View allAll Photos Tagged Finalization
Done in Ai, Finalized in Photoshop
Born not of stars, but of what lies between them, the Eidolon of Hollow Suns is a sentient fracture in the fabric of space itself. It moves like a shadow soaked in starlight, its twisted limbs coiling with quiet purpose. Where it steps, light fractures and sound dies. Its bioluminescent core pulses with a pattern older than time—unreadable, untranslatable, but felt by all who gaze upon it.
Done in Ai, Finalized with Photoscape X and edit in Photoshop with help from a friend.
The Hollow Veil
Where light and darkness remember each other in the mist
️ World Overview
The Hollow Veil is a broken, mist-shrouded world - suspended between life, death, and dream.
The Breath of the Hollow Veil
Long before memory wove itself into stone and sorrow kissed the broken earth, the Hollow Veil was born from a single breath — a whisper of mist that coiled through the fractures of forgotten dreams.
This mist is not mere fog.
It is the breath of lost hopes, of broken promises, of songs never sung and roads never traveled.
It drifts endlessly across the Hollow Veil, shaping and reshaping what lies hidden beneath.
Sometimes it hides — and sometimes it reveals.
But always, it remembers.
Where the mist thickens, echoes awaken.
Where it fades, memories slip back into the abyss.
Yet within the mist, even in its heaviest gloom, flickers a fragile light: the remembrance of what could still be, of dreams that refuse to die.
From sorrow, hope blooms — trembling, flickering — but alive.
The mist is the lifeblood of the Hollow Veil — weaving sorrow and hope into every step, every ruin, every breath.
"Mist does not forget. It carries sorrow in its left hand, and hope in its right — waiting for those brave enough to walk between them."
Here, forgotten memories shape ruined landscapes, sorrow breathes life into shattered realms, and broken ambitions echo through endless mist.
Time fractures.
Reality melts.
Nothing truly dies - it only waits, lingering in the fog.
In The Hollow Veil:
Abandoned thrones rot beneath pale, cracked skies.
Lost souls wander empty, mist-bound fields.
Mirrorborn creatures stalk those who have forgotten themselves.
Each memory births a new echo - a world unto itself.
The Hollow Veil is alive through its contributors. Every creation — a region, creature, artifact, or story — is treated as an Alternate Reality within the Veil: a Shardworld, an Echo, or a Divergence born from fractured memories.
"In the Hollow Veil, even memory fractures. Every reflection is a forgotten world."
Done in Ai, finalized in Photroshop
"A sanctuary among the stars, where worlds converge beneath one dome."
A colossal spacestation orbits serenely above an Earth-like world, its vast crystalline dome sheltering a futuristic city where towers of glass and steel rise among forests and gardens. Beneath it, the planet’s clouds swirl in golden patterns, while behind, a crimson nebula and distant moons burn with cosmic fire. A vision of harmony between technology and nature, stretching across the stars.
Done in Ai, Finalized in Photoshop.
Once a highborn daughter of the Summer Court, Elyra Moongleam was destined for a life of elegance, courtly dances, and illusion magic beneath eternal twilight. Her beauty was renowned across the fae realms, her magic refined, and her bloodline ancient.
But fate turned on a crimson moon.
During a royal rite beneath a lunar eclipse, Elyra was touched by an ancient wild force—the Primal Howl, a feral echo older than the courts themselves. It twisted her magic, marking her as moonbound. The elegant fae-child awakened from the ritual transformed—eyes burning gold, her wings darkened and sharpened, and the scent of blood on her breath.
Declared cursed by the Summer Court, Elyra was exiled. Yet she did not crumble. She wandered into the Twilight Glades, a half-forgotten, mist-cloaked borderland between the fae courts and the mortal world.
There, among fallen stars and whispering trees, she embraced her duality.
“The moon does not choose light or dark. Neither do I.”
Done in Ai, Finalized in Photoshop and Photoscape X
In the age before stars learned to die, there was a name whispered only in shadow — Seraphistra Nocthalis. She was not born, but summoned, when the first oath was broken and the first light was cursed. She wears the Crown of the Void, not as adornment, but as an eternal wound — a divine scar gifted by the cosmos itself.
Her form is regal, her beauty etched in sorrow and silence. Her horns spiral like blackened constellations, reaching through dimensions not meant to be touched. Her eyes are gates to oblivion — glowing, sentient, and unforgiving. Her voice is scripture turned inside out.
Seraphistra does not reign over kingdoms, but over absence. Over the moments after the end. Where time collapses and memory rots, her throne waits. Her armor is woven from the whispers of dying gods, her jewels crystallized from imploded suns.
They say the Crowned Void is not a place, but a prophecy — and she is its queen, sovereign of unmaking.
Done in Ai, Finalized in Photoscape X and Photoshop.
The Blooming Heart Sanctuary
A colossal, half-opened flower that has transformed into a breathtaking gothic cathedral made of shimmering, pearl-like crystal.
The petals now arch as soaring spires and curved buttresses, forming a structure both natural and otherworldly.
Sunlight and mist filter through the crystalline surfaces, casting shifting rainbows across the silvergrass floor.
The entire sanctuary breathes with a timeless pulse, as if it still remembers its origins as a living bloom.
Done in Ai, Finalized in Photoshop
Born under a falling star and bathed in the light of twin moons, Selyra Astrenai is whispered of in elven legend as The Starlight Veined — a mystic of unparalleled beauty and devastating grace.
Her skin shimmers like the void between stars, alive with pulsing constellations that weave across her form in brilliant violet light. Each glowing thread is not ink nor scar, but the physical expression of ancient celestial magic coursing through her soul. Her gaze is deep as nebulae, her voice a song only night-born creatures understand.
She walks among the glowing petals of the Aru’lan Grove, a place few may enter and none forget. Around her, the air sings with arcane resonance, and even time slows in awe.
She is not mortal.
She is a prophecy clothed in grace.
Done in Ai, Finalized in Photoshop.
A close-up of a Mawborn voidfighter deployed from the Eclipse Requiem, Dread-Class flagship of Xal’Zareth Nyrr’Kael. Forged in the maw-forges of Vyr’Kos, its adamantine hull bears fractal glyphs that shimmer in response to the Queen’s commands. Sleek and predatory, the vessel bristles with folded ion lances and arc-plasma nodes, its design both elegant and merciless. A faint ultraviolet glow traces its flight path—evidence of gravitic drives tearing spacetime with every thrust. Behind its obsidian canopy, a biomechanically fused pilot gazes through cascading data-streams, consciousness meshed with machine and monarch. Spires of the Eclipse Requiem loom in the background like the thrones of executioners, etched against the ruins of forgotten stars.
Done in Ai, Finalized in Photoshop and Photoscape X.
Deep within the folds of the Nightmare Veil lies the Hollow Cathedral of Fractured Mirrors — a monumental gothic ruin, reminiscent of a corrupted Notre Dame, its flying buttresses clawing upward like skeletal wings. Built from centuries of denied memory and lost potential, its foundation sinks into mist-choked sorrow, while its towers loom like obsidian fangs over the horizon.
