She clutched it gently, afraid it might break again
Model:
AIVision
(Ultra)
Size:
1024 X 1024
(1.05 MP)
Used settings:
Prompt: A whimsical, fine-art illustration of a young woman sitting on a log in a forest, holding a giant red heart. The woman has soft, delicate features, cropped ice-white hair, and wears colourful clothes. Large, blue and red flowers with thin stems rise around her, resembling pressed paper blossoms. The background is textured like handmade watercolour paper, with cracked, organic patterns and soft washes of orange and silver. Fireflies drift through the scene, creating a quiet, dreamlike atmosphere. The mood is tender, magical, and contemplative, evoking innocence, wonder, and stillness.
Prompt: *Gorgeous water nymph in the style of Jean-Baptiste Monge and Alphonse Mucha. *Oil on canvas, watercolours. Water bubbles hover around, ripples, reflections, magical. Dynamic lighting.
Prompt: (((colorful Masterpiece, close-up, assymetrical composition)))
Squiggly dotted lines and complex chaotic sketchy hatchings coloured with with watercolours come together to depict a lively close-up image featuring a very beautiful slender young blonde busty urban vietnamese woman with a blonde messy bun wearing saggy t-shirt with deep neckline. She is sitting at a desk in front of her laptop computer.You can see the computer from behind, but its bluish light illuminates the woman's face and décolletage. She looks very focused. Her eyes are wide open and clearly reflect the text on the computer screen. She is obviously reading a text on the screen that is reflected in her eyes.
The light of the computer is the only source of light and highlights the beautiful facial and bodily features of the woman.
Background: small dark vintage livingroom with band poster.
Drawn with colorful scratching, splashing, blotting watercolor, irregular stroke, squiggly line, evocative, splatter, overspray of color.
Masterpiece, gorgeous, beautiful, awe striking, breath taking, evocative, sumptuous, aesthetic, unique, HD, style by zettel
Prompt: A closeup, eye-level shot captures an adorable pure white kitten soundly sleeping inside a light teal ceramic teacup with delicate, softly blurred pink and purple floral designs, specifically lavender-colored blossoms and leaves. The kitten's eyes are tightly closed, and its tiny pink nose and mouth are visible. Its delicate, slightly translucent pink ears peek out, with fine, soft white fur covering the rest of its body. One of its small front paws, with light pink paw pads, rests gently on the rim of the teacup. The teacup is nestled on a soft, textured pastel-colored blanket or fabric, possibly light blue or purple, with hints of yellow and white. The background is a soft, dreamy bokeh effect, with ethereal blurs of light blue, soft purple, and yellow, creating a gentle and peaceful atmosphere. The lighting is soft and diffused, highlighting the kitten's fluffy fur and the delicate details of the teacup.
Prompt: Mystical bishop glides in soft light — silent, precise, spiritual. “Diagonal movement of chess bishop, mystical glow, ethereal fog, cathedral-like lighting, silent strategy, Da Vinci-inspired realism --ar 3:2 --v 6 --q 2”
The Bishop appears to glide across the diagonal in soft light. The scene conveys precision, spirituality, and depth, reminiscent of Da Vinci’s analytical studies.
The Bishop moves like thought itself—quiet, measured, infinite. His path is prayer, his silence filled with reason and faith.
Prompt: A photorealistic cinematic scene of a weathered humanoid robot kneeling on cracked, dry earth in a post-apocalyptic landscape. The robot’s metal body is aged and scratched, partially covered with real moss, vines, and traces of rust, showing years of exposure to the elements. With careful, human-like gentleness, the robot cradles a small, glowing sapling growing from the barren ground. The sapling emits a soft, natural bioluminescent light, illuminating the robot’s hands and nearby soil.
Around the robot, a few vibrant butterflies flutter realistically through the dusty air, their wings catching the light. In the distance, abandoned city ruins and collapsed structures emerge faintly through atmospheric mist, slowly being reclaimed by nature. The sky is dramatic, with heavy clouds parting to allow warm sunlight to break through, creating realistic volumetric light rays and soft shadows.
Ultra-realistic textures on metal, soil, plants, and fabric-like cables. Natural color grading, cinematic depth of field, realistic lighting and reflections. Shot like a high-budget science-fiction film still. Mood is hopeful yet melancholic, quiet, and contemplative. No stylization, no cartoon elements.
Prompt: A tragic Old Master–style oil painting in the spirit of Rembrandt and José de Ribera. In a bleak winter landscape, an old, collapsing doghouse stands half-buried in snow. Its cracked wooden boards are darkened by age and frost, rendered with heavy, textured brushwork. Jagged icicles cling to the roof like frozen tears.
