MissTickly

Doll in Intricate Lace Design

• Model: DaVinci2

• Size: 1664 X 2224 (3.70 MP)

• Used settings:

  • Prompt: Abstract expressive Mask of an oldstyle , glass eyes, Style: Op art, trippy fractal
  • Using base image: Yes

Sky City: A Vibrant Floating Paradise

• Model: EssenceOfReality

• Size: 1376 X 1376 (1.89 MP)

• Used settings:

  • Prompt: In a world where dreams take shape, a city made of metal and glass floats through the clouds. Small houses cling to the curves of the colossus, while people go about their daily lives in the lofty heights. A feeling of calm and isolation permeates the image, interrupted only by the occasional call of a bird or the gentle rocking of the city.
  • Using base image: Yes

Invisible tear of Sorrow

• Model: Z-Image Turbo

• Size: 1440 X 1440 (2.07 MP)

• Used settings:

  • Prompt: A highly detailed digital painting of a young, fair-skinned female cyborg, captured in a close-up portrait, crying with tears streaming down her pale cheeks. Her head is adorned with a mixture of dried, withered roses in shades of brown, beige, and dark red, and mechanical components. On the left side of her head, dried roses are intricately placed in her white, fine hair. On the right side, metallic gears, circuit board patterns with glowing blue lines and orange light accents, and a silver, cylindrical mechanical attachment protrude from her head, blending with her natural hair. Various colorful wires, some glowing with blue and orange light, sprout from the mechanical components and connect to a larger, complex robotic arm-like structure made of silver, segmented parts and wires. Her hands are clasped together at the bottom left of the frame, appearing delicate and slightly translucent, with visible veins. The background is a soft, ethereal gray and white, with translucent, wispy fabric-like elements adding to the dreamy and melancholic atmosphere. A braided strand of hair, interwoven with mechanical wires and some appearing to be a metallic braid, cascades down her shoulder and chest, which has a glossy, porcelain-like texture. Her lips are a soft.
  • Using base image: No
  • Aspect Ratio: square

Silver light lingers on a promise that was not kept

• Model: Z-Image Turbo

• Size: 1920 X 1920 (3.69 MP)

• Used settings:

  • Prompt: Double exposure: a beautiful female and a vibrant flower floating on still water; moonlight reflections; twinkling starlight; a serene night setting; an ethereal glow; intricate details on petals; water ripples; a dreamy atmosphere; mystical and enchanting; digital illustration; magical realism; Walter Crane and Ann Brain-inspired; Artstation.
  • Using base image: No
  • Aspect Ratio: square

The Waste Land

• Model: DaVinci2

• Size: 2576 X 1456 (3.75 MP)

• Used settings:

  • Prompt: The Waste Land
  • Using base image: Yes

Majestic Two-Story Building in Mixed Media

• Model: AIVision (Ultra)

• Size: 1920 X 1920 (3.69 MP)

• Used settings:

  • Prompt: An abstract expressive, impressionistic painting done with thick, visible brushstrokes (palette-knife–like texture).The loose, impressionistic style intentionally leaves forms ambiguous, inviting exactly this kind of architectural reading. A deteriorating old small white house facade is visible in the background, appearing to be on the verge of collapse, and the angled, layered strokes in front resembling ascending old stairs that are leading up to it. A small tree near tge stair. The silhouette of an adorable Caucasian child admiring the tree.Loose, abstracted branches and lines suggesting a garden or park setting rather than precise realism.A light, airy background, with pale blues and creams that give a calm, spring-like atmosphere. Strong texture and movement, where color and gesture matter more than exact detail.Overall, it feels poetic and serene—more about mood and season than a specific place
  • Using base image: No
  • Aspect Ratio: square

Refuge

• Model: DaVinci2

• Size: 1248 X 952 (1.19 MP)

• Used settings:

  • Prompt: What weighs more - a ton of misery or a ton of happiness?
  • Using base image: Yes

Waiting for the bus

• Model: AIVision (Ultra)

• Size: 1792 X 1008 (1.81 MP)

• Used settings:

  • Prompt: (((Masterpiece, side view))) A dynamic impressionist impasto painting combined with squiggly dotted ink lines, irregular stroke, evocative, splatter, overspray of color. Snow catastrophe. A dynamic vivid image featuring a very beautiful young blonde urban Vietnamese woman (side view) with a blonde messy bun is standing up to her hips in a snowdrift at a bus stop in a heavy snowstorm. It is snowing heavily. The blonde Vietnamese woman with a messy bun is slender and is wearing a jeans miniskirt, a thick woolen rainbow-colored scarf, a vintage suede jacket with a fur collar. She is standing in snow up to her hips, with thick layers of snow on her head and shoulders. Her cheeks and nose are frozen red. The sign of the bus stop is covered with snow. Under thick layers of snow, it is difficult to see the cars parked at the side of the road. The otherwise empty street is completely white with snow, with no cars driving by. Behind thick veils of falling snow, it is difficult to make out the facades of Wilhelminian townhouses with thick layers of snow on the roofs. Masterpiece, touching, gorgeous, golden ratio, beautiful, awe striking, breath taking, evocative, sumptuous, aesthetic, unique, HD, style by zettel
  • Using base image: No
  • Aspect Ratio: landscape_wide

Misty Morning in a Vietnamese Fishing Village

• Model: DaVinci2

• Size: 1225 X 1633 (2.00 MP)

• Used settings:

  • Prompt: A very busy Vietnamese fishing village on a foggy misty fall morning, thuyen thung, basket boats, mountain jungle, ink painting by Endre Penovac, wet brush effect, red and gold splashed trees, no frame
  • Using base image: No
  • Aspect Ratio: portrait

Dreamy girl among Wildflowers

• Model: DaVinci2

• Size: 2576 X 1456 (3.75 MP)

• Used settings:

  • Prompt: ‘The last fading flowers in the translucent dew’ Surrealism. Style of Mandy Disher, Cecilia Frigati, Catherine Hyde, Odilon Redon, Gustav Klimt, Duy Huynh, Jimmy Lawlor, Esao Andrews. Surrealism. Mixed media, illustration, painting, a set of different charcoals with different characteristics, a set of oil pastels, acrylic, silver and copper gold powder. Promt©valestok. Full size image, no text, no copyright.
  • Using base image: Yes

The whole house deco is putting itself to sleep {while dreams start to whirl

• Album contains 2 dreams

A Chinese Princess Waving to

• Model: ImagineArt

• Size: 3840 X 2160 (8.29 MP)

• Used settings:

  • Prompt: Vibrant painterly illustration, symbolic geometric realism. A surreal seascape. On a dark cliff in the foreground stands a leafless tree with delicate branches; to the right, a beautiful woman clad is silk embroided with golden treads. Chinese traditional boat float on a horizon, their shapes simplified and graphic.The camera moves forward revealing more of the scene Strong contrast between warm and cool tones, high color saturation, luminous pigments. Clearly painted surface with visible brushstrokes, flat yet textured color fields, hand-painted look on canvas. Simplified forms, graphic composition, balanced but dynamic. Soft ambient light, no photorealism. Mood: dreamlike, mythic, hopeful, slightly surreal. Contemporary fine art painting, storybook symbolism, museum-quality artwork.
  • Using base image: No
  • Aspect Ratio: landscape_wide

A Life For A Life

• Model: ChatGPT (Pro) Full

• Size: 2352 X 1568 (3.69 MP)

• Used settings:

  • Prompt: A cinematic, emotionally charged oil painting set during daytime at the edge of a quiet rural lake in 1930s Dust Bowl America. The light is pale and overcast, with soft blues, muted greens, and silvery reflections shimmering across the water’s surface. The air feels still, heavy, and expectant. At the center of the scene, Ben — a lean 24-year-old man with dark, wind-tossed hair and pale, burdened eyes — stands waist-deep in the lake. His clothes are soaked and clinging to his body. His posture is tense yet gentle, arms outstretched as he supports a young sick girl floating on the surface of the water, her dress is fluid, diaphane, red color. The girl’s body is limp but peaceful, her face pale, her long blond hair floating, her eyes closed as if between sleep and death. Ben’s hands glow faintly beneath the water, a soft, warm light radiating outward in subtle ripples. His expression is focused and anguished — a healer fully aware that what he gives must be taken from somewhere else. Around them, the lake tells the cost. Dead fish float lifelessly on the surface, their pale bellies catching the light, some have colors. Some drift close to Ben and the child, others spread outward in widening rings. Reeds and aquatic plants near the shore are darkened and wilted, their color drained as if life itself has been drawn away. The water near Ben appears slightly clouded, disturbed by unseen exchange. On the shoreline, a few distant figures — perhaps the girl’s family — stand frozen, watching in silence. They do not enter the water. Fear and hope mix in their posture. The environment remains natural but altered. The sky is bright yet subdued, streaked with soft clouds. Sunlight glints off the water, contrasting cruelly with the stillness of the dead fish. The palette balances cool blues and greens with the warm glow emanating from Ben’s hands, you can see his light from his hands and on the girl's body. The brushwork is painterly and expressive, emphasizing water movement, skin, fabric soaked with lake water, and the eerie calm of floating bodies. The mood is tragic and awe-filled — a miracle performed in daylight, where the price is visible and undeniable.
  • Using base image: No
  • Aspect Ratio: 3_2