The entire façade is carved from dark stone veined with reflective silverglass, resembling ancient marble split by lightning. Massive stained mirrors replace traditional rose windows, each depicting forgotten faces screaming in silence. Gargoyle-like effigies — half angel, half echo — perch along every ledge, mouths sewn shut with chains of memorylight.
Inside, echo-torches flicker with pale soulflame, casting jagged reflections that move out of sync with the living. A chill of forgotten choices clings to the air. Beneath the central vault, now cracked and bleeding light, the floor ripples like obsidian water.
The cathedral's spires are asymmetrical and spiraling, as if grown from emotional collapse. Its vaulted ceiling is made from memoryglass, which pulses violet lightning when an unspoken truth draws near. Echo-light flickers in the air, and reflections drift freely without hosts, whispering names long lost to history.
Done in Ai, Finalized in Photoshop.
Lady Nyxariel is the Doom Queen of the Forgotten Depths—an ancient being who was once a seraph of light, cast down after daring to unlock the forbidden secrets of the underworld. Her eyes, now burning with hellfire, pierce through the souls of mortals, revealing their deepest fears. Clad in armor crafted from midnight-black leather and inlaid with demonic silver, she wears the bone sigils of fallen gods as trophies of her defiance.
Her horns, grown from pure shadow, mark her unholy pact with the Elder Darkness. Her voice, like ash on the wind, summons the dead from tombs and forgotten graves, while the keys and charms on her belt jingle like omens of damnation. She does not walk—she glides, like a curse, through ruined cathedrals and shattered temples, ever seeking lost souls to bind to her eternal court.
Done in Ai, Finalized in Photoshop.
Vaerilith Nyx’Thar is the last sovereign of the lost elven kingdom of Thareth-Kael, a realm swallowed by shadow and ruin centuries ago. Once a highborn of celestial blood, she was transformed by ancient rites and forbidden pacts into a being of terrifying beauty and terrible power. Her eyes burn like twin embers of a dying star, and her ruby-red hair falls like a silken veil of blood over her jet-black armor, inlaid with cursed gemstones and etched with sigils long forgotten by living scholars.
Crowned with a headdress forged from obsidian and hell-iron, Vaerilith walks the overgrown ruins of her shattered palace like a specter of vengeance. Though her kingdom lies in decay, the magic of the old blood still clings to her form, coiled like fire beneath her skin. She commands shadows, speaks to dying stars, and wields the memory of her people like a blade.
To the few who dare whisper her name, she is no mere queen—she is the eternal flame in the ash of empire, and the vengeance that waits in ruins.
Done in Ai, Finalized in Photoshop
Inspired by and Reimagined
“The guardian waits where ruins remember.”
Shrouded in a mist-choked wasteland of broken spires, the lion stands as a horned sentinel. Eyes burning with violet wrath, it prowls the forgotten paths between death and eternity. Silent but sovereign, its presence alone bends the world to stillness. The storm lingers in its veins, but its stance is one of control — the calm before the next fury.
Done in Ai, Finalized in Photoshop and Photoscape X.
The Veilcantor is the living hymn of Tenebris Dei — a priestess who does not speak, but sings the will of Lady Nyxariel in a divine tongue lost to time. Her voice is never heard as sound, but as sensation — pain, memory, ecstasy, and prophecy. She is the last remnant of the Forgotten Choir, a celestial order shattered in Nyxariel’s fall, now reborn in unholy form.
Clad in layered black silk and veils of woven shadow, her body appears both whole and undone — light pierces through her like glass, yet no part of her bleeds. Her glowing eyes weep radiance, and her presence silences even the dead. When she raises her arms, pure magic hums into being, shaped as notes and symbols that linger in the air like dust made of stars.
She is not bound by space. Her hymns echo in halls she has never walked. The faithful fall to their knees when she passes; the unfaithful fall to ashes.
Done in Ai, Finalized in Photoshop
"We do not dream in her presence.
We remember what dreaming once was."
She does not guard a place.
She guards pause itself — the silence between awakenings, the stillness between rebirths. Beneath her watch, the ancients rest, entombed not in stone, but in memory turned solid: shimmering vaults of frozen time, each soul preserved in its last breath of thought.
Thessara does not age. She calcifies.
Her veins run with slow light, and the glass-like growths along her skin hum with dormant lullabies.
Her armor is not worn. It has bloomed from her — fractal and mirrored, reflecting visions of futures never chosen. Embedded across her body are luminous shards known as Dreamcores — each one a sealed dreamscape, each one containing an unfinished soul.
She speaks only to the sleepers.
And only when the stars have forgotten how to rise.
Name: Thessara Dureth
Title: Warden of Crystalline Sleep
Function: Keeper of the Frozen Souls | Architect of Preservation
Codex Entry: Fragment CIII — The Vault of Glacial Reverie
Source Memory: Mystic 2.5 / Deep Memory Bloom Layer
Done in Ai, Finalized in Photoshop and Photoscape X.
They did not pass the Severance. They passed through it — and became what the ritual could not contain.
The Nameless Many drift through borderlands where memory frays and identity decays. Their eyes glow with emberlight stolen from names they almost had. Their smiles are not cruel — they are unfinished.
If you see one reaching toward you,
do not ask who it is.
Ask instead:
Who else might I be?
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Me 309 project began in mid-1940, just as the Bf 109 was having its first encounters with the Spitfire in the Battle of Britain, the first aircraft to match the 109 in speed and performance. Already, Messerschmitt anticipated the need for an improved design to replace the Bf 109. The Reich Air Ministry, however, did not feel the same urgency, with the project given a low priority, resulting in the design not being finalized until the end of 1941.
The new fighter had many novel features, such as tricycle landing gear (with a nose gear strut that twisted through 90° during retraction, to a "flat" orientation under the engine) and a pressurized cockpit, which would have given it more comfortable and effective high-altitude performance. Each of the new features was first tested on a number of Bf 109F airframes, the V23 having a ventral radiator, the V31 with a radiator and tricycle landing gear, and the V30 having a pressurized cockpit.
Low government interest in the project delayed completion of the first prototype until spring 1942, and trouble with the nose wheel pushed back the 309's first flight to July. When it did fly, the Me 309's performance was satisfactory – about 50 km/h (30 mph) faster than a standard Bf 109G – but not exemplary. In fact, the Bf 109G could out-turn its intended replacement. With the addition of armament, the aircraft's speed decreased to an unacceptable level. In light of its poor performance and the much more promising development of the Focke-Wulf Fw 190D, the Me 309 in its original form was canceled.
However, the design was not dead and eventually found its way into the Me 509 (with a mid-engine layout) and the Me 609 (a heavy fighter which joined two Me 309 fuselages with a new centre wing section). By the time designs were being ironed out in the course of 1943, revolutionary turbojet engines became operational and with them new designs like the Me 262 or the He 162. These promised superior performance concerning speed, but they had only a short range and the new turbojets’ reliability was poor.