Beside it stands a large mongrel dog, restrained by a thick, rusted iron chain embedded in the snow. The dog faces the viewer directly. Its eyes are deep, dark, and sorrowful, painted with quiet intensity — not pleading, but enduring. The animal’s posture conveys fatigue and resignation, its body stoic despite suffering. Snow and frost cling to its coarse, unkempt fur, applied with layered, tactile paint.
On the frozen ground nearby rests a small, dented metal bowl, nearly lost beneath snow — a subtle symbol of neglect. The earth is hard and lifeless, with brittle grass and broken stalks piercing the ice. Bare winter branches rise behind the dog, stark and skeletal against a low, oppressive sky.
The lighting is solemn and restrained, dominated by chiaroscuro: deep umber shadows envelop the scene while a cold, pale light touches the dog’s face, isolating it in quiet tragedy. The palette is subdued — raw umbers, lead whites, ashen blues, and muted ochres — with no decorative color.
Executed in classical oil technique with visible brushstrokes, layered glazes, and subtle impasto. The composition is still and grave, evoking moral reflection rather than drama. The mood is tragic, dignified, and timeless — a silent meditation on suffering, endurance, and abandonment, rendered with the gravity of an Old Master painting.
Prompt: A richly detailed, nostalgic oil painting in the style of Baroque romanticism, with deep shadows, glowing highlights, and classical composition. At the center, an ornate gilded wall clock with sculpted cherubs and amethyst pendants stands still, partially cracked. Time seems paused.
Around it, the seasons shift softly: curled autumn leaves drift across a stone floor; a faded bouquet of spring flowers lies forgotten on a velvet chair. In the background, a girl in antique dress walks a bicycle past a tall window, her figure blurred slightly like a memory. A black cat watches quietly, perched near crumpled paper and a broken pocket watch.
The textures are lavish: peeling wallpaper, silver dust on wood, tarnished brass, and mother-of-pearl inlay glistening in candlelight. Faint silhouettes of transparent leaves and clock hands echo across the walls, like the shadows of time.
Style: Baroque elegance, romantic nostalgia, rich chiaroscuro lighting, oil painting on canvas, ultra-fine detail, muted warm palette, intricate textures.
Prompt: The toddlers, laughing, are climbing all over the alien while it tries to keep reading. One, on his shoulders, wears its hat; another has drawn on the picture book. The two alien child sitting and watching the toddlers. The elderly woman laughs silently from the doorway. Full of movement and heart. The alien skin is smooth, not patching, and gray-while.
Style: quiet surrealism, soft chiaroscuro, rich emotional stillness. Oil painting. The final brushstroke in a painting about belonging, memory, and the things we welcome without understanding.
Prompt: The living room is dark now, except for the flicker of a black-and-white television screen and the silver-blue glow of the stars outside the large picture window.
The alien reclines against the couch, eyes turned upward, thoughtful. One toddler sleeps in the crook of its arm, the other sprawled beside a half-built tower of wooden blocks.
A cat curls on the alien’s shoulder. A small photo frame on the end table shows a missing person—perhaps long gone. The elderly woman sits in a chair by the window, watching the stars, her expression unreadable.
Outside, the stars seem brighter than they should be, too many, too close. A faint constellation glows that doesn’t exist on Earth.
Style: quiet surrealism, soft chiaroscuro, rich emotional stillness. The final brushstroke in a painting about belonging, memory, and the things we welcome without understanding.
Prompt: A dramatic Old Master–style oil painting, inspired by Rembrandt and Caravaggio, depicting a rain-soaked urban tunnel scene. From a low-angle cinematic viewpoint, a weathered humanoid robot sits beneath a concrete tunnel on cracked stone pavement. The robot has a subtly human-like form — expressive facial structure, softly glowing eyes, and articulated metal hands — its surface worn with age, scratches, patina, and traces of rust rendered in rich, painterly textures.
The robot gently cradles a small domestic cat in its arms, one careful metal hand stroking the cat’s fur while its head leans close in a gesture of quiet protection. The cat presses against the robot’s chest calmly, unafraid, conveying warmth and trust.
Outside the tunnel, rain falls steadily, painted with flowing translucent strokes. Shallow puddles on the ground reflect the warm glow of a single oil-lit streetlamp, which casts dramatic chiaroscuro lighting — deep shadows and golden highlights — across the figures. The surrounding palette is muted umbers, deep blues, and smoky grays, punctuated by warm amber light.
In the distant background, faint human silhouettes pass by, barely defined, dissolved into darkness and mist. The composition emphasizes intimacy and stillness within a harsh world.
Executed in classical oil painting technique: visible brushstrokes, layered glazes, subtle impasto highlights on metal and wet stone, rich texture, soft edges, and masterful control of light and shadow. The mood is solemn, compassionate, and timeless — an Old Master vision of humanity, compassion, and quiet grace surviving in a broken world.
