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Prompt: illustration by Thomas Girtin. A red pony with a ten years old boy. --ar 5:4 --style raw --v 6.1
Seeing the eastern sky through the kitchen window at sunset prompted me to go outside to capture the western side.
Credits: Rosie's Designs - Nocturnal Beauty and Purple Moon; Daisy Trail - CS People and CS Italain Escaoe
Prompt:
Create an info graphic with a woman professor in a monoline style illustration, black-and-white. The female professor looks like the grandchild of Betty Boop + Albert Einstein.
And here’s the breakdown of the cost to produce the above info graphic:
Hank, here is the analysis for a single-slide infographic.
However, we have to make a very important distinction first: NotebookLM cannot actually "create" the graphic. It is a text-based brain. It can look at your data and give you the text, layout ideas, and data points for the infographic, but it cannot export a .jpg or .png image.
So, this analysis covers the cost of using NotebookLM to design the strategy and write the content for that infographic.
1. The Economical Footprint (The Dollar Cost)
The Sticker Price: $0.00.
The "Real" Compute Cost:
Since this is a smaller task than a 10-slide deck (just synthesizing data for one visual), the compute cost is microscopic.
Processing your sources and outputting a single plan costs fractions of a penny—roughly $0.001 to $0.005.
Comparison: You could plan 1,000 infographics in NotebookLM for the price of that one 9-second Veo video.
2. The Ecological Footprint (The Planet Cost)
If Veo is a gas-guzzling Hummer and the 10-slide deck is a bicycle, this is walking to the mailbox.
Energy:
Processing this request uses roughly 0.0005 to 0.001 kWh.
Translation: This is equivalent to keeping that LED lightbulb on for just 30 seconds.
Carbon Emissions:
NotebookLM (1 infographic plan): ~0.2 grams of CO2.
Comparison: A single human exhale releases about 0.6 grams of CO2. Using NotebookLM to plan this infographic literally has a smaller carbon footprint than you breathing once while reading this sentence.
Water Usage:
A few drops (roughly 1–5 milliliters).
Pro & Con Take Away
Pro: It is "Free" Energy. Using NotebookLM to do the heavy cognitive lifting (summarizing data, finding the story) is ecologically invisible. It is the most sustainable way to "think" with AI.
Con: It is Unfinished. Because NotebookLM generates text, not pixels, the "footprint" stops halfway. You still have to spend human energy (calories) or computer energy (Photoshop/Canva) to actually draw the graphic based on its instructions.
Todays prompt was My name starts with....Well it's the letter L. And here is a little coffee shop in Federal Hill, Baltimore. But of course some might say my name could start with Fat also. So here is Flat Larry's
Prompt: John Martin painting, those souls heading for the high ground, clambering over the tops of any tall structure, whatever is nearby, to avoid the rising tide. Manhattan.
Endless variations on a theme, even.
So yah I just wanted to say that before you judge this, it looks like 10x better in person. Sorry again for how terrible all these images of my home test are...
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2. A blacklisted self-portrait.
My concept for this piece is that blacklisting is like a bruise that never fades. It's a wound that never heals, and causes tremors and terror every day. It leaves you as a dissected shadow; it can take your life, or define your life. This piece is meant to depict the effects blacklisting causes, and the aftermath of blacklisting. From both historical and personal examples I can say this is true. Historically, blacklisting such as the McCarthy trials changed everything, although part of that terror was debatably partially created by the Cold War, since it was because of the Cold War that Communism was considered to be such terrible thing and an insult. However, my point is that the blacklisting that came with McCarthyism created a terror amongst society that to this day still somewhat exists. It's really because of blacklisting that we feel the need to hide aspects of ourselves to fit the norms of society. This is very personal to me because during my freshmen year of high school, I was socially blacklisted by friends who I thought I could rely on. It was actually so bad that it was part of why I chose to switch schools. It was partially in school but mostly cyber, which in some ways made it worse. Even though what I experienced is noting close to McCarthyism blacklisting, it still allows me to understand mildly what it is like. For me the terror it created was the worst part. I didn't know who was my friend and who wasn't, I couldn't trust anyone, and worst of all I felt the need to hide myself. Even after I switched schools it never really went away, and it was kind of like a bruise to me because whenever I touched at it, it still hurt. This is all represented in my self portrait obviously by the bruise, but also by the dispersion I have created, and my color choice. I created this effect to depict a sense of self rupture that blacklisting creates in one's life, and also how the true aspects of self begin to fade away and hide. I specifically chose a muted, and darker color pallet to reference bruising, and also to create a somewhat cold, translucent, and almost shallow feeling of self that is formed from blacklisting. My main stylistic influence for this was the work of Anthony Goicolea, specifically his portraits from his 2007 drawing work.