In another attempt to keep the Me 309 alive, Franz Hirschleitner, a young engineer who had formerly worked for Blohm & Voss, proposed the addition of a turbojet engine to the piston fighter as a booster. This would combine the range and reliability of the old technology with the new engine’s potential gain of speed. Having worked on the innovative Bv 141 reconnaissance aircraft before, Hirschleitner proposed an unusual solution for the Me 309 update: since as many original parts of the fighter were to be retained (what ruled out a redesign of the fuselage to carry the turbojet engine), he presented an asymmetrical layout which added a new pod with the cockpit, the armament and an underslung BMW 003 turbojet, which was connected to the Me 309 fuselage with a short wing. The Me 309 fuselage itself was virtually identical with the original fighter, just the weapons had been deleted from it (saving weight) and the former cockpit was faired over, the internal space being used for additional fuel tanks. The outer wings were taken from the Me 309, too, except for a reinforced landing gear which now retracted outwards, so that the aircraft’s track width was kept in acceptable limits. The front wheel still retracted into the Me 309 fuselage.
This aircraft, called the Me 309 T (for “Turbine” = jet engine), was envisioned as a heavy single-seat fighter, armed with four 30 mm cannon. Hardpoints under the middle wing section allowed an external ordnance of 1.000 kg (2.202 lb), including two bombs of up to 500 kg (1.100 lb) caliber each or two 300l drop tanks. Furthermore, the cockpit pod was large enough to add a second crew member under an extended canopy, so that the type could also be developed into a night fighter with a radar.
Despite initial skepticism at the Messerschmitt design bureau, Hirschleitner’s proposal was accepted and presented to the RLM in late 1943. Not surprisingly, it was rejected at first for being “too innovative”. Nevertheless, growing pressure from the Allied forces made the RLM reconsider the Hirschleitner design, since it was based on existing components and could be quickly realized. Therefore, the Me 309 T was ordered into production as the T-0 version in Spring 1944. From these initial aircraft, 12 were produced until August 1944 and used for field tests and conversion training. The T-0 was powered by a DB 603G and a BMW 003C and armed with four MK 108 machine cannon. These initial frontline tests lasted until December 1945 and the aircraft was ordered into full production as the T-1.
Just as the first production machines left the factories in April 1945, an upgraded variant, the T-2, was introduced. It shared the same airframe as the earlier variants but had an upgraded turbojet engine, a BMW 003D, which offered 10.76 kN (2,420 lbf) of thrust instead of the former 8.81 kN (1,980 lbf), together with improved reliability. The armament was upgraded, too: Two of the MK 108s were replaced by MK 103 30 mm machine cannon, a weapon that offered a much higher range and penetration power, so that the aircraft could fire effectively while keeping outside of the Allied bombers' defensive fire, which now frequently entered German airspace. Furthermore a Rüstsatz (R1) was introduced which put two additional MK 108 behind the cockpit, firing obliquely upwards as "schräge Musik" .
Despite the acceptable performance, which made it superior to pure piston-driven fighters of the time like the Republic P-47 or the North American P-51D, the Me 309 T was not very popular among the pilots. The handling on the ground was difficult, not only because of the offset front wheel, but also due to the fact that the left fuselage blocked almost the complete portside field of view. This flaw also created a significant blind spot during flight. Furthermore, getting the Me 309 T into the air without the support from the jet engine could be a gamble, too, esp. when the machine carried external loads. The BMW 003D, even though its reliability had been improved over time, was prone to failure, and the resulting lack of thrust made it a dead weight that severely hampered the aircraft's performance. All in all, only 123 machines were eventually built, with no two-seat night fighter or a trainer ever produced.
General characteristics:
Crew: one
Length: 9.46 m (31 ft 0 in)
Wingspan: 13.60 m (44 ft 7 in)
Height: 3.9 m (12 ft 10 in)
Wing area: 21.1 m² (226 sq ft)
Empty weight: 3,795 kg (8,367 lb)
Gross weight: 6,473 kg (14,271 lb)
Max takeoff weight: 7,130 kg (15,719 lb)
Powerplant:
1× Daimler-Benz DB 603G inverted V-12 liquid-cooled piston engine, 1,287 kW (1,726 hp)
1× BMW 003D (TL 109-003) turbojet with 10.76 kN (2,420 lbf) / 10,000 rpm / sea level
Performance:
Maximum speed: 840 km/h (522 mph, 464 kn) with both powerplants
695 km/h (431 mph, 383 kn) with the DB 603G only
Cruise speed: 665 km/h (413 mph, 359 kn)
Range: 1,100 km (680 mi, 590 nmi)
Service ceiling: 12,000 m (39,000 ft)
Wing loading: 256 kg/m2 (52 lb/sq ft)
Power/mass: 0.31 kW/kg (0.19 hp/lb)
Armament:
2× 30 mm (.1.181 in) MK 103 cannon
2× 30 mm (.1.181 in) MK 108 cannon
Underwing hardpoints for a total external ordnance of 1.000 kg (2.202 lb)
The kit and its assembly:
This model went through a prolonged development phase. It is based on the question whether an asymmetrical Blohm & Voss design could be made compact enough for a fighter aircraft? Aircraft like the Bv 141 reconnaissance aircraft (which actually flew) or the P-194 attack aircraft (which only existed as a paper project) were considerably bigger than typical single seat fighters.
While doing legwork I also found the relatively compact Blohm & Voss P-197 project in literature, which already came closer to my idea - I initally planned to build something along its lines, based on a Revell P-194 kit, but the latter turned out to be too big for this plan and I shelved the idea again.
However, the projected lingered in the back of my mind and was soon revived through the idea of using a Fw 190D fuselage as an alternative. But, alas, I still did not find the affair to be convincing enough for a build, also because of conceptual problems with the landing gear.
Then I eventually stumbled upon a HUMA Me 609 in the stash and considered a "modernized" asymmetrical layout with a tricycle landing gear. And this became the Me 309T.
It sounds so simple: take an aircraft model and add the cockpit pod, together with a new wing middle section. But turning this plan into hardware caused serious headaches. The biggest issue became the landing gear: the only space to stow the main landing gear would be the outer wings. Bu using the original Me 309 landing gear, which retracted inwards and already had a wide track, was impossible. So I decided to "reverse" the landing gear wells for an outward-retracting arrangement. Easier said than done, because the thin Me 309 wings come as single pieces in the HUMA kit: I had to cut out the complete well section on each wing, switch it around and re-sculpt the wings' profiles and surfaces. A lot of work!
The Me 309 fuselage was built OOB and I used the cockpit cover that comes with the Me 609 kit. The Bv P-194 cockpit pod with the jet engine was built OOB, too, but the wing attachment points had to be heavily re-sculpted because the P-194's wings are much deeper and thicker than the Me 309's. For the same reason I could not use the P-194's mid wing section - I had to scratch one from a leftover section of a VEB Plasticart 1:100 An-12, styrene sheet and putty. Messy affair, but at least it matches the outer Me 309 wings in shape and thickness.