Prompt: Atmospheric night painting. Inside a gleaming corner diner, under stark fluorescent lights, a tall humanoid E.T. in a fedora and trench coat sits alone at the counter, his clawed fingers gently encircling a ceramic coffee cup. Standing next to him, just a few stools away, is a 1940s waitress in uniform, leaning, her elbows on the counter. She does not appear afraid — only resigned, curious, or quietly watchful. Outside two alien child peaking in the window of the diner. Their skin, as the tall alien, are smooth gray-white, not patching. The street is empty, buildings dark, the world still. The lighting geometry and urban solitude are preserved, with a surreal twist.
Style: Rich oil-painted texture, quiet surrealism, soft chiaroscuro, rich emotional stillness. The final brushstroke in a painting about belonging, memory, and the things we welcome without understanding.
Prompt: Create a close up portrait of brown eyed, wildly messy, tousled and tangled black hair bleached blonde with ombre effect long black roots showing late teen girl with fierce expression wearing brown leather biker's jacket with black crop top with seemingly spraypainted alien face with big black eyes displayed across chest. wearing torn blue denim jeans and black military style boots with feet propped up on end table as she sits on couch in coffee shop holding disposable coffee cup surrounded by captivated young teen and old people audience surrounding her casting scrutinizing glances.
Style:Style: masterful oil painting with soft brushstrokes, painterly textures, glowing light, emotional realism.
Prompt: The story centers on two punk-inspired late-teen girls:
The first has brown eyes and wildly messy, tousled and tangled hair — black roots with bleached light blonde ombre effect — often worn in a loose bun with strands framing her face. She wears a long brown leather trench coat patched with metal pieces and studs over her black crop top with a spray-painted alien white face, short black denim skirt, high-leg black leather boots, and silver chain necklaces. She carries herself with bold confidence.
The second girl has short, spiked black dreadlocks, piercing green eyes, pale skin with a slight blush and a faint scar on her cheek. She wears a worn suede bomber jacket with a fur collar, ripped baggy jeans, old black Chucks, a studded belt, and visible tattoos on her arms. She’s often seen filming with a vintage camcorder and carries a satchel filled with UFO evidence.
A cinematic, richly detailed oil-painted digital artwork styled like a conspiracy investigation board. Four connected scenes are pinned to a large corkboard under the title “Eyes to the Sky” in bold, weathered letters. Each scene represents a chapter in a larger UFO mystery narrative involving the two girls.
Top left: **“UFO Conference – Believers and Skeptics”**
Shows the girls at a chaotic alien-themed convention. One holds a mic and notebook, the other films with a camcorder, surrounded by costumed attendees, UFO merchandise, and the bookstand for *Witness by Bob R.*
Top right: **“School Sighting – Playground Disclosure”**
A bright schoolyard where children react to a hovering saucer. One girl holds a glowing metal shard and interviews a child, while the other maps global UFO sightings with markers for Paris, London, Canada, and China.
Bottom left: **“UFO Fleet Hangar – Unsealed Evidence”**
A massive, dimly lit hangar filled with alien craft — oval and cigar-shaped — suspended from scaffolding or under repair. The girls sneak between crates, one filming, the other investigating.
Bottom right: **“Contact Breach – First Touch”**
The climax scene: inside an alien ship. One girl touches an active control panel, triggering a luminous energy surge. Holograms swirl as soldiers burst in with flashlights raised. Her friend captures everything on camera.
Polaroids, red string, sketches, and declassified files link the four scenes visually. Scattered near the bottom: an open camcorder, a flashlight, and a folder marked “PROJECT: SKYFALL — TOP SECRET.” The atmosphere is mysterious, rebellious, and cinematic, blending painterly textures with high emotional realism.
Prompt: A cinematic oil painting in a dark, high-tech hangar where massive UFOs are suspended in midair under dramatic lighting. The setting is vast and secretive, filled with scaffolding, floodlights, military personnel, and scientists inspecting alien spacecraft. Three main ships are present: one oval-shaped and hovering midair with beams of light below it, the others resting on mechanical platforms—sleek, silver, and cigar-shaped with strange symbols faintly visible on their hulls.
In the foreground, two punk-styled young women investigate with urgency and defiance. One crouches with a vintage camcorder aimed at the ships, her sharp features partially lit, wearing ripped baggy jeans, worn Chucks, and a weathered suede bomber jacket with a fur collar. Tattoos cover her forearms, and piercings glint in the industrial light. She has short, spiked black dreadlocks, piercing green eyes, pale skin with a slight blush and a subtle scar on her cheek.
The second woman stands alert, holding a flashlight and a folder marked “TOP SECRET CASE FILES” filled with maps and alien reports. Her outfit: a long black leather coat with metal patches and studs, a short denim skirt, high black leather boots, and a black crop top with a spray-painted alien white face. She has brown eyes and wildly messy, tousled and tangled hair bleached light blonde with ombre effect with dark roots. Her hair is tied in a messy bun, bleached strands falling around her fierce expression.