The Sins He Sees

• Model: ChatGPT (Pro) Full

• Size: 2352 X 1568 (3.69 MP)

• Used settings:

  • Prompt: A cinematic, psychologically intense oil painting set inside a low-ceilinged bar and gambling house in 1930s Dust Bowl America. The room is thick with smoke and shadow, lit by flickering oil lamps and stained amber bulbs that cast uneven light across worn wooden floors and scarred tables. The bar is cluttered and alive with detail: dark liquor bottles lined along a sticky wooden counter, glasses half-filled with whiskey and beer, playing cards scattered across tables, coins and crumpled bills glinting in the dim light. The walls are stained with smoke and age, layered with peeling paint, faded advertisements, and tacked-up notices. Red velvet curtains hang unevenly, heavy and oppressive, absorbing light rather than reflecting it. At the center of the scene stands Brother Justin, a tall evangelical minister in his early thirties with neatly combed dark hair and a long, severe face. He is dressed in a dark clerical suit, immaculate and out of place in this environment. His posture is upright, rigid, and commanding. Brother Justin’s eyes are fully black — the whites completely gone — as his disturbing gift manifests. He points an accusing finger on the establishment's owner standing before him. His expression is resolute, and utterly certain. He's not angry, but he has a judgmental look on his face as he is seeing his sins. Facing him is the bar’s owner, a thickset man with flushed skin and sweat at his brow. His face is frozen in terror as he recoils backward, one hand gripping the edge of a table for support. His eyes are wide, his mouth slightly open, as if he knows he has been exposed at the deepest level. Subtly woven into the shadows and reflections around the owner are faint, painterly impressions of the sins Brother Justin perceives — distorted silhouettes, warped reflections in mirrors, abused child-sized shapes suggested only through absence and implication. These visions do not exist physically in the room; they are overlays of Justin’s perception, ghostlike and restrained. Brother Justin raises one hand with pointing a finger — not in blessing, not in violence — but in judgment, as if naming what cannot be denied. The environment itself remains unchanged. No objects break. No light explodes. The horror is moral, not physical. The color palette is rich and oppressive: deep browns, tobacco blacks, bruised reds, dirty golds, and sickly yellows. Warm light pools around the bar, while corners dissolve into shadow. Painterly brushstrokes emphasize smoke, wood grain, fabric, and faces with some colors. The mood is suffocating and accusatory — the moment a man realizes his sins are visible, and another realizes he has been chosen to see them.
  • Using base image: No
  • Aspect Ratio: 3_2

Coins of Confession

• Model: ChatGPT (Pro) Full

• Size: 2352 X 1568 (3.69 MP)

• Used settings:

  • Prompt: A cinematic, painterly oil painting set inside a small presbytery in 1930s Dust Bowl America. The interior is dim and austere, lit by flickering candles that cast warm but uneasy amber light on worn wooden pews, bare walls, and a large wooden cross with a simple altar looms in the background, partially obscured. In the foreground, a close-up of Brother Justin kneels beside an elderly woman. He is a tall, lean evangelical minister in his early thirties, with neatly combed dark hair, a long angular face, and pale, severe features. He wears a dark clerical suit with a high collar. His posture is composed but tense, hands raised above the woman's head, in prayer — as if he himself does not yet understand what is happening. The woman kneels opposite him, clutching a worn Bible tightly to her chest, the word “BIBLE” clearly visible on the cover. Her face is twisted in terror and shock as coins begin to spill uncontrollably from her open mouth, clattering onto the wooden floor. Her eyes are wide, horrified, and pleading. Brother Justin is in shock, revealing the first emergence of his dark gift. His expression is not cruel, but stunned and inward, as though he is witnessing something God has forced him to see. The environment remains untouched: nothing breaks, no object decays. The miracle manifests entirely through revelation and exposure, not destruction. The contrast between the quiet prayer posture and the grotesque confession creates a deeply unsettling atmosphere. The brushwork is textured and restrained, emphasizing faces, candlelight, smoke, and falling coins. The color palette is muted — browns, sepias, dirty golds — evoking moral rot beneath religious solemnity. The mood is intimate, disturbing, and prophetic: the moment a man realizes he can see sin made visible.
  • Using base image: No
  • Aspect Ratio: 3_2