A lot of putty was furthermore needed to finish the Me 309 fuselage and re-build all the wing/fuselage intersections. The HUMA Me 309 is a very basic affair, and fit as well as detail are mediocre, putting it in a polite fashion. The Revell P-194 is a little better, but it has many doubtful details like a pilot seat and canopy for pygmies or a poorly fitting jet exhaust section.
Thanks to the wing surgery, the Me 309's OOB landing gear could be retained - it looks pretty stalky, though, and the front wheel strut comes very close to the propeller disc.
Sice the HUMA Me 609 does not come with separate stabilizers I finally had to improvise again: I initially considered and asymmetrical layout (somewhat compensating for the cockpit pod on the starboard side with and extended span at port side), but when I saw how close the fuselages were, I settled upon an enlarged, convetional layout in the form of stabilizers from a Heller He 112.
Painting and markings:
This caused some headaches, too. I did not want a "conventional" late WWII Luftwaffe scheme, even though I wanted to use standard RLM colors. I eventually found inspiration in Me 262 recce aircraft, which frequently featured a unique paint scheme in the form of an overall RLM 76 livery onto which very fine dots or ondulating, thin lines in one or more darker contrast colors (RLM 81 and/or 83) were painted or sprayed. At first In wanted to adapt this scheme to the whole aircraft, but eventually decided to give the wings' upper surfaces a different, more "planar" scheme.
So, the whole model initially received and overall coat of RLM 76 (Humbrol 247), with the wings' undersides left in bare metal and the rudders painted in a greenish-grey primer. The cover of the DB 603 was kept in bare metal, too.
Contrast areas in RLM 81 and 83 (Braunviolett and Dunkelgrün, both from ModelMaster's Authentic line) were added onto the top of the wings, while I painted the fuselages and the fin with a semi-translucent "snake" pattern in RLM 82 (Humbrol 102).
The decals come from a Sky Models Fw 190A/F sheet, the crosses on the fuselage and under the wings come from a generic TL Modellbau sheet.
The cockpit interior as well as the landing gear wells were painted in very dark grey (Revell 09), while the landing gear struts became RLM 02 (Revell 45). The spinner received a black-and-white spiral, with black green propeller blades.
Well, I am not 100% happy with the result. While the overall model looks quite balanced, I am not happy with the finish - partly due to the massive use of putty and the fact that I had to mount parts in a fashion that the kits' manufacturers never expected to happen, but also due to the paint: The Humbrol enamels that I used turned out to be from the poor batch when the fabrication was moved to Belgium a while ago. With the result of a poor and gooey quality. That could have gone better. :-(
Nevertheless, I like the odd look of the asymmetrical design, esp. with the tricycle landing gear. From certain angles, the model looks really weird! And I am amazed how good the camouflage works - it's really disruptive.
Done in Ai, Finalized in Photoshop.
Nirellae Thorneveil is the last breath of a fallen empire, the oath that still echoes through shattered columns and silent stone. She did not die when her kingdom fell — she was bound to it. Not by chains, but by choice.
Her name was once spoken with reverence in war halls, whispered in forest chapels, and carved into the marble of peace treaties. Now it is nearly forgotten — except by the ivy that grows over her watchtower, the wind that sighs through her halls, and the blade she still carries — unchipped, unreadied, and undefeated.
Her presence in the ruins is not haunting. It is warning.
She does not age. She does not forgive.
Done in Ai, Finalized in Photoscape and Photoshop.
The Heart's Altar — Core of the Blooming Heart Sanctuary
Deep within the Blooming Heart Sanctuary, where the mist breathes in hues of forgotten dreams, lies the Heart’s Altar —
a radiant convergence of living crystal, memory, and light.
Visual Description:
The altar itself rises like a lotus of crystal, petals of sapphire, amethyst, and rose-quartz interwoven in a perfect, organic spiral.
Above the Altar, suspended in the mist, blooms a colossal Crystalline Blossom — a structure of transparent petals glowing with inner blue-white light, showering the sanctuary in veils of shifting, ethereal colors.
The walls curve upward into towering crystal spires, each one twisted like vines frozen mid-bloom, their surfaces gleaming with prismatic reflections.
The mist here is denser, tinged with vibrant blues, violets, and soft gold, swirling along the ground in delicate patterns as if tracing forgotten constellations.
Atmosphere:
A deep hum of resonance fills the air — not a sound of earth or sky, but a music of memory itself.
Beams of crystalline light descend like frozen sunrays, illuminating the floor in geometric, ever-changing mosaics.
Every step toward the Heart’s Altar feels lighter and heavier at once: your regrets, dreams, and hidden truths shimmering around you, reflected and refracted in the mist and crystal.
Mystical Properties:
Memory Unveiling: As one approaches the altar, fragments of their own forgotten hopes are drawn into the crystal around them — displayed as brief, shimmering visions within the glowing facets.
Soul Resonance: The closer you come, the more your emotional state sculpts the surroundings: sorrow darkens the mist to indigo and midnight hues; hope brightens it to dawnfire gold.
The Ascension Bloom: If a traveler fully opens their soul — facing their truest self without shame or fear — the Crystalline Blossom above the altar unfolds fully, releasing a baptism of light and mist, granting a permanent Blooming Gift to the worthy.
Lore:
It is said the Heart's Altar was not built, but bloomed spontaneously from the first collective dream of hope within the Hollow Veil.
It is alive still — pulsing faintly in rhythm with the Veil’s Breath — and it listens.
Those who fail to open themselves are gently turned away by soft tendrils of mist.
But those who succeed are forever changed — becoming part of the Hollow Veil’s endless dream of becoming.
"Here, within the Heart’s Altar, the mist remembers what you forgot — and asks only that you dare to remember again."
Done in Ai, Finalized in Photoshop
Wreathed in spectral flame and clad in ancient, battle-scarred armor, he walks a world that forgot his name — but not his wrath. Once a knight of light, now cursed to burn with the fire of the forsaken, his soul bound to vengeance and sorrow. His blue flame does not scorch the flesh, but sears the spirit. Wherever his hollow gaze falls, the silence of death follows. He is the last echo of a forgotten war, the ember that refuses to die.
Done in Ai, Finalized in Photoshop.
"He does not speak.
“They were never my soldiers.
They were my silence — made flesh.
And when I call, they do not answer.
They arrive.”
— Vael’theron Veyne, Wraith-Bound Marshal
He remembers — so that you do not have to.
Once of the noble houses of the under-realms, the Umbracrypt Elves gave their names, their cities, and their voices to Lady Nyxariel in the rite of The Dimming Vow.
Now he stands beneath the Sepulchral Spire, cloaked in sacred silence, armored in oathscript, his blade etched with a promise that can never be broken.
He guards the threshold to what must not be known.
And if you meet his eyes, know this:
You will forget something… and never know what."
Done in Ai, Finalized in Photoshop.
Xar’thuun is a commander of the Syndral Ascendants, a race of ancient reptilian beings evolved beyond flesh, fused with cosmic-grade cybernetics and quantum intelligence. His obsidian-black exo-armor is woven with molten circuitry, pulsing with orange plasma—the blood of a collapsed star fueling his being. His glowing eyes are not mere optics but embedded starmaps of battles long won across dying galaxies.