Around them: crates of equipment, scattered documents, blinking control panels, and hazy spotlight beams cutting through the darkness. The atmosphere is intense, awe-inspiring, and loaded with secrecy and danger. Painted in glowing amber tones with painterly textures, soft brushwork, and cinematic depth.
Prompt: A cinematic oil painting in a vibrant, chaotic alien convention hall filled with glowing booths, holographic displays, alien figurines, and costumed attendees. The atmosphere blends kitsch and paranoia with conspiracy-themed decor, signs like “We Are Not Alone” and “Disclosure Now!” hanging from banners.
In the foreground, two punk-inspired late-teen girls stand out amid the crowd:
The first girl has brown eyes and wildly messy, tousled hair — bleached light blonde with black roots in a dramatic ombre — tied into a loose bun with bleached strands framing her intense face. She wears a long leather trench coat patched with metal pieces and studs over her black crop top with a spray-painted alien white face, a short black denim skirt, high-leg black leather boots, and layered silver chain necklaces. She clutches a notebook and portable mic, her stance confident, eyes scanning the room.
The second girl stands beside her, filming the scene with a vintage camcorder. She has short, spiked black dreadlocks, piercing green eyes, pale skin with a subtle blush and a faint scar on her cheek. She wears ripped baggy jeans, black Converse sneakers, a weathered suede bomber jacket with a fur collar, and a studded belt. Her tattooed arms are visible as she records everything intently.
Behind them, a booth features a stack of books titled *“Witness” by Bob R.*, with a cardboard cutout of a trench-coated man wearing sunglasses pointing to the sky. People gather around watching grainy video “evidence” playing on a loop.
Mood: Curious, humorous, and subtly foreboding — this is the lightest chapter, but something real lurks beneath the surface. The painting is rich with soft brushwork, glowing tones, and layered storytelling.
Prompt: An emotionally charged oil painting in cinematic, painterly style. Set outside a rural school under a blue sky streaked with clouds, a massive flying saucer hovers in full view, casting a beam of light over the schoolyard. Dozens of children react in amazement—some pressed against the windows, others pointing and running across the dusty playground in a mix of awe and panic.
In the foreground, two punk-styled young women document the unfolding event. One stands with a bold, determined stance, speaking urgently into a microphone while holding a map highlighting UFO sightings in Paris, London, Canada, and China. She wears a short black denim skirt, high-leg black leather boots, and a long leather trench coat patched with metal pieces and studs over her crop top with a spray-painted alien white face. She has has brown eyes and wildly messy, tousled and tangled hair bleached light blonde with ombre effect with dark roots. She wears her hair in a messy loose bun, bleached strands framing her face.
Beside her, her friend crouches at a three-quarter angle, filming the schoolyard with her large camcorder aimed at the children and the hovering UFO. Her expressive face is visible in profile, sharp with focus and intensity. She wears loose, ripped baggy jeans, worn black Chucks, and a vintage suede bomber jacket with a fur collar. Tattoos trail down her arms, and earrings glint in the daylight. She has short, spiked black dreadlocks, piercing green eyes, pale skin with a slight blush and a subtle scar on her cheek.
Around them: a makeshift equipment station with radio gear, scattered alien files, and bulletin boards with reports and newspaper clippings. The scene combines realism with a surreal sense of wonder and fear, capturing a moment of extraordinary truth breaking into an ordinary world.
Prompt: A cinematic oil painting with rich painterly textures and dramatic lighting, set inside a mysterious alien spacecraft. In the dim glow of bioluminescent panels and pulsing holographic displays, two punk-styled young women have broken into the ship’s core.
One girl, with ombre bleached-blonde hair with black roots in a messy bun, bold brown eyes, and a long leather trench coat patched with metal pieces and studs over a crop top with a spray-painted alien white face, reaches out with her hand to touch an active alien control panel glowing with holograms. Her expression is one of awe and urgent defiance.
Next to her, her friend with spiked black dreadlocks, piercing green eyes, pale skin, and tattoos, crouches with a vintage camcorder, capturing the moment. She wears ripped jeans and a suede bomber jacket with a fur collar. The camcorder glows in the light from the console as she films with intensity. They are both in awe in their first contact.
Behind them, a team of armed soldiers storms into the ship, flashlights aimed and rifles raised, caught mid-motion in disbelief. Their faces are partially lit by the mix of harsh military torchlight and the alien blue-green glow filling the cockpit.
The scene crackles with tension — the instant of forbidden contact, just as military power collides with alien mystery. High contrast, strong directional lighting, surreal sci-fi realism.
Prompt: A richly detailed, cinematic illustration designed as a tarot-style character board, inspired by 1930s Americana, Dust Bowl imagery, and mystical symbolism. The composition features four vertical tarot cards arranged side by side on an aged parchment or scrapbook-style background.
