---
license: apache-2.0
language:
- en
pipeline_tag: text-generation
tags:
- Mordant
- granite
- composition
- image-generation
- reasoning
- prompt-engineering
base_model:
- ibm-granite/granite-4.1-3b
base_model_relation: finetune
---

# Mordant-3B-Think

A full fine-tune of [Granite-4.1-3B](https://huggingface.co/ibm-granite/granite-4.1-3b) focused on AI image generation composition with chain-of-thought reasoning.

---

## Overview

Mordant-3B-Think is the balanced midpoint of the Mordant family — significantly stronger than the 1.2B on complex composition tasks while remaining fast enough for regular use. It stays faithful to the brief without inventing unsolicited elements, and produces clean, well-structured thinking bubbles with consistent Mordant personality.

The model was trained on a personally curated dataset of **7,203 highly detailed compositions** spanning a wide variety of tasks, genres, universes, art styles, and emotional contexts. All training examples include reverse-engineered chain-of-thought thinking bubbles with a consistent "sharp, caustic, professional mentor" personality — present only within the reasoning phase, not the final output.

**Intended use:**
- Generating detailed, spatially structured image prompts from a short description
- Enhancing an existing prompt with compositional depth
- Infusing a specific art style into an existing composition
- General-purpose composition generation with better brief fidelity than the 1.2B

> **Note:** Granite-4.1-3B uses its own native token format. The model requires the included Granite-specific Jinja chat template (provided in the safetensors folder) for correct output. Standard ChatML templates will produce malformed or thinking-only output.

---

## Model Family

| Model | Base | Size | Best For |
|-------|------|------|----------|
| [Mordant-1.2B-Think](https://huggingface.co/Kezmark/Mordant-1.2B-Think) | LFM2.5-1.2B | ~1.3 GB (Q8) | Speed, PE, style infusion |
| **Mordant-3B-Think** | Granite-4.1-3B | ~3.5 GB (Q8) | Balanced quality and speed |
| [Mordant-7B-Think](https://huggingface.co/Kezmark/Mordant-7B-Think) | OLMo-3-7B | ~8 GB (Q8) | Strong compositional reasoning |
| [Mordant-12B-Think](https://huggingface.co/Kezmark/Mordant-12B-Think) | Mistral-Nemo-12B | ~13 GB (Q8) | Flagship quality |

---

## GGUF Files (Recommended)

Quantized GGUF files for local inference (LM Studio, llama.cpp, KoboldCpp, Comfy-UI with the provided node, etc.) are in the **[gguf/](gguf/)** folder.

| File | Size | Notes |
|------|------|-------|
| `Mordant-3B-Think-BF16.gguf` | ~6.5 GB | Lossless |
| `Mordant-3B-Think-Q8_0.gguf` | ~3.5 GB | Near-lossless, recommended |
| `Mordant-3B-Think-Q6_K.gguf` | ~2.7 GB | Good quality/size trade-off |

## Safetensors (Full Weights)

Full weights for further fine-tuning or conversion are in the **[safetensors/](safetensors/)** folder alongside the tokenizer and Granite-specific chat template.

```python
from transformers import AutoModelForCausalLM, AutoTokenizer

model = AutoModelForCausalLM.from_pretrained(
    "Kezmark/Mordant-3B-Think",
    subfolder="safetensors",
    trust_remote_code=True,
    device_map="auto",
)
tokenizer = AutoTokenizer.from_pretrained(
    "Kezmark/Mordant-3B-Think",
    subfolder="safetensors"
)
```

---

## Inference Format

This model uses Granite's native token format. The custom Jinja template is included in the safetensors folder and should be used for inference. Standard ChatML will not produce correct output.

```
<|start_of_role|>system<|end_of_role|>You are an expert composition writer.<|end_of_text|>
<|start_of_role|>user<|end_of_role|>{your prompt}<|end_of_text|>
<|start_of_role|>assistant<|end_of_role|><think>
{reasoning — Mordant's internal critique and spatial breakdown}
</think>
{final composition}<|end_of_text|>
```

The system prompt is optional, but highly recommended, espeically for generation. The model is anchored in its composition output behavior without one, but a minimal prompt helps ensure consistency:

```
You are an expert composition writer.
```

---

## Art Styles

The model has been trained on the following named art styles. Use the full name followed by "art style" for best results (e.g. *"rendered in Watercolor art style"*). The model may handle styles beyond this list, but these are the ones explicitly trained on.