Forged in the event horizon of Kraeth-Null, the oldest known black hole, Xar’thuun was reborn after leading a failed defense against the entropy tide. Now, he stands alone on the ash-choked surface of Zyrak-V, a world crumbling under gravitational collapse, watching a sister planet die in slow orbit behind him—its fragments spiraling into oblivion.
He is the Vanguard of Finality—not here to conquer, but to ensure nothing escapes. To the survivors, he is a god of extinction. To the stars, a necessary silence.
My earlier Huey renders were outdated so I made some more with all the changes. I switched out Brickmania tail for the much more accurate Brickdesigner’s one.
I will try to incorporate both my Huey and Phantom into a Nam build soon.
Boeing has finalized an agreement with Space Florida to use a processing facility at NASA’s Kennedy Space Center to build the Crew Space Transportation (CST)-100 spacecraft, an important step toward restoring the United States’ ability to launch humans into space. Pictured here is the high bay of the former Orbiter Processing Facility-3. Renamed the Commercial Crew and Cargo Processing Facility (C3PF), the building will be modernized to meet requirements to build the Boeing CST-100 capsule.
Boeing provides this photo for the public to share. Media interested in high-resolution images for publication should email boeingmedia@boeing.com or visit boeing.mediaroom.com. Users may not manipulate or use this photo in commercial materials, advertisements, emails, products, or promotions without licensed permission from Boeing. If you are interested in using Boeing imagery for commercial purposes, email imagelicensing@boeing.com or visit www.boeingimages.com.
Done in Ai, Finalized in Photoshop
Deep beneath the shimmering surface of the ocean lies the awe-inspiring city of Atlantis — a sprawling metropolis of divine geometry and ancient magnificence. Sunbeams pierce the blue depths, illuminating towering golden spires and ornately carved palaces, each structure etched with celestial symbols and glowing arcane patterns.
Crystal-clear waterfalls cascade from elevated terraces into glowing turquoise pools below, where schools of radiant fish drift effortlessly through archways and coral-lined passageways. Lush underwater gardens bloom in vibrant color along stone steps, overgrown with coral, sea lilies, and sacred algae, preserved through forgotten Atlantean bio-magic.
At the heart of the city, a grand sanctum radiates energy — its massive circular gateway pulsing with a soft blue glow, hinting at ancient technologies or celestial portals long lost to time. Gilded statues and animal effigies carved in stone stand guard across the gardens, each one frozen in silent vigilance.
Though abandoned by time, the city is alive with timeless majesty — a divine relic of civilization at its most enlightened, preserved in the cradle of the sea, untouched and eternal.
Done in Ai, Finalized in Photoshop
InspiredBy:
an ancient transhuman intellect fused with cold machine logic. His weathered face is framed by jet-black cybernetic architecture, etched with alien inscriptions and interwoven cables that pulse with dormant power. The eyes, natural yet unnervingly clear, peer through eons of data and silence. He is neither fully man nor machine, but something older — something watching. Set against a brooding techno-gothic backdrop, this piece embodies the eerie stillness of forgotten AI gods, forged in matte black, shadow, and a whisper of teal light.
Done in Ai, Finalized in Photoscape X and Photoshop.
The Visage of the Rift
Description:
To gaze upon the Shrouded Rift is to witness the Hollow Veil torn open between dream and nightmare. The landscape splits down a colossal, mist-scarred ravine. On one side, silvergrass meadows and luminous blossoms shimmer with soft blue-white mistlight. On the other, blackened roots coil through blood-soaked soil beneath violet storm skies. Mist flows like wind between both realms, sometimes weeping petals, sometimes ash.
Above the rift, the moon hangs torn and splintered — half golden and serene, half shattered and bleeding red light into the mist.
The rift hums with sorrow. Echoes drift across its divide, some crying, some laughing, none whole. Memory shards twist and pulse in the air like falling stars frozen mid-flight.
Emotional Weight:
To witness the Visage of the Rift is to feel oneself remembered — and forgotten — all at once. It is awe, grief, wonder, and warning made manifest.
Flavor Quote:
“The Rift does not speak, but you will hear what you left behind.”
Done in Ai, Finalized in Photoshop.
Here lies what you might still become.
The Vault of Echoed Futures is a vast, shifting archive of possibility — a place not bound by time, but by potential. Endless corridors stretch in all directions, their walls lined with animated portraits that morph constantly between alternate versions of the self. These images do not remain still; they walk, age, change professions, form bonds, or fade into obscurity — depending on who is watching.
Done in Ai, Finalized in Photoshop and Photoscape X
She does not speak — her silence commands. From the heart of the Shadow Spire, the Empress rules not with blade or flame, but with timeless will and the weight of starlit prophecy. Her presence bends light itself, and her violet crown hums with the pulse of a thousand fallen realms.
Done in Ai, Finalized in Photoshop
Perched gently on a dew-kissed blossom beneath the golden light of twilight, the Glimmerwing Fairy watches the world in quiet wonder. Her crystal-laced wings shimmer with every hue of dawn, dancing with ancient elven magic and stardust. Dressed in soft silk woven from moonlight and flower threads, her presence brings warmth to the forest and a hush to the breeze.
A guardian of light and song, she is tiny in form, but vast in spirit — a whisper of beauty in a world too often rushed. Where she lands, petals bloom brighter. Where she smiles, dreams awaken.
This is more than a portrait. It is a moment of magic.
Done in Ai, Finalized in Photoshop
inspired by Marvel’s Vulture, Fanart
“When the Iron Wings spread, the city’s last light fades.”
Forged from blackened alloy and armed with wings of serrated steel, the mechanized Vulture descends upon the burning city. His crimson eyes cut through the smoke like a predator’s glare, the skeletal beak-mask hiding the face of Adrian Toomes — now more machine than man. Lightning splits the sky as he perches on the rooftop, talons flexing, ready to strike. Beneath him, chaos reigns, and the Iron Wings of Doom shadow the streets below.
Done in Ai, Finalized in Photoshop and Photoscape X.
"She is not light — she is what the light becomes when it remembers harmony.
This is an Aurelian, sung into being by the first chord of dawn, clothed in celestial resonance and winged with glassfeather fire.
She does not fly. She drifts on the memory of sacred song.
In her presence, corruption falters. Dissonance forgets how to speak.
And somewhere, beneath shadow, even silence listens."
“They are not our guardians.
They are the memory of what order sounded like — before we needed law to hold it together.”
— Oracle Lumina, Prism-Seer of the Covenant
Done in Ai, Finalized in Photoshop
Emerging from the shadowed gorge where mountains weep and roots twist like serpents, the Earth Demon awakens—an ancient elemental force wrought from stone, bark, and decay. Its hulking form is fused with petrified wood and moss-cloaked muscle, dripping molten soil from clawed limbs as it trudges forward. Vines slither like veins across its cracked surface, while horns of twisted timber crown its scorched, ember-lit face. The very ground trembles beneath its weight, as if nature itself groans in defiance. From the smoldering fissures in its chest burns the forgotten wrath of the wild—untamed, unforgiving, and eternal.