At the top, in worn serif lettering, the title reads:
“THE LAST GREAT AGE OF MAGIC”
Each tarot card is ornate, with faded gold borders, hand-drawn linework, subtle cracks, dust smudges, and antique texture. The color palette is warm and dramatic: deep ambers, dusty browns, muted reds, indigo blues, and candlelit golds.
---
CARD I — HEALER
A lean young man in his early twenties kneels or bends forward, weary and solemn. He has dark, wind-tossed hair, pale inward-looking eyes, and worn work clothes stained with dust. His both hands glows with a golden light on the body of a weak and sick kitten. At his feet, the earth is cracked and lifeless, with hints of withered corn.
Symbols around the card include an open hand, broken soil, and a faint halo of light.
Emotion: sacrifice, reluctance, burden.
---
CARD II — FATE
A short, bearded carnival boss stands elevated on a wagon step or platform. He is a dwarf, clearly smaller in stature but commanding in presence. He wears an ornate but weathered embroidered coat, a vest, and a hat. His sharp, intelligent eyes observe everything. Behind him are lanterns, wagons, and a road stretching into the horizon.
Symbols include a lantern, a key, and a distant crossroads.
Emotion: knowledge, survival, inevitability.
---
CARD III — MINISTER
A tall evangelical minister stands upright and severe, dressed in a dark suit with a high collar. His hair is neatly combed, his face angular and pale. One hand is raised in a gesture of benediction or authority. His eyes are intense but normal, not supernatural. A Bible or cross is subtly present.
Symbols include an eye, a flame, and radiating lines suggesting belief and conviction.
Emotion: certainty, righteousness, control.
---
CARD IV — THE GYPSY GIRL
A slim young woman with short black hair sits at a small table covered in rich fabrics, tarot cards spread before her. She glances slightly to the side, as if listening inwardly. Her clothing is layered and colorful, with deep reds, blues, and gold embroidery. A faint thread or mist rises upward, suggesting unseen connection.
Symbols include tarot cards, a crescent moon, and a delicate thread of light.
Emotion: intuition, mediation, quiet awareness.
---
The background around the cards resembles a scrapbook or prophecy board: faint sketches, symbols, dust smears, and subtle hand-drawn motifs scattered lightly, never cluttered. No modern elements. No text other than the main title and the card titles:
“Healer”
“Fate”
“Minister”
“Gypsy Girl”
The overall mood is mythic, melancholic, and reverent — a visual introduction to a world where magic, faith, and destiny are colliding. Painterly textures, cinematic lighting, and handcrafted detail throughout.
Prompt: A cinematic oil painting set in the 1930s Dust Bowl under a pale, dust-choked sky. In the foreground stands Ben, a lean 24-year-old man with dark, wind-tossed hair and pale, inward-looking eyes. His face is narrow and worn by grief and labor. He stands, alone in a barren field of cracked earth, beside a freshly dug grave, gripping the handle of a shovel planted firmly in the ground, his hands resting heavily on top. We can see beside him, the dead body of his mother wrapped in a sheet marked with dust from the wind.
Ben’s posture is slightly stooped, exhausted and contemplative. His work clothes are worn and dust-stained — a rolled-sleeve shirt, simple trousers, boots caked with dry earth. He looks toward the horizon rather than the grave at his feet, making the burial of his mother.
Across the background, a traveling carnival caravan passes slowly through the dust from left to right. Colorful wagons painted with faded animals, stars, moons, and carnival symbols roll by, pulled by horses and flanked by performers and animals alike. Lanterns hang from the wagons, glowing faintly even in daylight. They move with quiet purpose, contrasting with the desolate land around Ben. The carnival feels alive, strange, and otherworldly against the dead landscape.
Wind carries dust through the scene, softening edges and blurring distance. The earth around Ben is dry, lifeless, and exhausted. The contrast between the muted, desolate foreground and the muted-but-vivid colors of the passing carnival creates a sense of fate brushing past him.
Painterly brushstrokes emphasize texture, silence, and emotional weight. The mood is suspended and solemn — a moment before fate intervenes, before power is known.
Prompt: A cinematic, harrowing oil painting set at night at the entrance of a traveling carnival during the 1930s Dust Bowl. A large wooden gateway bearing a weathered banner reading “CARNIVAL” stands behind the central figure, illuminated by warm lantern light spilling from within. Beyond the gate, tents glow, music and movement implied, unaware.
In the foreground stands Brother Justin, a tall evangelical minister in his early thirties with neatly combed dark hair and a long, severe face. He wears a dark clerical suit with a high collar. He is positioned outside the carnival grounds — on the threshold but not within. His posture is rigid, his head tilted upward, eyes black, consumed by prophetic vision.
