0
  • Aspect Ratio: square

The Culprit.

• Model: DaVinci2

• Size: 1152 X 864 (1.00 MP)

• Used settings:

  • Prompt: a fox-shaped diffraction pattern in milky-pink light upon a cyan background. Subliminal wheat motif. A singular image of a fox's outline in a diffraction pattern projected upon a cyan background, with artistic embellishments of wheat upon wheat-grass. Art Nouveaux.
  • Upscale & Enhance: 0
  • Aspect Ratio: landscape

Tha Map Is Not the Terrain.

• Model: DaVinci2

• Size: 1592 X 1192 (1.90 MP)

• Used settings:

  • Prompt: 3/4 top-down view of an expansive valley receding into arid plains then desert along the horizon, depicted as a masterwork oil painting on canvas by Richard Dadd. [Geographical painting with hyper-detailed artistic embellishments adding a central-asian steppe nomad motif to this singular image.] [floating thistle spore.] [Many microscopic skulls.] [unified visual focus on changing geography with floating thistledown accentuating and decorating the beautiful terrain behind them]
  • Using base image: Yes (Effect strength - 60%)
  • Base image resolution: 2MP
  • Upscale & Enhance: 0

Ogura Hyakunin Isshu No. 14 - Minamoto no Toru

• Model: AIVision

• Size: 5460 X 3071 (16.77 MP)

• Used settings:

  • Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 14, Minamoto no Toru, of the Ogura Hyakunin Isshu: "Like Michinoku prints Of the tangled leaves of ferns, It is because of you That I have become confused; But my love for you remains." The image shows a large cloth blanket thrown over a wooden bench. The blanket has an intricately tangled, confusing, mottled pattern of ferns. The dark cloth has a print of metallic gray fern fronds with bluish and reddish tints. Next to the cloth, on the bench, sits an elegant Japanese statesman from a long bygone era. He is dressed in courtly robes tied with an ornameted sash. The nobleman is despondent, and is sitting with his elbows on his knees and his head cupped in his hands. Behind the close-up of the bench with the statesman and the patterned cloth are dark, abstracted trees in a Japanese esthetic. Exquisite Japanese folio.
  • Upscale & Enhance: 5
  • Aspect Ratio: landscape_wide

Ogura Hyakunin Isshu No. 15 - Emperor Kōkō

• Model: AIVision

• Size: 5960 X 3352 (19.98 MP)

• Used settings:

  • Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 14, Emperor Kōkō, of the Ogura Hyakunin Isshu: "It is for your sake That I walk the fields in spring, Gathering green herbs, While my garment's hanging sleeves Are speckled with falling snow." The image shows an elegantly dressed, young man, Kōkō Tennō, bending over to pick wildflowers and green herbs in very early spring. Snowflakes are falling on the sleeves of the emperor's intricately patterned silk kimono. He is fully concentrated on his task, and is holding a small bouquet of greens and spring wildflowers in one hand while he is bending over and picking a single flower to add to the bouquet. The weather is cold and gray, with a strong wind blowing patterned clouds through the sky. The emperor's exquisitely colored silk robe contrasts starkly with the inclement, gray weather. Exquisite Japanese folio.
  • Upscale & Enhance: 5
  • Aspect Ratio: landscape_wide

Ogura Hyakunin Isshu No. 16 - Ariwara no Yukihira

• Model: AIVision

• Size: 5960 X 3352 (19.98 MP)

• Used settings:

  • Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 16, Ariwara no Yukihira, of the Ogura Hyakunin Isshu: "Though we are parted, If on Mount Inaba's peak I should hear the sound Of the pine trees growing there, I'll come back again to you." The image shows Inaba mountain, on whose slopes a verdant pine forest grows, in the distance. In the foreground, we see a small group of young Japanese Middle Counselors wearing intricately patterned silk black-and-gold robes with a high collar at the back of their necks, over loose, abstractly patterned white-and-gold pants. The noblemen are thronging around one of their members to bid him farewell and good luck for his assignment to Inaba province. Exquisite Japanese folio.
  • Upscale & Enhance: 5
  • Aspect Ratio: landscape_wide