Prompt: A vibrant and detailed airbrushed painting of an Olympic runner, in the style of Greg Rutkowski, adorned in colorful gear with the Paris Tower as his backdrop. The scene captures him mid-race on rainbow-colored track. He wears sunglasses, France Olympic attire and has "Paris - 2024" written across one sleeve, --ar 1:1 --personalize ng452ob --v 6.1
"ONE PROMPT, JOB GONE!" with a bonus reminder that "AI rots your brain."
There are variants of this détournement on the New York City Subway, Bebe Neuwirth even posted a photo of one to Bluesky.
It's a bit distressing to live in San Francisco with AI ads on every corner, one blatantly saying to stop hiring humans, with very little pushback.
Created in Leonardo AI.
This was generated off a prompt I've used many times in DALL-E 3 with good results.
See more here: www.youtube.com/@journeymanplayer7459
Prompt
A highly detailed fantasy illustration depicts an eerie witch as the central figure, framed by a large, dark witch hat with a weathered appearance. The hat, made of aged black straw-like material, features visible cracks, frayed edges, and dripping moss or ivy along its underside, creating a sinister atmosphere. A worn pink ribbon encircles the base of the hat, adding to its tattered look. The witch's face is a striking green with intricate wrinkles, creases, and textured ridges, giving her a monstrous and aged appearance. Her expression is stern and intense, with wide-open yellow eyes featuring prominent pupils and small black spots around them, surrounded by dark green eyebrows and thick, unruly eyelashes. A sharp, hooked nose dominates her facial structure, while her mouth is slightly open, revealing decaying teeth. Her hair is wild and disheveled, composed of twisted braids in shades of reddish-brown and rust, framing her face and extending down both sides. She wears an elaborate costume adorned with various artifacts, including skulls, bones, and spherical ornaments. Notable is a prominent necklace with a central pendant depicting a fourth face with serene features, surrounded by skeletal figures. On either side of her shoulders are two demonic creatures with horned heads, fierce expressions, and glowing orange eyes. Their bodies are covered in dark feathers, scales, and rough textures, contributing to the overall dark and mystical mood. The background consists of a smoky, ethereal mix of pale aqua blue, mint green, and hints of light brown, providing a stark contrast to the witch's features and enhancing the otherworldly atmosphere. The lighting is dramatic and diffused, highlighting the textures and colors without casting harsh shadows, emphasizing the intricate details and creating a high-contrast effect that emphasizes the character's menacing presence.
These were taken at Moseley Vintage Hub, Birmingham UK. My daughter took portraits of local Mods as part of her university project, so I snapped a few, then promptly forgot I had them in the camera.
Pentax ME Super, Ilford HP5+. Developed in Bellini Hydrofen for 9:45, 30 sec agitations, 20 degrees. Scanned on Epson V600.
Prompt: hotorealistic full-length image, young black-haired girl with stunning and sparkling brown eyes and red boots riding a huge and beautiful white horse with large hoofs and large electric brown eyes looking at the camera in the middle of a field of wildflowers, with appropriate depth of field and sunset in the background, taken during the golden hour, Canon EOS-5D Mark IV, Canon 200mm f.2 lens at f/2, narrow depth of field --ar 16:9 --s 250 --c 20 --v 5.2
First used a reference image to get the look of the model in the ball park.
Couldn’t get her riding the horse so had to settle with this intimate picture.
Went through several enlargements and enhancements in both Adobe Raw and PhotoShop and Portrait Professional.
Detailed in Adobe Camera Raw and Photoshop and Portrait Professional.
I highly appreciate your viewing and commenting on my work.
Inktober Day 14, 2024 Prompt: Guidebook. With fond memories of how some books have the capacity to open up new worlds.
After the war, film production picked up again, not only all over Asia but also in Singapore where both Chinese and Malay films were made. In 1947, 'Seruan Medeka', an effort by Film Melayu Art Productions, proved to be mildly successful. This prompted the Shaws to reopen their pre-war studio at No.8, Jalan Ampas (above) to produce Malay movies. Under the banner of 'Malay Film Production Limited' (MFP), the Shaws aimed to dominate the Malay film market with quality productions. This move ushered in the period known as 'The Golden Age of Malay Cinema' during which over 300 films were produced.