Both of his hands are raised toward the sky. From his palms, thick, dark blood begins to pour and drip downward, running along his fingers and wrists. Some of the blood streaks across his face, marking his cheeks and jaw, catching in the lantern light. The blood is graphic and real — heavy, wet, unmistakable — as if the vision has forced itself physically through him.
Brother Justin does not appear frightened. His expression is one of grim certainty and revelation, as though he interprets the blood as a divine sign rather than a warning.
The ground beneath him remains dry and untouched. No blood stains the carnival entrance. The omen exists on his body alone.
Behind him, through the gate, the carnival glows with warmth and color: lanterns sway, canvas tents ripple, silhouettes of performers move in celebration. The contrast between the living carnival and the bleeding prophet is stark and deliberate.
The sky above is heavy with dark clouds. Dust and mist swirl in the air. The brushwork is textured and expressive, emphasizing flesh, blood, wood grain, fabric, and light. The color palette contrasts deep crimson and black against warm golds and ambers.
The mood is visceral and prophetic — the moment a vision becomes a mark, and a man convinces himself that suffering is proof of righteousness.
Prompt: A close-up and cinematic oil painting with rich textures in a cold, sterile government interrogation room lit by harsh fluorescent lights.
One of the two punk-styled late-teen girls from the alien investigation story sits at a metal table being debriefed by government agents after a mysterious blackout. She has brown eyes and wildly messy bun, tousled hair bleached light blonde with black roots, and wears elements of her punk attire: denim skirt, long leather trench coat patched with metal pieces and studs over a black crop top with a spray-painted alien white face.
On the table are strange blood samples that subtly glow, a silver alien implant with cryptic markings, and a burned camera with scorched footage on a small flickering screen. Behind the two-way mirror, the other girl watches silently with tense posture, her short spiked black dreadlocks, piercing green eyes, tattoos, and suede bomber jacket with a fur collar clearly visible. They looked at each other with tense expression.
The lighting is stark and reflective, casting dramatic highlights and long shadows, capturing a tense, slow-burn sci-fi thriller atmosphere with emotional realism and painterly textures.
Prompt: A gritty, cinematic oil painting set at dusk during the 1930s Dust Bowl. A traveling carnival stands on the edge of a barren town, its canvas tents worn, patched, and glowing faintly from lantern light. Dust hangs in the air, stirred by wind and footsteps.
In the foreground stands the carnival’s boss — a dwarf with sharp, intelligent eyes and a composed, commanding presence. He has a short beard, wears an ornate but weathered carnival coat with embroidered details, a vest beneath, and polished but scuffed boots. He stands upright on a wooden platform or wagon step, hands clasped calmly, surveying the carnival as if he owns not just the show, but the fate of everyone in it.
Behind him, the carnival unfolds in shadow and motion: a fortune teller slipping into a tent, a strongman hauling crates, lanterns swaying, canvas rippling. Faces are partially hidden, lit unevenly by warm, flickering light. The sky is heavy with clouds and dust, tinged with deep amber and rust tones.
The mood is ominous yet intimate — a place of secrets, survival, and strange purpose. Painterly brushstrokes emphasize texture: frayed fabric, cracked wood, dust-coated skin. This image serves as an introduction to a world where miracles, visions, and judgment quietly wait behind canvas walls.
Prompt: A cinematic, intimate oil painting set inside a small, dimly lit farmhouse bedroom in 1930s Dust Bowl America. The room is sparse and worn: cracked plaster walls, a narrow wooden bed, a single oil lamp casting soft amber light and long shadows. Dust hangs faintly in the air.
In the center lies Ben’s mother, frail and dying, propped up on thin pillows. Her face is pale, drawn, and fearful, eyes wide with desperation rather than peace. Her body is weak, consumed by illness. Clutched tightly to her chest with both hands is a simple wooden cross, worn smooth by years of prayer.
Beside the bed kneels Ben, a lean 24-year-old man with dark, wind-tossed hair and pale, burdened eyes. His face is filled with anguish and uncertainty. He leans forward, gently laying his hands on his mother’s arms, instinctively trying to heal her with his gift. A glow radiates from his hands —you can clearly see his light touching her arms.
His mother recoils slightly from his touch, terror overtaking her expression. Her grip on the cross tightens, knuckles white, as she turns her face away from him. The contrast is stark: the cross pressed to her heart, the healing hands hovering just above her body.
Ben’s posture is desperate and pleading, his hands trembling, his power unwanted. He does not understand it yet — only that it frightens the woman he loves most.
The environment remains unchanged. No miracle occurs. No healing is accepted. The cost is emotional rather than physical.
The brushwork is soft but deeply textured, emphasizing skin, wood grain, fabric, and lamplight. The color palette is muted — browns, ochres, warm golds, a touch of color on the blankets of the bed — with the faint glow of Ben’s hands as the only unnatural light. The mood is tragic, intimate, and devastating: the moment where magic is rejected by faith, and love is powerless against fear.
