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satan style flux2

satan style flux2

Las descargas las sirve Civitai. Algunos creadores piden iniciar sesión en Civitai primero.

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FLUX 2 / KLEIN · LoRAs

by txQuar - Satan Style | Flux 2 Klein

stanszq A black and white, monochrome illustration of a man with a serious expression, wearing a lace headpiece and a dark cape, with a small, white, star-shaped symbol on his forehead. the man appears to be in his late twenties or early thirties, and is positioned in the middle of the image, with his upper body facing the viewer. he is wearing a dark outfit with intricate details, and his face is obscured by the lace, giving him a mysterious and alluring appearance. the background is a solid black color, and the image has a rough, textured appearance, with small white dots scattered throughout, adding to the overall sense of depth and dimensionality. the overall style is reminiscent of comic book art, with bold lines and intricate details that create a sense of mystery and intrigue.

stanszq A black and white, monochrome illustration of a man with a serious expression, wearing a lace headpiece and a dark cape, with a small, white, star-shaped symbol on his forehead. the man appears to be in his late twenties or early thirties, and is positioned in the middle of the image, with his upper body facing the viewer. he is wearing a dark outfit with intricate details, and his face is obscured by the lace, giving him a mysterious and alluring appearance. the background is a solid black color, and the image has a rough, textured appearance, with small white dots scattered throughout, adding to the overall sense of depth and dimensionality. the overall style is reminiscent of comic book art, with bold lines and intricate details that create a sense of mystery and intrigue.

stanszq A cinematic dark-fantasy illustration of a Devon Rex cat sitting motionless on the collapsed roof of a rotting Russian izba, rendered in a brutal chiaroscuro style — ninety percent shadow, the remaining ten percent pure arterial crimson and cold bone-white. the cat occupies the exact center of an inverted pentagram that was not drawn but burned into the roofing tin, the metal around each line warped and blackened and still faintly smoking as if the ritual concluded seconds ago. the cat itself is rendered as a silhouette with interior detail — visible only where the helllight finds it, which is the ears, translucent and veined like stained glass backlit by something below the roof, and the eyes, which are not glowing so much as open, two vertical wounds of sulfur-yellow in the absolute dark of its face, containing within them something that has no biological explanation. around its neck: an inverted crucifix of tarnished black iron, oversized, heavy, the kind of object that has a history. on its head, growing organically from the skull as if they were always there: two small curved horns, barely larger than its ears, matte black, casting their own shadow forward across its face. its wrinkled hairless skin reads in this light as something between leather and parchment, stretched over a skeleton that is slightly too angular to be simply a cat's. the pentagram radiates outward in concentric rings of sigils — elder futhark bleeding into enochian bleeding into symbols that belong to no documented system, each ring dimmer than the last, until the outermost ring is just a suggestion of geometry in the darkness. the village below is not a background — it is a consequence. the izbas lean away from the cat's building at angles that defy their foundations, as if the structures themselves are trying to create distance. every window is dark. the well in the village square has been sealed with a flat stone and on that stone, visible from this height, the same inverted star. the church at the far end of the village is intact and untouched and its doors are open and the interior is the only total darkness in a scene already made of darkness — a darkness that has texture, that has depth, that suggests the inside of the church is significantly larger than the outside. the sky is not a sky. it is a texture — dense black cloud cover so low it almost touches the rooftops, lit from beneath by the pentagram's red bleed, which turns the cloud bellies the color of infected tissue. no stars. no moon. one planet visible through a single gap in the cloud, directly above the cat, the color of a dying coal. the cat does not perform. it does not bare teeth, does not arch its back, does not signal threat in any language that biology recognizes. it simply sits. tail wrapped. spine straight. the posture of something that called this meeting and is waiting for the agenda to begin. at the bottom edge of the frame, barely visible in the foreground darkness: a human hand, reaching up from below the roof's edge, fingers splayed, grasping at the tin. it has been there long enough that it is no longer moving. the cat has not looked at it once.

stanszq A black-and-white illustration showing a figure of a demon holding a golden cross on a dark background with red ominous writing in the background. The figure is depicted in monochrome, with intricate details and a gloomy Gothic aesthetic, and is located in the center of the image. and his face is decorated with sharp, menacing features, including a pair of large curved horns, and scars in the shape of ancient runes. His eyes glow with a menacing expression, enhancing the ominous atmosphere of the scene. The overall effect is a powerful and dark scene where the presence of figures attracts attention, and the presence of skeletal creatures enhances the sense of power and authority.

stanszq At the center of a rough parchment sheet, a demonic cat crouches over a human skull, its elongated body twisted with sharp spine ridges and thin limbs pressing into the surface, the skull held between its front paws with visible pressure indentations along the jawline. Ink-black fur rendered in scratchy cross-hatching, the skull surface matte bone with hairline fractures and chipped edges exposing darker porous interior. A single overhead light casts hard-edged shadows downward, no ambient fill, palette restricted to black ink, off-white paper, and dried rust-red stains on the lower margin. Loose hand-drawn sketch lines, uneven ink density, visible pen strokes, paper grain fibers and smudged graphite marks.

stanszq A black and red, monochromatic illustration featuring a stylized depiction of a person with a crown of thorns on their head, surrounded by intricate, dark designs. the central figure, a man, appears to be in a contemplative pose, with his hands clasped together in front of him. he has long, flowing hair and a serious expression. the background is a dark, textured surface with a gradient of red and black, creating a sense of depth and dimensionality. the image is framed by a large, ornate crown, which adds to the sense of mystery and foreboding. the mans face is the focal point of the image, with the crown and the intricate design surrounding him adding to the overall sense of realism. the overall effect is one of darkness and mystery, making the image a captivating and mysterious piece of art.