At first, the Shaws used Chinese directors to make Malay movies. They were replaced by Indians because Malays tended to prefer Indian directorial style. Malays also favoured Indian films because they could relate to both plot and culture. The 'Bollywood' song and dance style in Malay movies were enjoyed not only by Malays but also many Singaporean Chinese. Shaws' stable of Indian directors for the next two decades read like a who's-who of Malay cinema - B.S. Rajhans, S.Ramanathan, L. Krishnan, KRS Shastry, Phani Majumdar, Kidar Sharma, Dhiresh Ghosh, K.M. Basker and B.N. Rao.
In 1947, MFP's first film 'Singapura Di-Waktu Malam' starring Siput Sarawak proved an instant success. It was directed by the same man who made Singapore's first feature hit in 1933 - B.S. Rajhans.
B.S. Rajhans quickly followed his success with a string of hits over the next four years. They included Chempaka (1947), Pisau Berachun (1948) and Cinta (1948). In Cinta, he gave the part of the villain to a young unknown whom he discovered at a music festival in Bukit Mertajam. This 19-year old playback singer who provided the vocals for the lead actor Roomai Noor was to become a legend in his own time. He was P. Ramlee.
In his early years at Jalan Ampas, P.Ramlee was enthusiastic about mastering all aspects of film production. No task proved too menial for him, and he worked even as clapper boy and assistant cameraman. From the start, his remarkable talents were recognised by the Shaws.
In 1950, P.Ramlee graduated from playing 'villians' to 'hero' and became the first actor to sing in his own voice in the movie 'Bakti'. In this film, he acted opposite the beautiful Kasma Booty (right) and proved beyond doubt that he had all the qualities of a star who could not only act but sing.
By 1953, MFP faced competition from the newly formed Cathay-Keris, a studio formed by cinema owner Ho Ah Loke and Cathay Organisation's chairman Dato Loke Wan Tho. They offered lucrative financial contracts to attract experienced film crew and stars to their new studio on the East Coast. 'Buloh Perindu' (1953) was a Malay film made by them in colour.
In order to stay ahead, the Shaws made the 26-year-old P. Ramlee into director fresh from his hit starrer 'Hang Tuah' in 1955. By that time, P.Ramlee was already an accomplished songwriter and actor, but he was keen to prove that Malay directors were as capable as Indians in making high quality films.
The result was 'Penarik Beca' , an award-winning film which catapulted the Malay film industry to an international level. It won Best Picture and Best Song in a readers' poll of the prestigious "Utusan Filem and Sport" magazine.
For the next 20 years, the multi-talented Tan Sri P.Ramlee was to win multiple international awards (including film festivals in Hong Kong and Japan) for work which spanned over 70 films and 200 songs.
His films encompassed different genres, the reason for winning fans of all races and generations. Any P.Ramlee film was guaranteed to fill seats and he became king of the Malay box office. In 1963, Singapore became part of Malaysia. That same year, P.Ramlee made his last film at Jalan Ampas - Tiga Abdul - and then he went to Merdeka studios in KL.
Off prompt for LOAD today. This is a photo of my high school friends feet. We do a book club about every 8 weeks and this time we decided to do a sleepover. Years ago we started a tradition of taking photos of all of us on steps, but by the time we thought about it we were in no makeup & pjs. Instead we opted for a photo of our feet. Maybe a new tradition was born.
Everything on the page is Heidi Swapp except for the American Crafts Thickers letter stickers.
Once is not custom format not "square". I lived, prompted by a DJ specializing in tea dances, a top afternoon with funny people can be terribly old but tonic!!
300 pictures that we should then be disseminated to them with video projectors on a large wall of the neighborhood!