Done in Ai, Finalized in Photoshop.
The Gilded Leviathan, sovereign of the skies, hovers in its radiant berth at Aureum Spire — a floating city of sunlit marble, crystal domes, and gilded bridges suspended above glacial waters and dawnlit clouds.
Its hull, a marvel of brasswork and shimmering sapphire glass, reflects the golden glow of sky-lanterns and celestial towers. Ornate engine veins pulse with aetheric light, while sweeping fins and radiant stabilizers glisten with condensed cloudlight.
Airwalks of suspended silver cord lead nobles, scholars, and artificers toward its embarkment deck, where high guards in white-gold armor flank a platform engraved with star-maps. Below, mechanical lifts rise from opulent atriums carved into skyborne terraces.
The air is filled with the hum of tuned energy, the songs of mechanical doves, and the ever-present presence of justice — for the Leviathan is not just a ship. It is a symbol.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
During development of the earlier Hawker Typhoon, the design team, under the leadership of Sydney Camm, had already planned out a series of design improvements; these improvements cumulated in the Hawker P. 1012, otherwise known as the Typhoon II or Thin-Wing Typhoon. Although the Typhoon was generally considered to be a good design, Camm and his design team were disappointed with the performance of its wing, which had proved to be too thick in its cross section, and thus created airflow problems which inhibited flight performance, especially at higher altitudes and speeds where it was affected by compressibility. In addition, there had been other issues experienced with the Typhoon, such as engine unreliability, insufficient structural integrity, and the inability to perform high altitude interception duties.
In March 1940, engineers were assigned to investigate the new low–drag laminar flow wing developed by NACA in the United States, which was later used in the North American P-51 Mustang.
The wing planform was changed to a near-elliptical shape to accommodate the 800 rounds of ammunition for the four 20 mm Hispano cannons, which were moved back further into the wing. The new wing had greater area than the Typhoon's, but it sacrificed the leading-edge fuel tanks of the Typhoon: to make up for this loss in capacity, Hawker engineers added a new 21 in (53 cm) fuel bay in front of the cockpit, with a 76 Igal (345 l) fuel tank. In addition, two inter-spar wing tanks, each of 28 Igal (127 l), were fitted on either side of the center section and, starting with late model Tempest Vs, a 30 Igal (136 l) tank was carried in the leading edge of the port wing root, giving the Tempest a total internal fuel capacity of 162 Igal (736 l).
The ailerons were fitted with spring-loaded tabs which lightened the aerodynamic loads, making them easier for the pilot to use and dramatically improving the roll rate above 250 mph (402 km/h). The spar structure of the Tempest V also allowed the wings to carry up to 2,000 lb (907 kg) of external stores. Also developed specifically for the Tempest by Hawker was a streamlined 45 gal (205 l) "drop tank" to extend the operational radius by 500 mi (805 km) and carrier fairing; the redesigned wing incorporated the plumbing for these tanks, one to each wing.
Another important feature of the new wing was Camm's proposal that the radiators for cooling the engine be fitted into the leading edge of the wing inboard of the undercarriage. This eliminated the distinctive "chin" radiator of the Typhoon and improved aerodynamics. A further improvement of the Tempest wing over that of the Typhoon was the exceptional, flush-riveted surface finish, essential on a high-performance laminar flow airfoil. The new wing and airfoil, and the use of a four-bladed propeller, acted to eliminate the high frequency vibrations that had plagued the Typhoon. The design team also chose to adopt the new Napier Sabre IV engine for the Tempest, drawings of which had become available to Hawker in early 1941.
In February 1941, Camm commenced a series of discussions with officials within the Ministry of Aircraft Production on the topic of the P.1012. In March 1941 of that year, clearance to proceed with development of the design, referred to at this point as the Typhoon II, was granted. By October 1941, development of the proposal had advanced to the point where the new design was finalized.
The majority of production Tempests, including the initial Mk. V, were powered by variants of the high-powered Napier Sabre II 24-cylinder engine, which was capable of producing over 2,400 hp (1,789 kW) on emergency boost for short periods of time, driving either a four-bladed, 14 ft (4.267 m) diameter de Havilland Hydromatic or Rotol propeller. Alternative engines were used on some production variants, such as the Tempest II, for which a Bristol Centaurus 18-cylinder two-row radial engine was adopted, or the final Tempest VI, upon which a Napier Sabre V was used. Most Tempests, esp. the later Mk. II and VI variants, were tropicalized with air filters and other special equipment and measures, because from late 1944 on the Tempests were primarily earmarked for deployment to the South-East Asian theatre of operations, e. g. for combat against Japan and as escort fighters of Tiger Force, a proposed British Commonwealth long-range bomber force based on Okinawa.
One of these late sub-variants for the SEA theatre was a highly modified high-altitude interceptor, the HF. Mk. IV. The designation was re-used from a planned fighter variant with a Rolls-Royce Griffon 61 piston engine. One prototype (LA614) was built and tested, but the Tempest’s planned Griffon-powered variants (including the Mk. III with a Rolls-Royce Griffon 85 and contra-rotating propellers) were all cancelled in February 1943. The HF. Mk. IV was based on the Mk. II fighter that had just entered production; it was built by Gloster as a dedicated response to counter Japanese fast and high-flying reconnaissance aircraft like the Mitsubishi Ki-46 (“Dinah”), which operated with impunity. The HF. Mk. IV was, like the Mk. II, powered by a Centaurus V with an output of up to 2,590 hp/1,932 kW. To keep the engine’s operation stable at height the Centaurus was outfitted with two-stage, two-speed superchargers and an intercooler. The intercooler’s fairing was housed in a small fairing under the fuselage in front of the landing gear wells and housed both its radiator as well as an auxiliary oil cooler. Both superchargers and the intercooler were mounted behind the engine and partly occupied the fuel bay in front of the cockpit, reducing its capacity by 20 Igal.
Instead of a four-blade propeller the HF. Mk. IV’s engine drove a new five-blade propeller with a 12 ft 9 in (3.89 m) diameter from Rotol to better convert the engine’s power into propulsion at height, even though this caused additional drag at low altitudes. Extended, "pointed" tips were fitted to the wings to improve lift, increasing the wingspan by 7½ ft to 48 ft 4 in (14,76 m). With these modifications, the Tempest’s ceiling was raised by about 6.000 ft (2.000 m) to 44,000 ft (13,000 m). Consequently, the cockpit was pressurized through a Marshall-manufactured compressor. This was mounted in a compartment above the superchargers behind the engine and drew its air through a small intake in front of the windscreen. An automatic valve allowed a maximum pressure differential of +2 lb./sq.in. This was built up during the climb and was maintained at heights of 28,000 ft and above. To compensate the loss of internal fuel capacity, the HF. Mk. IV received specially designed underwing slipper tanks with a 90 imp gal (110 US gal; 410 l) capacity. They were more aerodynamic than the standard drop tanks, so that the aircraft’s performance was less impaired, but they could not be jettisoned.