Prompt: A cinematic, emotionally intimate oil painting set inside a richly decorated gypsy caravan trailer during the 1930s. The interior is dense with texture and color: deep red, indigo, and gold fabrics drape the walls and ceiling, layered with embroidered patterns, tassels, and hanging charms. Warm lantern light and candles cast a soft amber glow across the space.
On the left, a paralyzed mother lies propped up in an ornate bed covered with richly patterned quilts and pillows. Her body is still, but her face is serene and distant, eyes half-closed as she experiences vivid clairvoyant visions. From her temples and brow, a soft, translucent current of misty light flows outward — subtle and painterly — carrying fleeting images and symbols, representing her silent telepathic communication.
On the right, her daughter, about 24 years old, sits at a small wooden table reading tarot cards for an elderly female client. The daughter is slender, with short black hair, sharp thoughtful features, and a quiet intensity. She wears layered, earth-toned clothing typical of carnival life. Though her hands arrange the tarot cards, her eyes glance sideways toward her mother, listening inwardly rather than speaking.
Between mother and daughter, the ethereal stream of vision gently connects them — not dramatic or explosive, but intimate and private — showing that the mother supplies the knowledge while the daughter performs the reading. The elderly client leans forward, unaware of the true source of the prophecy.
The table is covered with a richly patterned cloth in blues and golds, tarot cards laid out carefully, candles flickering nearby. Shelves behind them hold bottles, trinkets, and small talismans. The brushwork is soft and textured, emphasizing fabric, skin, smoke, and light. The mood is warm, secretive, and deeply bonded — a quiet collaboration born of necessity, love, and survival within the carnival world.
Prompt: A vibrant, cinematic oil painting set at night within a bustling traveling carnival during the 1930s. The carnival is alive with light, color, and joy. Strings of lanterns glow in warm yellows, reds, and blues, casting reflections through drifting dust and laughter-filled air. Music plays, crowds move, and the atmosphere is festive and electric.
Three brightly painted spectacle tents dominate the scene, each marked with large, colorful illustrated banners:
One tent displays a bold hand-painted portrait of a bearded woman, vibrant and dignified, while the performer herself stands outside the entrance speaking animatedly to the gathered crowd, drawing them in with humor and charm.
Another tent features a dramatic painted banner of two young women born tragically united at the hip, depicted with tenderness and spectacle. A sign reads “SEE THE UNITED SISTERS – 5¢”.
A third tent shows a towering illustration of a giant man with a stout heart and brute strength, alongside a fire-breather caught mid-flame, orange fire bursting from his mouth. Flames are echoed in lantern light nearby.
Crowds of men, women, and children gather excitedly, coins exchanged, laughter and amazement visible on their faces. The mood is joyful, curious, and alive — a moment of wonder before darkness intrudes.
In the foreground, slightly apart from the crowd, Ben and Nancy meet for the first time.
Ben is a lean 24-year-old man with dark, wind-tossed hair falling into his eyes and pale, inward-looking eyes marked by grief and thoughtfulness. He wears worn, dust-stained work clothes — a rolled-sleeve shirt, simple trousers, and boots coated with dry earth. His posture is cautious but open, as if drawn into the carnival’s color and life despite himself.
Nancy stands nearby, illuminated by lantern light. She is a slim young woman in her mid-twenties with short black hair, attentive dark eyes, and a quiet, observant expression. She wears layered, earth-toned carnival clothing: a warm orange gypsy-style silk skirt with a violet scarf tied at her hip with a brown short blouse - practical yet graceful. She watches Ben with calm curiosity, as if sensing something unspoken between them.
Around them, the carnival swirls with motion and color, but the space between Ben and Nancy feels briefly still — a soft moment of connection amid spectacle.
The brushwork is rich and painterly, emphasizing glowing lanterns, painted banners, fabric textures, faces in the crowd, and the warmth of shared wonder. The palette is saturated and joyful, filled with reds, golds, blues, and warm shadows. The mood is celebratory and human — a fleeting night of joy, beauty, and connection before fate asserts itself.
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.
Prompt: A cinematic, tragic oil painting set at night in the aftermath of a devastating fire in 1930s Dust Bowl America. The remains of a small refuge building — once meant to shelter abandoned children — smolder in ruins. Charred wooden beams collapse inward, ash drifts through the air, and faint embers glow amid blackened debris. The sky above is dark, clouded with smoke, lit intermittently by the dying fire.
In the foreground, Brother Justin kneels on the scorched ground. He is a tall evangelical minister in his early thirties, dressed in a dark clerical coat now smeared with ash and soot. His posture is broken — shoulders hunched, head bowed, hands pressed into the dirt as if he can no longer stand. His face is contorted with grief and disbelief, his faith shaken but not yet abandoned.