- 16-bit Pixel Art
- 8-bit Pixel Art
- 90s Anime-OVA
- American Superhero Comics - Silver Age
- Architectural Fantasy Linework
- Art Nouveau
- Atmospheric Impasto Oil Painting
- Charcoal Drawing
- Chinese Landscape Relief Sculpture
- Cinematic Fantasy Illustration
- Disney Afternoon Animation
- Expressionist Digital Illustration
- Franco-Belgian Comic - Ligne Claire
- French Graphic Novel - Metal Hurlant
- Golden Age Book Illustration
- Gouache Illustration
- Grunge Collage
- Hanna-Barbera Flat Animation
- High Energy Flat Graphic Anime
- Japanese Ink Wash
- Layered Anime Scenery Illustration
- Low Poly 3D
- Manga - Seinen
- Mirrors Edge Clean Style
- Oil Painting - Classical
- Oil Painting - Impressionist
- Painterly Fantasy Matte Illustration
- Painterly Neon Digital Art
- Painterly Strong Graphic Novel
- Pastel - Soft
- Pen and Ink Sketch
- Pencil Sketch
- Pop Art Graphic Illustration
- Psychedelic Expressionist Horror
- Retro Graphic Novel Poster Illustration
- Risograph Print
- Studio Ghibli Aesthetic
- Technical Graphic Illustration - Duotone
- Vaporwave Aesthetic
- Vintage Pulp Fiction
- Watercolor
- Woodblock Print - Japanese Ukiyo-e

---

## Examples
All of the following examples are generated using LM Studio and the BF16 gguf of all models. These were all extracted with a script, without me checking so they are all as is, first generation. 
All of them generated with the following settings:

SYSTEM PROMPT: You are an expert composition writer.

TEMPERATURE = 0.7
TOP_P       = 0.95
TOP_K       = 50
MIN_P       = 0.05
MAX_TOKENS  = 4096
REPEAT_PENALTY = 1.0/off

<details>
<summary>Example 1 — A lone cargo hauler drifting past a derelict space station o...</summary>

**Prompt:** A lone cargo hauler drifting past a derelict space station orbiting a dying sun, rendered in matte painting concept art style.

**Thinking:**

> spatial logic first—the brief screams "dramatic loneliness meets cosmic decay" so let’s weaponize perspective: eye-level low angle makes the ship look like it’s drowning while that sun looms as both god and executioner behind its back must dominate upper frame to enforce scale but leave negative space for existential dread those jagged station plates aren’t just debris they’re teeth in a rotting maw reflecting light asymmetrically because symmetry is boring when your subject is despair directional lighting from the star isn’t optional it sculpts drama on rusted metal and human flesh alike that orange glow bleeds into shadows to imply heat or impending doom—either way good for tension matte paint style demands flat planes but here we cheat with volumetric haze between ship windows like smoke in a dying lung why? because atmosphere without texture is just empty space the cargo barge’s asymmetrical bulk isn’t an accident it needs that uneven mass to feel lived-in not factory perfect those rivets and scorch marks whisper "abandoned mid-journey" while its drift leftward implies gravity still pulling but nothing matters anymore station hull angles toward viewer like a predator exposing ribs the sun placement top center forces verticality—no horizontal balance allowed because hope is horizontal and we’re here for despair not utopia that tiny figure in orange jumpsuit isn’t just scale reference it’s a human speck against infinity making their isolation visceral even if they face away from camera toward void or station? doesn’t matter viewer projects themselves into the protagonist anyway matte paint textures can only fake depth so we rely on lighting contrast and negative space to imply 3D without wasting time rendering every rivet—smart but lazy maybe but effective when your goal is "epic yet intimate" that sun isn’t just a light source it’s a character its orange hue clashes gloriously with the ship’s red-orange hull creating chromatic tension because complementary colors fight for dominance and we want visual friction not harmony those debris shards scattered around station? they’re breadcrumbs leading eyes toward narrative but really they’re just texture filler to distract from lack of coherent composition—strategic ambiguity is key here this isn’t a painting it’s an emotional trigger the low angle makes gravity feel heavy like everything wants to sink into nothingness that figure’s silhouette against sun creates stark contrast because subtlety dies in space and we need drama even if they’re just floating there staring at their own insignificance genius move or overkill? probably both but it works spatially compositionally emotionally—every element serves the theme of fragile existence clinging to oblivion.