Prompt: Sanctuary scenery of Japanese anime. It is a forest and surrounded by a stone wall. There is only one gate. A beautiful church-like building can be seen in the distance inside the sanctuary. --ar 4:5 --v 6.1
Prompt: inspired by the style of Norman Rockwell, A little boy, blonde hair, wearing farmer jeans, brown boots, leading several geese on a path toward the barn with his white west highland terrier puppy, the path is dirt, westie ears are up, view is from the back
digital fine art was created using Google ImageFX and Photoshop
Prompt: 8k, stain glass, Urban portrait of native male Indian, brown eyes, vibrant colors, --ar 4:5 --personalize 4uznlcf --v 6.1
From Wikipedia, the free encyclopedia
History
United States
Name:USS Vesuvius (AE-15)
Namesake:Mount Vesuvius
Launched:26 May 1944
Commissioned:16 January 1945
Decommissioned:20 April 1946
Recommissioned:15 November 1951
Decommissioned:14 August 1973
Struck:14 August 1973
Honors and
awards:
2 battle stars (World War II)
2 battle stars (Korea)
10 battle stars (Vietnam)
Fate:scrapped, 1974
Badge:USS Vesuvius (AE-15) insignia, circa in the 1960s (NH 71935-KN).png
General characteristics
Length:459 ft 2 in (140 m)
Beam:63 ft (19.2 m)
Draft:28 ft 3 in (8.6 m)
Propulsion:
Geared turbine
1 × shaft
6,000 shp (4.5 MW)
Speed:16 knots (30 km/h)
Capacity:7,700 long tons (7,800 t) deadweight
Complement:267 officers and enlisted
Armament:4 × 3"/50 caliber guns
The fourth USS Vesuvius (AE-15) was laid down under a Maritime Commission contract (MC hull 1381) by the North Carolina Shipbuilding Company, Wilmington, N.C.; launched on 26 May 1944; acquired by the United States Navy on 4 July 1944; and commissioned on 16 January 1945, Comdr. Flavius J. George in command.
Service history
World War II, 1945–1946
The ship underwent builder's trials out of Brooklyn, New York, and then began shakedown out of Hampton Roads, Virginia, in Chesapeake Bay. On 17 February, she sailed to Earle, New Jersey, to load ammunition. She then headed for the island of Ulithi, via the Panama Canal, on 5 March. She reached her destination on 5 April and promptly unloaded and took on more cargo. Vesuvius departed for Okinawa on 10 April where she became part of Service Squadron 6. In this role, she replenished ammunition to the Fleet in the waters around Okinawa. In July 1945, Vesuvius joined a rearming group off Honshū, Japan, to support raids on Japan by the 3rd Fleet. She detached on 2 August and set sail for Leyte Gulf, Philippines. While there, word of the Japanese capitulation was received on 15 August 1945. The ship remained in the Philippines until 28 October, when she left for the United States.
After transiting the Panama Canal, Vesuvius joined the Service Force, Atlantic Fleet. The ship arrived at Yorktown, Virginia, on 14 December 1945. Vesuvius departed Yorktown on 10 January 1946, bound for Leonardo, N.J., to discharge her cargo and ship's ammunition to the Naval Ammunition Depot. On 7 February, she headed for Orange, Texas, arriving there on 13 February to commence her pre-inactivation overhaul. Vesuvius was placed out of commission, in reserve, at Orange on 20 August 1946.
Korean War, 1951–1952
In response to the needs imposed by the Korean War, Vesuvius was recommissioned on 15 November 1951. She remained at Orange and Beaumont, Texas, for outfitting and readying for sea until 7 January 1952, when she departed for San Diego. Having arrived on 14 February, the ship conducted exercises and loaded ammunition at Port Chicago, California, before sailing on 22 March for Sasebo, Japan. She arrived at Sasebo on 3 May 1952 and, after voyage repairs, began supplying ammunition to the ships of Task Force (TF) 77 on patrol off the east coast of Korea. On 1 December, Vesuvius headed for the United States, arriving at San Francisco on 18 December for overhaul.
Pacific Fleet, 1953–1967
Over the next decade, Vesuvius was to make 11 more extended deployments to the western Pacific where she serviced units of the 7th Fleet. These operations were interspersed with port visits to Japan, Okinawa, Taiwan, the Philippines, and Hong Kong. Periods on the west coast of the United States were spent in overhaul and in the conduct of underway training.
On 24 June 1963, Vesuvius commenced her 13th post-World War II deployment to the western Pacific, making stops at Pearl Harbor and at Guam for repairs and arriving at Yokosuka on 4 August. She serviced the 7th Fleet throughout August. In October, she visited Sasebo and Kagoshima, Japan; Subic Bay, Philippines; and Buckner Bay, Okinawa. In November, she visited Hong Kong and spent the entire month of December 1963 in and out of Yokosuka, Japan. She also visited Beppu, and Komatsushima, Japan. (1st American Navy ship to visit since end of World War II).