Only fifty-two Hawker Tempest HF Mk. IIs were eventually built (two prototypes converted from early Mk. II airframes and 50 serial aircraft), because in early 1945 it was foreseeable that Japan was under heavy pressure and retreating to its homeland, so that Tiger Force was never established. Instead, most Tempest HF Mk. IVs were sent to Burma and India, where they served in their intended role as high altitude interceptors against Japanese reconnaissance aircraft until the end of hostilities.
General characteristics:
Crew: 1
Length: 34 ft 5 in (10,50 m)
Wingspan: 48 ft 4 in (14,76 m)
Height: 16 ft 1 in (4,90 m) (tail down with one propeller blade vertical)
Wing area: 338 sq ft (31,5 m²)
Gross weight: 12,500 lb (5,700 kg)
Maximum takeoff weight: 14,650 lb (6,645 kg)
Fuel capacity: 160 imp gal (190 US gal; 730 l) internal
plus optional undwrwing tanks with 90 imp gal (110 US gal; 410 l)
or 180 imp gal (220 US gal; 820 l)
Oil tank capacity: 16 imp gal (19 US gal; 73 l)
Powerplant:
1× Bristol Centaurus V with two-stage, two-speed superchargers and intercooler,
delivering a maximum output of 2,590 hp/1,932 kW, driving a five-bladed Rotol propeller
Performance:
Maximum speed: 405 mph (652 km/h, 360 kn) at 17,000 ft (5.200 m)
385 mph (620 km/h, 335 kn) at 26,000 ft (7.900 m)
370 mph (595 km/h, 330 kn) at sea level
Combat range: 420 mi (680 km, 360 nmi) with internal fuel
Service ceiling: 44,000 ft (13,000 m)
Rate of climb: 5,300 ft/min (27 m/s)
Time to altitude: 21,500 ft (7,050 m) in 6 minutes at combat power
30,000 ft (9,000 m) in 12 minutes
Wing loading: 40 lb/sq ft (193,6 kg/m²) at 13,500 lb (6.100 kg)
Power/mass: 0.19 hp/lb (0,32 kW/kg) at 13,500 lb (6.100 kg)
Armament:
4× 20 mm (0.787 in) Mark V Hispano cannon in the outer wings, 200 RPG
Two underwing hardpoints, typically occupied by a pair of 67.5 Igal (81 US gal; 300 l) slipper tanks,
alternatively 2× 45 imp gal (54 US gal; 200 l) or 2× 90 imp gal (110 US gal; 410 l) drop tanks, or 2×
bombs of up to 1.000 lb (4545 kg) caliber
The kit and its assembly:
This fictional high-altitude Hawker Tempest variant was inspired by leftover wing tip extensions from an AZ Models Spitfire kit. I remembered that the late Spitfire variants had a modified wing shape, much like the Tempest’s oval shape, and from this the idea to transplant these tips was born.
The rest of the modifications of the Matchbox kit at the core of the build were logical steps - and I must say that the Matchbox Tempest is not a bad kit. It goes together really well, and while the recessed surface details are somewhat soft, the overall impression is good to me.
For a high-altitude variant I added a leftover five blade propeller from a Pioneer 2 Hawker Sea Fury that was modified with a styrene tube adapter to match the OOB MK. II’s Centaurus engine. A radiator from a Macchi C.205V was added for the intercooler, and a small compressor’s air intake was added in front of the cockpit. The bulges for the compressors and their respective plumbings in front of the cockpit are curved pieces of sprue material - simple, but effective.
Under the wings the post-war attachment points for missile launch rails were PSRed away and the pitot, originally an L-shaped device under the left wing, was relocated to the leading edge – similar to the tropicalized export Tempests. The slipper tanks come from a Hobby Boss MiG-15, but they had to be PSRed to match the Tempest’s very different wing shape. I found that they’d look more elegant than the original drop tanks.
Inside of the cockpit I added a dashboard and a small gunsight behind the windscreen (the canopy had been cut into two pieces for open display) , scratched from styrene sheet – I could not live with the void in front of the pilot, and anything is probably better than nothing in this case, since the Matchbox kit only offers a seat (and a pilot figure, though), but no dashboard, floor or side panels. The kit comes, however, with nice oxygen flasks behind the seat. Weird.
Painting and markings:
I wanted an unusual paint scheme for this high-altitude Tempest, even though something typically British. Inspiration came from a recce Spitfire in SEAC markings, and I liked its combination of Medium Sea Grey upper surfaces and PRU Blue undersides, coupled with a low waterline and the small, all-blue SEAC roundels. The paints I used were Humbrol 165 and 230. On top of that I added white ID bands, what made IMO sense as a fighter, and as an odd color contrast the spinner was painted in Sky (Tamiya XF-23).
The cockpit was painted mostly in almost-black (Revell 06, Anthracite), just with the bucket seat and the floor painted in Cockpit Green (Humbrol 78). This was also used for the landing gear wells.
The decals come mostly from an Xtradecal sheet for SEAC Spitfires, e. g. the roundels and the fin flash. The aircraft's serial number did not exist at all and was puzzled together with material from the same sheet, so that the font matched. The white ID bands were created with generic decal sheet material (from TL Modellbau), and lots of decal softener was used to make the stripes conform to the guns' bulgings on the upper wing surfaces. Woerked well, though. The tactical code was created from separate white 6mm letters, also generic stuff from TL Modellbau. Many SEAC aircraft either did not carry a unit code, or they used smaller, non-regular fonts, so that this solution is quite plausible.
After some final weathering with post-shading as well as oil and soot stains with graphite the kit was sealed with matt acrylic varnish.
A relatively simple build, since there were no structural changes - but I am amazed how different and good the extended Spitfire wing tips look on the Tempest? A very elegant shape, and from certain angles the model looks like a beefed up Mistubishi A5M or reminds (oddly) of a Vickers Wellesley? The grey/blue livery also adds an exotic touch, as well as the small SEAC roundels. However, the hardware combo works very well.
Finalizing the blanket wrap, which was designed by Humane Retraints out of WI.
Also, notice that retired police officer Martinez, which now works for the courts system of New Mexico, is with out a doubt inspecting every move and is also very familiar with every restraint being used in this event/escape.
Done in Ai, Finalized in Photoshop
In the drowned city of Vanthelmor, where angels hang in chains and the dead whisper from catacombs, there walks a figure draped in dusk and damnation.
Known only as The Wraith, he was once mortal — a warlord, a tyrant, a fool who sought dominion over death. But death, amused, did not take him... it bound him. Now, he stands as the city’s only protector — a skeletal sentinel cloaked in cursed armor, wearing chains forged from his broken oaths.
Done in Ai, Finalized in Photoshop.
Metallica - For Whom the Bell Tolls:
www.youtube.com/watch?v=B15S0lZ3Dao
Make his fight on the hill in the early day
Constant chill deep inside
Shouting gun, on they run through the endless grey
Oh they fight, for the right, yes, but who's to say?