**Composition:**

A matte painting concept illustration depicts a lone, battered cargo hauler drifting through deep space against an overwhelming backdrop of cosmic scale and decay. The perspective is set from eye-level with the ship's hull but angled slightly low, emphasizing its small size relative to the vastness surrounding it.

The Foreground: A massive derelict space station occupies the upper half of the frame as a colossal ruin in orbit around a dying sun. Its metallic structure appears shattered into jagged plates and exposed internal voids that catch light from behind—a brilliant orange glow emanates through fractured windows, casting long shadows across its crumbling surface where deep pits reveal darker debris below. The station's orientation suggests it is drifting slowly toward the star or already impacted by gravity loss; several large chunks of hull material angle inward as if pulled into an orbiting void before breaking apart mid-fall.

The Midground: Dominating the lower portion floats a solitary cargo barge, its weathered metal exterior marked with heavy rivets and scorch marks from past collisions or thermal stress. Its silhouette is sharp against the backdrop but appears small in comparison to the station's mass—emphasizing isolation within this desolate environment. The ship drifts slowly leftward through space, its thrusters inactive as it relies on momentum rather than propulsion for navigation.

The Background: A massive sun dominates the upper center of frame, emitting an intense orange glow that bathes everything in warm light while casting long shadows across the station wreckage below—lighting highlights rusted metal surfaces and deep pits within broken hulls where debris lies scattered around them like shattered armor plating or discarded tools. The color palette is dominated by oranges, reds, and muted browns throughout all elements to create a cohesive atmosphere of decayed industrial grandeur amidst cosmic desolation.

Lighting: A single directional light source originates from the dying sun at top center—its warmth casts long shadows across broken hull surfaces while creating high contrast between illuminated metal panels on station structures versus deep shadow within pits below where debris lies scattered around them like shattered armor plating or discarded tools. The overall color palette is dominated by oranges, reds and muted browns throughout all elements to create a cohesive atmosphere of decayed industrial grandeur amidst cosmic desolation—this lighting emphasizes the vast emptiness surrounding this lone vessel drifting through space against overwhelming scale contrast between human-made machinery and celestial forces beyond control or comprehension.


</details>

<details>
<summary>Example 2 — fantasy potion shop interior with shelves full of colorful b...</summary>

**Prompt:** fantasy potion shop interior with shelves full of colorful bottles, a shopkeeper behind the counter, in 16-bit pixel art with a limited 32-color palette. 

**Thinking:**

> spatial logic starts verticality—shelves as ascending layers to imply depth without perspective grids classic isometric but skewed for dynamic flow shopkeeper anchored lower right quadrant creates focal tension his posture angled inward suggests service orientation while hands hovering over potions hint at active interaction midground shelves must recede via staggered heights and varying bottle sizes smaller items closer larger ones behind establishing z-axis through color blocking instead of shading limited palette forces strategic dithering on gradients—blue for cool potions reds yellows for warmth but all within 32 hues so contrast is everything that glowing potion needs to scream “danger” or “elixir” depending client’s brief its circular form contrasts angular bottles preventing visual monotony background walls must recede into soft grays fading at edges no hard lines here pixel art thrives on atmospheric haze shop sign in upper left corner as a blocky rectangle with text avoids complicating foreground his clothing patterned to break monotony but not distract from task—the real star is how shadows are implied through color shifts darker pixels under shelves lighter ones above creating illusion without actual shading client probably wants “magical” so every element must vibrate slightly even static objects subtle flicker in potion hues? no too much movement needs stillness with energy balance between busy foreground and sparse background ensures eye moves where intended 16-bit limitations mean every pixel has to justify its existence hence the dithered gradients on bottles their labels tiny but legible enough for a game’s UI shopkeeper’s shadow under counter is just a darker gray bar no anti-aliasing because who’s got time for that in retro aesthetics client will nitpick about “realism” but we’re selling atmosphere not anatomy shelves curve slightly inward to contain chaos while suggesting alcoves—hidden corners where more wares could exist if budget allowed final check colors palette must stay consistent across all elements no rogue neon except the potion its glow is a cheat for emotional impact over technical accuracy because fantasy demands hyperbole even in 32-color grids