Before him lie the still forms of several children, covered partially by ash and debris. Their presence is solemn and tragic, depicted with restraint and dignity — no gore, no sensational detail — only the unbearable stillness of loss. Their small bodies contrast cruelly with the scale of the destruction.
Brother Justin’s eyes are normal — not black — emphasizing that this is not a moment of power, but of failure. His mouth is slightly open, as if in silent prayer or accusation, caught between pleading with God and demanding an answer.
Around him, the burned structure stands as a hollowed shell, its purpose erased. The ground is scarred and lifeless. No miracle has occurred.
The color palette is ashen and mournful: blacks, charcoals, deep reds, scorched browns, and dull embers. Occasional warm firelight flickers across Justin’s face, highlighting tears cutting through soot.
The brushwork is heavy and expressive, emphasizing smoke, ash, ruined wood, and human anguish. The mood is catastrophic and intimate — the moment when a man’s desire to save others is met with irreversible loss, planting the seed of a belief that the world must be purged to be redeemed.
Prompt: A cinematic, emotionally charged oil painting set in a Dust Bowl cornfield in 1934. In the background a weathered wooden entrance frame holds a tattered fabric banner that reads CARNIVAL. And And crows fly high in the sky.
In the foreground, a young boy afflicted with polio sits weakly on the dry earth, in the cornfield, his legs encased in heavy metal leg braces (polio braces). On one leg some of the metal straps have loosened and slipped down, beginning to fall away — not fully gone — showing that the healing is incomplete and costly.
The healer, a lean 24 years old man with dark, wind-tossed hair, his face narrow and pale, kneels beside the boy, with quiet intensity. One of the man’s hands gently supports the boy’s shoulder while the other hand presses against the boy’s weakened leg. A golden glow radiates from his hand, —you can clearly see his light touching the boy's leg.
Behind them, the cornfield tells the true story of the miracle’s price:
on one side, corn still stands tall and healthy, very green and alive;
closest to Ben, the corn is completely withered, blackened, and dead, as if life has been drained directly from the land to heal the child. The soil near Ben is cracked and lifeless. And two crows at his feets, both dead.
The sky is heavy with Dust Bowl clouds, lit by a fading sunset that casts amber and rust-colored light across the scene. The brushstrokes are soft yet textured, emphasizing dust, sweat, worn fabric, and emotional strain. The mood is somber, sacred, and tragic — a miracle achieved only through sacrifice. Painterly realism, muted earth tones, symbolic contrast between life and decay.
Prompt: A cinematic, dreamlike oil painting set inside a quiet roadside diner at night in 1930s America. The diner is dimly lit by soft overhead bulbs and neon glow from the windows, casting reflections across polished metal surfaces and red leather stools. Outside the windows, darkness presses close, the world reduced to night and glass.
At the counter sit two men side by side, unaware of each other, yet bound by fate.
On the left sits Ben, a lean young man in his early twenties with dark, wind-tossed hair and pale, inward-looking eyes. He wears worn work clothes, his posture slightly hunched, hands resting near a cup of untouched coffee. His expression is distant and contemplative, as if listening to something only he can hear.
On the right sits Brother Justin, a tall evangelical minister in his early thirties with neatly combed dark hair and a severe, angular face. He wears a dark clerical suit with withe collar, posture upright and composed. His expression is calm but alert, eyes fixed forward. He does not look at Ben, yet their proximity suggests a connection neither understands.
Behind them, near the diner window, two other men sit together at a small table.
One is a soldier, dressed in a military uniform, posture rigid, face solemn — a figure of discipline, conflict, and future violence.
Beside him sits a man dressed as a magician: wearing a black suit, a white high-collared shirt, and a tall top hat. His presence is theatrical and enigmatic, a figure out of time. His expression is knowing, almost intimate, as if he understands the dream more than the others.
Behind the counter stands a waitress holding a pot of coffee mid-pour. She pauses, looking at the room with quiet certainty. Her face is calm, unreadable. In understated lettering, either spoken or implied, her words hang in the air:
“All prophets are in the house.”
The scene is subtly unreal — reflections don’t align perfectly, shadows linger too long, and the space feels suspended. No one speaks. No one moves. The moment exists outside linear time.
The color palette is restrained and atmospheric: deep reds from the stools, muted chrome highlights, soft yellows from the lights, and cool blues from the night outside. The brushwork is smooth but painterly, emphasizing stillness, reflection, and inevitability.
The mood is prophetic and haunting — a shared dream where past, present, and future converge, and four lives unknowingly align beneath the same roof.
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.
Dream Level: is increased each time when you "Go Deeper" into the dream. Each new level is harder to achieve and
takes more iterations than the one before.
Rare Deep Dream: is any dream which went deeper than level 6.
Deep Dream
You cannot go deeper into someone else's dream. You must create your own.
Deep Dream
Currently going deeper is available only for Deep Dreams.
20h
12h