He Come To Save Her

• Model: ChatGPT (Pro) Full

• Size: 2352 X 1568 (3.69 MP)

• Used settings:

  • Prompt: A cinematic oil painting set at night within the traveling carnival, illuminated by uneven lantern light and drifting dust. Music and muted movement fill the background, but tension has seized the foreground. At the center, Nancy — a slim young woman in her mid-twenties with short black hair and attentive dark eyes, wearing gypsy-syle clothing with jewels — sits at a small tarot table covered in a richly patterned cloth. Tarot cards are spread before her, candles flickering at their edges. She has just paused mid-reading, her gaze lifted, sensing something wrong. Standing too close to her is Brother Justin, a tall evangelical minister in his early thirties with neatly combed dark hair and a severe, angular face. He is not preaching. He is observing. His posture is upright and restrained, his presence cold and intrusive. His eyes are but unsettling in their focus. He has come to interrupt, not to listen. The other side of the table, Ben — a lean 24-year-old man with dark, wind-tossed hair and pale, burdened eyes — steps forward instinctively. His body language is tense and protective, uncertain but resolute, as if moved by something he does not yet understand. Beside the evangelical minister stands the short Carnival Boss - he is a dwarf with sharp, intelligent eyes and a composed, commanding presence. You can see the difference of height between them. He has a short gray beard and wears an ornate but weathered carnival coat with embroidered details, a vest beneath, and polished but scuffed boots. He watches the scene with sharp, knowing eyes. His presence is calm but final. His cane in hand, he lifts it and touches the arm of the evangelical minister— a quiet signal that the preacher is not welcome here. Around them, performers and carnival workers pause or turn away. Lanterns sway. Music continues faintly. The carnival itself seems to resist the intrusion. The lighting contrasts warm lantern glow against deep shadow, some colors in the background, isolating the figures in tension. The brushwork is textured and painterly, emphasizing fabric, smoke, faces, and stillness. The mood is charged but restrained — a moment of collision before power is revealed, before belief hardens into conflict.
  • Using base image: No
  • Aspect Ratio: 3_2

Duality in Stained Glass: A Captivating Vision

• Model: AIVision (Pro)

• Size: 2560 X 1456 (3.73 MP)

• Used settings:

  • Prompt: A detailed image showing a beautiful young woman with long, flowing ombré hair in shades of fiery orange and red, transitioning into vibrant blue, teal, and purple. She has pale skin and a serene expression, looking slightly off-camera to the left. The woman is wearing a white long-sleeved blouse under a sleeveless, richly brocaded dress or top in shades of deep red and gold, with blue and gold floral and geometric patterns. Her forearms and hands are partially visible. Behind her is a large, elaborate stained-glass window featuring various colorful abstract and organic patterns. On the left, a prominent section of the window displays a large white lotus flower design with an orange inner petal surrounded by a golden circular border, set against vibrant blue glass. The right side of the window shows more abstract patterns resembling tree branches or leaves in shades of purple, orange, and yellow, creating a radiant and glowing backdrop. The light filtering through the stained glass illuminates her hair, making the colorful strands visually striking.
  • Using base image: No
  • Aspect Ratio: landscape_wide

Magic vs. Faith

• Model: ChatGPT (Pro) Full

• Size: 2352 X 1568 (3.69 MP)

• Used settings:

  • Prompt: A sweeping, cinematic oil painting set at sunset in a vast Dust Bowl field, the cracked earth stretching beneath a sky ablaze with fiery oranges, reds, and bruised purples. The light fractures across the canvas as if the sky itself is splitting in two. Dust and wind churn violently through the scene. At the center stands Nancy, a slim young woman in her mid-twenties with short black hair and attentive dark eyes, dressed in gypsy style. She is caught between two opposing forces, her body pulled in opposite directions. Focus of her expression: she is torn — you can see in her face fear, confusion, and dawning awareness etched across her face. On her left, Ben, the weary healer — a lean 24-year-old man with dark, wind-tossed hair and pale, burdened eyes — grips Nancy’s arm, pulling her gently but urgently toward him. His posture is bent and strained, his face pleading rather than commanding. Around his feet, the earth is visibly damaged: withered grass, cracked soil, and traces of dead crops, showing the cost of magic already paid. A faint, warm glow lingers around his hand. On her right, Brother Justin stands tall and unyielding, his grip firm on Nancy’s other arm. He is a severe evangelical minister in a dark suit, posture upright, expression resolute. In his raised free hand, he holds a Bible. His face is calm, convinced, certain of his righteousness, but tense and fierce. The ground beneath him remains untouched, whole, and unchanged. His light is colder, more theatrical. Behind and above the confrontation, elevated on a wagon step or platform, stands the Carnival Boss — a short, bearded dwarf in an ornate but weathered embroidered coat and hat. From his prominent vantage point, he observes the scene with sharp, knowing eyes, his head slightly shaking in quiet disapproval. He does not intervene. He has seen this before, but we can see how he is affected by it. Behind Ben, carnival performers and outcasts gather, their faces marked by weariness, fear, and solidarity. Behind Brother Justin, evangelists and followers raise Bibles and crosses, faces lit with fervor and conviction. No one crosses the boundary. Around the central figures, symbolic elements float subtly in the dust-filled air: tarot cards, lantern light, and faint glowing threads on Ben’s side; crosses, scripture pages, and stark beams of light on Justin’s side. These symbols remain painterly and restrained, never overpowering the human drama. The brushwork is deep and expressive, emphasizing motion, fabric, skin, dust, and sky. The palette contrasts scorched earth tones and warm golds against stark blacks, whites, and cold highlights. There is no physical violence — only ideological collision made visible, but focus on their expressions. The mood is monumental and tragic: a woman caught between magic and faith, each claiming to save her, as the world itself waits to see which belief will prevail
  • Using base image: No
  • Aspect Ratio: 3_2

Ethereal Fantasy Landscape of Vibrant Colors

• Model: Artflow

• Size: 2880 X 5120 (14.75 MP)

• Used settings:

  • Prompt: A digital art piece of an ethereal crystal cave scene with iridescent crystals in shades of blue, pink, and purple. Large crystalline formations hang from the dark cave ceiling, each with a holographic finish that reflects light in multiple colors. The crystals have a geometric, faceted structure with sharp points and clear surfaces that create a prism effect. The cave floor is textured with rough, dark gray stone surfaces. Small floating crystals and gemstones are scattered throughout the scene, some emitting a soft purple glow. The lighting creates a mystical atmosphere with deep shadows in the cave depths contrasting against the luminous crystals. The color palette consists primarily of electric blue, neon pink, and deep purple tones, with metallic accents in silver and turquoise. The crystals cast reflections and refractions of light on the cave walls and floor, creating a magical, otherworldly ambiance. The composition is set against a dark background that emphasizes the glowing qualities of the crystals.
  • Using base image: No
  • Aspect Ratio: portrait_tall

Revelation Of The False Prophet

• Model: ChatGPT (Pro) Full

• Size: 2352 X 1568 (3.69 MP)

• Used settings:

  • Prompt: A cinematic, nightmarish oil painting set at night within the traveling carnival, lantern light flickering wildly as panic spreads through the crowd. Canvas tents loom in the background, warped by shadow and fear. Dust and smoke swirl in the air as if the world itself is recoiling. At the center stands Brother Justin, fully revealed: a tall evangelical minister in his early thirties with neatly combed dark hair and a long, severe face. His dark clerical suit hangs open, torn away to expose his bare chest; his white collar still at his neck. Across his skin is an enormous, intricate tattoo of a dead tree — massive, leafless, its twisted branches spreading across his torso like veins, roots clawing downward. The tree is stark, black, and ancient, a symbol of death, judgment, and corrupted destiny. Brother Justin’s eyes are completely black — no whites visible — consuming his gaze entirely. His face is contorted with rage and revelation: his mouth twisted into a snarl or grimace, teeth bared slightly, lips pulled tight as if he is shouting or breathing through fury. The expression is one of absolute conviction and unleashed fanaticism, not madness but certainty taken to its final extreme. His posture is rigid and commanding, arms all spread like a crucifix as if presenting himself or daring the world to look. Veins stand out in his neck and hands, his body taut with restrained violence and divine wrath. Around him, carnival performers and onlookers recoil in terror. Faces scream, hands cover mouths, bodies pull away instinctively. Lanterns sway violently, casting jagged light across the scene. Some people stumble backward into shadow, others freeze, unable to look away. The lighting is harsh and dramatic: deep reds, sickly golds, and heavy blacks dominate the palette. Lantern light rakes across Justin’s chest, emphasizing the dead tree tattoo and the unnatural darkness of his eyes. Shadows tear through the canvas, heightening the sense of apocalypse. The brushwork is aggressive and expressive, thick with texture — flesh, fabric, dust, and flame all rendered with raw energy. The mood is catastrophic and final: the moment faith sheds its mask and reveals itself as annihilation.
  • Using base image: No
  • Aspect Ratio: 3_2