Vesuvius began 1964 in Yokosuka making final preparations for her homeward passage. On 7 January, she got underway for San Francisco via the great circle route. She arrived on 31 January and spent February and March moored to the pier at Port Chicago. A brief trip to San Diego and participation in an exercise with other units of the 1st Fleet occupied April, and Vesuvius spent May in an upkeep status at Concord, California. On 6 July, she was underway for coastal operations. August and September saw the ship in and out of port, training and providing services to the Fleet Training Group. In October, she participated in operations with members of the 1st Fleet. On 20 November 1964, Vesuvius returned to Concord for upkeep and a holiday leave period. She got underway on 18 December for the Mare Island Annex, where she spent the holiday season.
Vietnam, 1965–1972
The ship made a brief trip to San Diego beginning on 4 January 1965 before returning to Concord on 13 January. She began reloading cargo in preparation for deployment and got underway for the Far East on 1 February. Vesuvius reached Subic Bay, via Pearl Harbor and Guam, on 28 February. She then began operations in the South China Sea interrupted by brief returns for the onload of cargo in Subic Bay. In July 1965, she received a respite from her duties in Hong Kong. After a week there, she resumed operations. Having made 182 underway replenishments during the deployment, Vesuvius returned to Concord, California, on 28 November.
Vesuvius began the year 1966 by steaming on 3 January to the Puget Sound Naval Shipyard at Bremerton, Washington, to undergo repairs for six weeks. After leaving Bremerton, the ship headed south to Concord to onload ammunition. On 5 March, she sailed for San Diego for refresher training. Shortly after arrival, a 26-inch crack in one of her hull plates was discovered. She promptly began transferring her load of ammunition to other ships. By 26 March, the ammunition had been successfully offloaded; and, on 28 April 1966, Vesuvius proceeded to the Bethlehem Steel Shipyard in San Francisco. On 14 May, Vesuvius deployed for the western Pacific. From 13 June through 27 November 1966, Vesuvius conducted replenishment operations between the Philippines and the South China Sea. In December, she stopped at Pearl Harbor on her way home, where an unusual cargo was embarked — $9,700,000 was brought on board for a special currency lift back to the United States. Shortly before Christmas, Vesuvius reached Concord.
The year 1967 found the ship berthed at Mare Island preparing to undergo her first major overhaul since 1962. Following completion of overhaul at the Mare Island Naval Shipyard and underway training, Vesuvius departed for the western Pacific on 15 July 1967, bound for Subic Bay. Except for brief periods in Hong Kong, Vesuvius came off the line in the South China Sea only long enough to fill her hold with more ammunition.
Near the end of January 1968, Vesuvius sailed to Yokosuka on her return trip to the United States, only to be recalled to the seas off Vietnam following the Pueblo Incident to support Operation Formation Star. Vesuvius finally returned to the San Francisco Bay area on 17 March 1968, offloaded, proceeded to the Naval Shipyard at Mare Island and, on 4 April, entered the Triple A Shipyard in San Francisco for extensive repairs and upkeep. Repairs were completed on 10 May, and the ship began refresher training in June. Following inspections and loadout, Vesuvius deployed again on 31 July 1968. She reached Subic Bay on 20 August for receipt of ammunition, then began operations in the Vietnam area. She remained on line through 3 December, when she left for a period of rest and recreation in Hong Kong. She departed there on 10 December to return to Vietnam.
Vesuvius remained on line through January and February 1969. In late February, she sailed into Bangkok, Thailand. From Bangkok, the ship went to Subic Bay to commence her final loadout before heading home. After a brief stop in Hawaii, Vesuvius arrived in Concord on 1 April 1969. In late April, the ship underwent six weeks of restricted availability at a commercial yard in San Francisco. Late in June, she steamed for San Diego and refresher training and exercises. By 23 July, she had returned to San Francisco and began three weeks of loadout for yet another deployment. Vesuvius departed for the western Pacific on 17 September 1969. After stopovers in Pearl Harbor and Yokosuka, she touched at Subic Bay for a few days before starting her line period off Vietnam.