Ogura Hyakunin Isshu No. 17 - Ariwara no Narihira

• Model: AIVision

• Size: 5460 X 3071 (16.77 MP)

• Used settings:

  • Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 17, Ariwara no Narihira, of the Ogura Hyakunin Isshu: "Unheard of even in the legendary age of the awsome gods: Tatsuta River in scarlet and the water flowing under it." This particular poem, and the image it conjures up, is a masterpiece. We see scarlet Japanese maples lining the bank of the scenic, gently flowing Tatsuta River. The golden sun is shining on this day in fall, and the maple trees are very gradually losing their foliage. Leaves are lazily floating downward through the air, and cover nearly the entire surface of the river. The leaf-covered river shimmers in tones of scarlet and burgundy as the leaves slowly floating downriver. Poignant image perfectly capturing the essence of autumn. Exquisite Japanese folio.
  • Upscale & Enhance: 5
  • Aspect Ratio: landscape_wide

Ogura Hyakunin Isshu No. 18 - Fujiwara no Toshiyuki

• Model: AIVision

• Size: 5960 X 3352 (19.98 MP)

• Used settings:

  • Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 18, Fujiwara no Toshiyuki, of the Ogura Hyakunin Isshu: "Must you so avoid others’ eyes that not even at night, along the road of dreams, will you draw nigh like the waves to the shore of Sumi-no-e Bay?" This poem was an entry in a poetry contest by accomplished poet and calligrapher Fujiwara no Toshiyuki. The image personifying the poem shows waves lapping the shore of Sumi-no-e Bay (Osaka Bay) at night. The stars are shining brightly; their silvery light reflects off the waves and the foam that decorates their edges on the shore. The sky is underlaid with a very delicate, barely noticeable calligraphic line pattern of two lovers engaged in a forbidden tryst lying across the entire sky, as if in a dream, almost obscured by the light of the twinkling stars. Exquisite Japanese folio.
  • Upscale & Enhance: 5
  • Aspect Ratio: landscape_wide

Ogura Hyakunin Isshu No. 19 - Lady Ise

• Model: AIVision

• Size: 5460 X 3071 (16.77 MP)

• Used settings:

  • Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 19, Lady Ise, of the Ogura Hyakunin Isshu: "Even for a time Short as a piece of the reeds In Naniwa's marsh, We must never meet again: Is this what you are asking me?" The image shows a Japanese woman of antiquity from the back. She is dressed in highly ornamented, precious robes. Her hair is put up in an an extravagant hairdo. Her slumped shoulders and the cast of her head indicate that she is melancholy, as she wistfully gazes out over strongly repetitively patterned, sumptuous reeds lining the banks of Naniwa (Osaka) inlet. Behind the reeds, blue water twinkles in the sunlight. The sky above is bedecked with intricately patterned cirrocumulus clouds. Exquisite Japanese folio.
  • Upscale & Enhance: 5
  • Aspect Ratio: landscape_wide

Ogura Hyakunin Isshu No. 20 - Prince Motoyoshi

• Model: AIVision

• Size: 5960 X 3352 (19.98 MP)

• Used settings:

  • Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 20, Motoyoshi Shinnō, of the Ogura Hyakunin Isshu: "Miserable, now, it is all the same, Channel-markers of Naniwa - even if it costs my life, I will see you again!" The image shows a Japanese prince sitting on his haunches on the shore of Naniwa Inlet, looking at the miotsukushi, or water markers - wooden posts - placed in shallow areas as safe navigation guides. The Crown Prince is dressed in a sokutai, an enveloping formal robe of golden, heavily patterned silk. The still waters of the inlet twinkle in the sunlight. The nearly cloudless sky is a cerulean blue. Exquisite Japanese folio.
  • Upscale & Enhance: 5
  • Aspect Ratio: landscape_wide

Ogura Hyakunin Isshu No. 21 - Sosei Hōshi

• Model: AIVision

• Size: 5960 X 3352 (19.98 MP)

• Used settings:

  • Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 21, Sosei Hōshi, of the Ogura Hyakunin Isshu: "It was only because you said you would come right away that I have waited these long months, till even the wan morning moon has come out." The image shows a standing Japanese woman of antiquity gazing out a a green, hilly landscape in early morning, with a pale waning moon barely visiblein the light-blue morning sky of dawn. She is a peasant, and is wearing a simple, rough, indigo-dyed cotton kosode (forerunner of the kimono). The green, hilly landscape is strongly patterned, as is the pale blue morning sky. Exquisite Japanese folio.
  • Upscale & Enhance: 5
  • Aspect Ratio: landscape_wide

Ogura Hyakunin Isshu No. 22 - Fun'ya no Yasuhide

• Model: AIVision

• Size: 5960 X 3352 (19.98 MP)

• Used settings:

  • Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 22, Fun’ya no Yasuhide, of the Ogura Hyakunin Isshu: "It is by its breath That autumn's leaves of trees and grass are wasted and driven. So they call this mountain wind The wild one, the destroyer." The image shows a side view of a richly wooded, sloping mountainside in late fall. A gale-force gust of wind is blowing down the mountainside quite dramatically and, for the sake of the viewer, with a visible pattern. The wind is blowing red and yellow leaves before it, and bending grasses all the way to the ground. The leaves swirl and twirl in the crisp fall air. The red and yellow of the trees and leaves contrast sharply with the white pattern used to visualize the wind against an electric blue sky. Intricate watercolor overlaid with a woodblock print. Exquisite Japanese folio.
  • Upscale & Enhance: 5
  • Aspect Ratio: landscape_wide

Ogura Hyakunin Isshu No. 23 - Ōe no Chisato

• Model: AIVision

• Size: 5960 X 3352 (19.98 MP)

• Used settings:

  • Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 23, Ōe no Chisato, of the Ogura Hyakunin Isshu: "When I look at the moon / I am overcome by the sadness / of a thousand, thousand things - / even though it is not Fall / for me alone." The image shows a waning, yellow moon, which has just risen over the horizon, in a starry, dark sky. Naked, black tree branches reach into the sky, creting intricate patterns. The large sickle of the moon peeks forth from a clearing between the branches. The meadow on the ground is even darker than the sky. A melancholy mood permeates the picture. The sky and the meadow have typical patterns of a woodblock print. Exquisite Japanese folio.
  • Upscale & Enhance: 5
  • Aspect Ratio: landscape_wide

Ogura Hyakunin Isshu No. 24 - Kanké

• Model: AIVision

• Size: 5460 X 3071 (16.77 MP)

• Used settings:

  • Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 24, Kanké (Sugawara no Michizane), of the Ogura Hyakunin Isshu: "This time around / I couldn't even bring the sacred streamers / --Offering Hill-- / but if this brocade of leaves it to the gods' liking..." The image shows autumn on Mount Tamuke, with red-leaved trees ringing the mountain. Almost transparently overlaid over the image of the mountain is a nusa, a rather large wand from the top of which many thin, white paper streamers hang down. The wand is used in Shinto religious ceremonies. The red-leaved trees shine through the nearly transparent, full top layer. The mountain and trees exhibit patterns typical of a woodblock print. Exquisite Japanese folio.
  • Upscale & Enhance: 5
  • Aspect Ratio: landscape_wide

Ogura Hyakunin Isshu No. 26 - Teishinkō

• Model: AIVision

• Size: 5960 X 3352 (19.98 MP)

• Used settings:

  • Prompt: 16:9 format of a delicate ink and watercolor wash rendering on rough handmade paper of poem number 26, Teishinkō, of the Ogura Hyakunin Isshu: "O autumn leaves / on the peak of Ogural Hill, / if you have a heart, / I would that you would wait / for one more royal progress." The image shows a single, old, large, magnificent Japanese maple tree with a gnarled trunk, winding branches, and feathery, scarlet leaves. The tree stands on a gently sloping, green, grassy mountainside. Some maple leaves are drifting downward on a breeze; they are curled into heart shapes. The leaves are awaiting a visit by the emperor. The patterns in the image are highly complex, with a woodcut esthetic. Exquisite Japanese folio.
  • Upscale & Enhance: 5
  • Aspect Ratio: landscape_wide