The Cartography of a Swallowed Saint This image is a sprawling, vertical illustration rendered in the visual language of an illuminated manuscript that has been left in standing water for three weeks and then meticulously restored by someone who preferred what the water had done to it. The medium mimics ink on vellum — warm ivory ground, deep sepia linework — but the content is irreconcilable with anything a scriptorium ever produced. The Central Composition The page is divided not by columns or chapters but by the body of a single figure, rendered so large it functions as the document's architecture. The figure is supine — lying on its back, arms at its sides, feet toward the viewer — but suspended at a forty-five degree tilt, as if gravity has chosen a different axis for this particular body. It is dressed in the full vestments of a Catholic bishop: mitre, chasuble, gloves, ring. Every detail of the vestments is rendered with the obsessive fidelity of medieval sacred art. The embroidery is correct. The iconography on the chasuble is orthodox. The ring bears a genuine episcopal seal. Everything about the clothing is impeccably, scrupulously holy. The face has been replaced by a vertical mouth. The Mouth Where the face should be — where the forehead, nose, eyes, and cheeks should constitute a human countenance — there is instead a single mouth, oriented vertically, running from the crown of the head to the chin. It is not a wound. It is not a rupture. The surrounding skin is intact, untraumatized, simply arranged differently than expected. The lips are full and dark, slightly parted, and from within them issues a long, narrow tongue that has been shaped — voluntarily, it seems — into the form of a candle flame. The tongue-flame is the only element in the image rendered in color: a deep saffron-orange at the base bleeding into white at the tip, painted with the same care and the same pigments a medieval artist would have used for a halo. The Marginalia Surrounding the central figure, filling every available inch of border space, is the marginalia — and this is where the image becomes a taxonomy of private nightmares. Along the left border, a procession of figures no taller than a thumbnail descend in single file. They are dressed as monks. They carry between them, on a stretcher constructed from what appear to be human femurs, a single eyeball the size of a melon. The eyeball is open. It is looking at the viewer. The monks are not looking at anything; their hoods are sealed. Along the right border, a series of architectural cross-sections depict the interior of a structure that cannot decide whether it is a cathedral or a digestive organ. Flying buttresses terminate in esophageal folds. Stained glass windows are filled not with saints but with the luminous patterns of microscopic organisms. A nave leads to an altar that is also, unmistakably, a stomach. The top border contains text — dense, careful Carolingian script — in a language that uses the Latin alphabet but is not Latin, is not any language, arranges familiar letters into sequences that produce the sensation of meaning without producing meaning itself. The bottom border is the most disturbing for its simplicity: a single horizontal line of identical small figures, kneeling, facing inward toward the center. They have no features. They are present entirely as posture — the posture of supplication, of waiting, of having made a decision that cannot be unmade. The Gold Gold leaf is applied sparingly, according to the logic of medieval manuscript illumination: only to the sacred, only to the divine. Here, it appears in three places. On the tongue-flame. On the episcopal ring. And on the eyeball's iris, which catches the light and returns it multiplied. The Damage The vellum shows genuine age — foxing, water staining, a diagonal crease across the lower right quadrant where the page was folded once and the fold was never fully released. In the water-stained areas, the ink has bled and the linework has softened, and in these areas only, additional imagery becomes visible: faces, rendered in the bleed itself, looking outward from inside the damage. They are smiling. They appear comfortable there. Artistic Technique The style is rendered digitally but constructed to pass as physical. The linework replicates the pressure variation of a quill — thick on the downstroke, feather-thin on the lateral. The vellum texture is convincing enough to suggest tooth and grain. The illuminated capitals that begin each marginal text block are decorated with animals that are anatomically composite in ways that feel ethnographic rather than fantastical: not "dragon" but rather "this is what a creature from a place without light looks like when a person who has never been there attempts to describe it from memory." Mood The image is profoundly, ceremonially calm. Nothing in it is frantic. The horror is archival — the horror of a document that was created with great care to record something that should not have been recorded, and that has survived long enough to be found.on.

stanszq A black and white illustration featuring a skeletal figure holding a small, skeletal creature, set against a dark background with a red, ominous symbol in the background. the figure is depicted in a monochromatic style, with intricate details and a dark, gothic aesthetic, and is positioned in the center of the image, holding the creature close to the viewer. the creature has a long, flowing hooded cloak draped over its body, and its face is adorned with sharp, menacing features, including a pair of large, curved horns protruding from its forehead. its eyes are glowing with a menacing expression, adding to the ominous atmosphere of the scene. the skeletal figure is holding the baby in its arms, with its skeletal remains intertwined, creating a sense of tenderness and connection between the figure and the creature. the overall effect is one of a powerful and somber scene, with the figures presence commanding attention and the skeletal creatures presence adding to its sense of power and authority.