
Infernalis is a 333-piece collection set inside an imaginary house of portraits. Bleach-white faces, crimson lips and quiet garments repeat in different rooms and lights, turning each figure into a small, self-contained story about being seen.



Each Infernalis token is a doorway into the same unseen building.

You meet one person at a time: a young woman at a balcony, an older man in a marble hallway, a figure of no clear age paused beneath an archway. Their skin is always bleach-white, their lips always red — a fixed signature that binds the collection together like a dress code no one has explained.

Around that constant, everything else shifts. Faces grow older or younger. Hair appears or disappears, sometimes hidden under hoods, sometimes falling dark, pale or blood-red against the light. Eyes change colour and character — soft, guarded, distant, attentive. Rooms appear and reappear: staircases, courtyards, interiors lined with fabric and shadow.

Nothing overtly dramatic happens in these images. There are no monsters, no symbols to decode, no explicit narrative. Yet each portrait feels like a moment taken from a longer story: someone waiting to speak, or to leave, or simply to outlast the silence.

Seen together, the collection feels less like a gallery of characters and more like a single, continuous place that you are slowly learning how to walk through.



# A corridor of stillness

Infernalis began with a simple picture: a long corridor, lit just enough to see, lined on both sides with portraits. No names on the frames. No plaques. Just people, standing or sitting very still.

From there, the questions followed. What if the entire collection came from this place? What if every image was another room, another doorway, another wall in the same building? What if the only things that never changed were the pallor of the skin and the red of the lips — not as a symbol, but as a way of saying: you are still in the same world?

The project chose quiet over spectacle. No shock, no grotesque distortion. The drama is in the pause before anything happens, the sense that each person has already lived a full life before you arrive and will go on existing after you pass by.

# Painter's choices, coded into a house

Underneath the fiction of the building is a very practical set of decisions.

Gender and age are ways to vary bone structure, posture and the weight of a gaze. Hair appears as an occasional flare of intention — dark, pale, red — or disappears under hoods and collars. Eyes determine mood: friendly, distant, wary, unreadable. Clothes define silhouette and texture: structured cloaks, soft shawls, high collars, layered fabrics that catch the light in different ways. Settings give the portraits somewhere to breathe: hallways, courtyards, terraces, interiors that feel borrowed from many cities and none in particular.

What begins as a list of traits turns into something more like architecture. The system is not building single characters; it is building a place where those characters might plausibly stand.

# Fine-art generative

Infernalis leans toward painting rather than illustration. Faces are rendered with enough realism to feel specific, but the surface never hides its brushwork. Light behaves as it does in a studio or a quiet street: falling across faces, catching cloth, fading into the upper reaches of a wall.

The generative process is there in the background — choosing, combining, recombining — but the aim is that you notice the people first. The collection is not about showing off variety for its own sake. It is about returning, again and again, to the same simple act: one person, in one place, allowing themselves to be seen.

In that sense, Infernalis is less concerned with the machinery of art and more with the modest, difficult thing at its centre: presence. A corridor of witness, built out of code and paint.



Infernalis takes place in a house of portraits that does not exist on any map.

Along its corridors, a quiet procession of faces waits in the half-light: strangers who feel alarmingly familiar, as if they have stepped out of an unfinished memory. Each painting shows a single figure, standing or seated, with bleach-white skin and crimson lips, dressed in garments that belong to no fixed time. They are neither saints nor villains, only people caught in a moment of being seen.


Infernalis

Woman

Young Adult

Middle Aged

Aged

Timeless / Eternal

Shorn or Hooded

Black Hair

White-Blonde Hair

Blood-Red Hair

Soft Brown Eyes

Deep Hazel Eyes

Muted Grey Eyes

Emerald Green Eyes

Dazzling Blue Eyes

Amber Eyes

Steel Blue Eyes

Snow-White Eyes

Jet Black Eyes

Burnished Gold Eyes

Crimson-Tinted Eyes

Opalescent Eyes

Starlit Eyes

Veiled Eyes

Hollow Silver Eyes

Marble Hallway

Desert Twilight

Lantern Alley

Fogged Courtyard

Winter Balcony

Candlelit Chamber

Velvet Interior

Ruined Archway

Distant Storm Horizon

Eclipse Terrace

Crimson Reflection Pool

Grand Gallery

Throne of Silhouettes

Shadowed Colonnade

White Veil in Red

Structured Cloak

Draped Shawl

Simple Robe

High-Collar Cloak

Patterned Shawl

Layered Veils

Embroidered Mantle

Crimson Veil

Shadow-Patterned Cloak

Ornate Patterned Cloak

Legendary Red Cloak with Black Patterning

Half-Profile Portrait

Three-Quarter View

Direct Gaze

Downcast Gaze

Silhouette with Backlight

Close-Crop Face

Wide Portrait with Architectural Context

Strong Negative Space

Echoed or Double-Exposure-Like Figure

Iconic Poster Composition

Singular Icon Frame

Monochrome Ink (Black and Bone White)

Warm Monochrome

Cool Monochrome

Black and White with Single Red Accent

Bone, Charcoal and Crimson Harmony

Deep Charcoal with Rich Crimson and Gold Touches

High-Contrast White, Black and Red Poster Palette

Advent Nights

Elements

Woman in Vogue

Redemption

一期一会 東京 (Tokyo Once)

Rise of the Soul

Super 7

Savanna Spirit

Girl Dinners

Inked

Vintage Interiors

Lithica

Katheros

Punk AI

Planktos

Worlds

Mama

Wonderland

Bugs

Dust

Toys

Fjords

Maria

Strobe

Refractions

Glitch

Chairs

Trace

Sonata

Caustic

Plastica

Impact

Spectra

Remanence

Jesus

Icon

Infernalis

333 Tokens

Gender

Age

Hair

Eyes

Scene

Garment

Composition

Palette