For a hill, men would kill, why? They do not know
Stiffened wounds test their pride
Men of five, still alive through the raging glow
Gone insane from the pain that they surely know
For whom the bell tolls
Time marches on
For whom the bell tolls
Take a look to the sky just before you die
It's the last time you will
Blackened roar, massive roar fills the crumbling sky
Shattered goal fills his soul with a ruthless cry
Stranger now are his eyes to this mystery
Hears the silence so loud
Crack of dawn, all is gone except the will to be
Now they see what will be, blinded eyes to see
For whom the bell tolls
Time marches on
For whom the bell tolls
Done in Ai, Finalized in Photoshop.
She does not hunt. She soothes.
Lacraea, the Hushing Mother, is a spectral figure that drifts through overgrown ruins and forgotten nurseries. Wrapped in endless veils of pale cloth, faceless and glowing faintly with fading lullabies, she carries a box filled with silence—a music box that no longer plays, yet still draws children in their dreams.
She is no wraith. She is mercy twisted by grief, a ghost born of every unheard cry. In her presence, words fall dead in the throat. Thought becomes fog. And those she touches vanish—not in violence, but in velvet quiet.
No one has ever heard her voice.
No one who dreams of her speaks again.
Done in Ai, Finalized in Photoshop
Inspired by and Reimagined
Bathed in the cold radiance of alien starlight, Nyxithara stands as the unchallenged Sovereign of the Void. Her emerald skin shimmers with an otherworldly sheen, framed by an intricate crown of blackened metal and amethyst crystal, its spiked curves reminiscent of a cosmic predator’s horns. Eyes of luminous violet pierce the darkness, glowing with the promise of power and the weight of aeons. Her armor—woven from midnight steel and veined with pulsating purple light—seems almost alive, its filigree shifting like constellations across her form. Behind her, the shadows ripple with energy, and the faint hum of arcane machinery whispers of civilizations long lost. She is both empress and executioner, beauty and terror incarnate, a vision of elegance forged in the depths between worlds.
Done in Ai, Finalized in Photoshop.
Jefferson Airplane - White Rabbit
www.youtube.com/watch?v=pnJM_jC7j_4
One pill makes you larger
And one pill makes you small
And the ones that mother gives you
Don't do anything at all
Go ask Alice
When she's ten feet tall
And if you go chasing rabbits
And you know you're going to fall
Tell 'em a hookah-smoking caterpillar
Has given you the call
Call Alice
When she was just small
When the men on the chessboard
Get up and tell you where to go
And you've just had some kind of mushroom
And your mind is moving low
Go ask Alice
I think she'll know
When logic and proportion
Have fallen sloppy dead
And the White Knight is talking backwards
And the Red Queen's off with her head
Remember what the dormouse said
Feed your head
Feed your head
Done in Ai, Finalized in Photoshop
Inspired by a image of: Beilial.sl - Lia <3
A tribute to the opulence and refinement of the Renaissance courtly world.
This image draws inspiration from the noblewomen of the 16th century, adorned in embroidered silk, brocade, and velvet. Surrounded by rich wood paneling, classical paintings, and shelves of ancient knowledge, she stands in a room where power and grace intertwined.
Her gaze holds centuries of silent strength — a portrait of elegance, intellect, and quiet resolve.
This is original fan art and visual storytelling — not for commercial use and shared purely out of love for history, aesthetics, and digital creativity.
—
Tools: AI-assisted rendering (Mystic 2.5), digital editing, historical costume reference.
Done in Ai, Finalized in Photoscape X and Photshop.
A sacred parchment appears before the traveler — empty to the eye.
No words are visible. No ink marks the surface.
Yet when the traveler closes their eyes, they can see it fully:
The mist-flowers, the broken vines, and the sacred words they have not learned but somehow always known.
This parchment is not merely remembered.
It is imprinted into the traveler's very core.
The ritual weaves the memory-scroll into the soul itself:
It becomes part of their spirit’s weave,
It cannot be forgotten, erased, or undone.
Wherever they walk in the Hollow Veil,
the sacred parchment breathes within them,
a quiet unfolding reminder of the moment they dared to Bloom.
✨ Final Flavor Line:
"Some memories are not carried in mind or heart — they are etched into the soul itself, breathing quietly with every step you take through the mist."
Over a finalized with beauty refinement, a modern, full double decker articulated 25 meters long, automatic, Volvo engine more internal space with every comfort to meet the needs of users ... Comment, short and share ... Thank you for visit. Big hug..
Done in Ai, Finalized in Photoshop
The Throne Series
From a throne sculpted in abyssal stone and adorned with runes lost to time, the Voidheart King watches in silence — the embodiment of domination, decay, and arcane eternity. His skin is a deep, cursed violet, etched with scars of old pacts and long-extinguished stars. Massive, twisted horns arc upward like blackened spears, framing a skeletal face with eyes that burn with molten rage and immortal hatred.
At the center of his chest, encased in obsidian filigree, a luminous heart-shaped crystal glows with raw, pulsating void energy — the last remnant of a shattered realm, bound to his soul and thirsting for collapse. His armor is intricate and spined, forged in the heart of a dead star, with deep grooves and infernal patterns radiating subtle power.
Clawed hands rest on the arms of the throne, fingers adorned with rings of ancient metals, each a trophy from a fallen god. Around him, violet mist coils like sentient shadow, and the air crackles with silent screams.
He does not speak.
He does not move.
The cosmos bends in his presence.
He is the end between endings —
the King of the Voidheart.
Done in Ai, Finalized in Photoshop.
Rising from the peaks of the world’s tallest mountains, the Eternal Citadel glows with celestial light — a sacred stronghold where heaven meets stone. Its towers, crowned with golden domes, gleam like suns as they pierce the sky. Carved from enchanted marble and veined with divine gold, the citadel’s walls are adorned with radiant runes and heavenly reliefs. Majestic waterfalls pour from arched aqueducts, cascading down the cliffside like tears of the gods. A glowing tree of light is etched upon the central gate, pulsing with life and legacy — the symbol of the immortal order within. All around, clouds swirl below its bridges, and the northern lights shimmer like celestial banners overhead.
Done in Ai, Finalized in Photoshop
The Runecode Series
"he is the whisper between ancient code and curse"
Forged in the Oblivion Crucibles at the edge of the Fallen Spiral — where fractured stars rain radiation onto dead gods’ bones — Vorrak’tul emerged from the last echo of a sealed world. Once an arcane architect of the elder civilizations, his soul was torn and woven into a skeletal mesh of runecode alloy, bound by the dying breath of a voidbound demon-engine.
The Krythomortis are not born — they are exhumed, awakened from the catacombs of time through techno-sorcerous resurrection. Vorrak’tul was the first to rise, the prototype and executioner of the species’ vengeance directive. His skull-like visage and data-dreadlocks are relic conduits, each strand encoded with the scream of a dead dimension.
He walks not only as a war-bringer but as a codekeeper of the End Epoch, etched in violet flame and blackened iron. His chestplate seals the Sigil of Null Binding, capable of rewriting the fate of reality one rune at a time.