During this deployment, Vesuvius conducted seven line runs in the South China Sea and the Tonkin Gulf in support of 7th Fleet operations. On 25 April, she left for home with stops at Kobe, Japan, and Pearl Harbor. She arrived at Concord on 23 May 1970. The ship entered a three-month upkeep in San Francisco from July to October followed by a pre-deployment inspection. On 9 November, Vesuvius departed the San Francisco area for intensive training in San Diego and, on 6 December, steamed back to Port Chicago for a holiday leave period.
Vesuvius again departed for the western Pacific on 4 January 1971. She arrived at Subic Bay on 25 January, and, one week later, was underway for her first line run of the deployment. On 20 February, she pulled into Singapore and then proceeded shortly thereafter to the Philippines for a 15-day upkeep period. Vesuvius then resumed her assignment of providing ammunition logistics support to the 7th Fleet and Royal Australian Navy units off the coast of Vietnam. On 2 August 1971, Vesuvius left Subic Bay for San Francisco, arriving on 1 September. After offloading ammunition at Concord, the ship moved to the Mare Island Naval Shipyard for a month of stand-down. On 4 October, she entered a six-week upkeep. Upon completion, she returned to Concord on 19 November. Vesuvius departed Concord on 29 November for refresher training off San Diego, returning to Mare Island on 4 December.
Vesuvius got underway on 3 January 1972 and, on 5 January, commenced refresher training in San Diego. She returned to Concord on 29 January. Preparations for deployment began immediately, and the ship left California on 14 February. Upon arrival at Subic Bay, Vesuvius again supported combat operations for the 7th Fleet. On 29 June, she began upkeep and returned to action on 18 July. Her duties were interrupted for short trips to Hong Kong and Bangkok in August and October. In December, she entered drydock at Subic Bay to replace her propeller, but she promptly returned to Vietnam and ended the year in the combat zone.
Decommissioning, 1973
The ship returned to Concord on 3 March 1973. After offloading ammunition, the ship moved to Mare Island. The ship was scheduled for upkeep from April to July. However, a message was received from the Chief of Naval Operations in July to prepare the ship for decommissioning. On 14 August 1973, Vesuvius was decommissioned and transferred to the Inactive Ship Maintenance Facility at Mare Island for further disposition and was struck from the Navy List. Vesuvius was reported to have been used for target practice, shortly after decommissioning.
Awards
Vesuvius received two battle stars for World War II, two battle stars for the Korean War, and 10 battle stars for her service in Vietnam.
Prompted by and thanks to Stefan: "The Walton Backwaters were one of Arthur Ransome’s favourite places to visit on
his yacht, ‘Nancy Blackett’ and are famously depicted in his 1930’s book ‘Secret
Water’, the sequel to ‘We didn’t mean to go to sea’. Unlike Ransome’s earlier
Swallows and Amazons adventure stories; these two books are based on actual
places. " - RYA guide to the Walton Backwaters - aerial Essex
AI creation with Dreamwombo
various different models, same prompt for all.
PROMPT:
by Michael DeForge and derek hess: creature with disembodied gaping mouth made of used syringes! ,sixpack eyes, ruptured photomontage by bobby neel adams , milk running out of mouth by Simon Bisley, igor Morski , Bogomils Universe, cryptid taxidermy by Art of the Mystic Otto Rapp
Prompt: A young country boy and his grandfather fishing at a stream, highly detailed, in the style of Theodore Robinson, high-resolution --ar 5:4 --style raw --personalize m3lgrn9 --stylize 150
Naked August Strindberg grabbing his tits while surrounded by diggers at the Stockholm City Hall park on an Autumn afternoon.
Prompts can also be poetic - when something is to visualize emotions, you may need to use a different 'language' than the engineer-like prompt language - haikus has been used here - to achieve a desired result
3x Haiku's:
Venice in tilt-shift,
Doge's Palace, Salute stands,
Miniature dream land.
Santa Maria's grace,
Canals weave through time and space,
Sharp midst soft embrace.
Enchanted city,
Waterways whisper secrets,
New angle reveals.
PROMPTS: Young Prince Gautama Buddha sits under a bodhi tree meditating on sickness, death, old age, and birth. His eyes are closed. He sits on grass in the shade. 17. ::5 Artistic Inked and Calligraphy Scene::4 creative, expressive, unique, high-quality, traditional medium, ink, brush, calligraphy, award-winning, glibatree style, experimental techniques, attention to detail, dynamic compositions::3 deformed, poor, traditional, static::-2 --s 750