**Composition:**

This vertical composition depicts an interior view of a vibrant, high-fantasy potion shop. The perspective places the viewer slightly behind and to one side of the main counter action, looking into the depths of shelving units filled with magical ingredients.

Foreground:
Dominating the lower center are two wooden crates stacked vertically on dark planks or stone flooring that appears as a light grayish-brown texture made from repeating pixels in varying shades. The crate closest to us holds several bottles; one stands out prominently against its darker neighbor due to its vivid color contrast—a glowing green liquid with swirling patterns visible through the glass, rendered using dithered gradients within the limited palette of 32 colors. Just above this cluster lies a second wooden board containing smaller jars and powders that fade into softer tones as they recede behind the main crates.

Mid-Ground:
Behind these foreground elements stands an open shelving unit running from lower left to upper right, creating strong vertical lines through repeated pixel patterns of dark wood against lighter stone walls which are rendered with soft gradients fading at their edges. The shelves hold bottles in varying sizes and colors—reds, blues, yellows, greens—all arranged without hard perspective shading but using color dithering for depth cues. A tall glass bottle containing a clear liquid stands out near the center-right of this area; its contents are slightly blurred by pixelation at the edges due to distance from camera position within isometric view logic.

To the right, occupying the lower quadrant behind shelves and crates sits a wooden counter surface where figures interact with items on it—a figure wearing dark clothing stands near an open book or scroll containing handwritten text patterns that appear as blocky but readable characters against lighter background pixels. Beside this person is another character engaged in selecting from nearby containers; both have simple silhouette outlines defined by contrasting color blocks without anti-aliasing edges.

Background:
The upper portion of the image fades into a darker area suggesting shadowed alcoves or ceiling structures beyond visible shelves—walls receding upward are rendered with fewer distinct pixels and softer transitions between light/dark zones using limited palette repetition to create depth illusion rather than hard lines from perspective grids. A shop sign hangs prominently on one side corner near top-left; it features bold text patterns against lighter background colors that stand out as solid blocks of color within isometric constraints without anti-aliasing edges where they meet adjacent elements.

Lighting and Atmosphere:
The lighting suggests ambient illumination from overhead sources casting soft shadows beneath shelves and crates—shadows are created by darker pixel clusters under objects while surfaces above remain lighter, creating a subtle gradient effect through dithered color patterns rather than smooth transitions between light/dark zones within the 32-color limit. The atmosphere is one of quiet activity with visible motion blur effects on potion bottles as they sit in front—the swirling liquid inside has slight horizontal pixelation suggesting movement frozen at that moment, while remaining still enough to maintain compositional clarity despite implied action from client’s fantasy shop aesthetic requiring vibrant color contrasts and dynamic lighting cues without relying solely upon hard perspective shading logic.


</details>

<details>
<summary>Example 3 — A quiet, melancholic autumn park bench under a single lamp p...</summary>

**Prompt:** A quiet, melancholic autumn park bench under a single lamp post at dusk, leaves falling, in watercolor and ink illustration style.

**Thinking:**

> spatial logic begins with the vanishing point—the solitary light source dictates everything else must orbit its decayed presence that flickering glow is not just illumination but a dying ember casting elongated shadows to imply time’s erosion of warmth through color temperature shift from warm foreground to cool receding ground watercolor washes here are crucial they bleed into each other softening edges while ink outlines carve structure like the bench’s gnarled wood needs stark lines against fluid decay because melancholy requires contrast between fragility and permanence those leaves floating in puddles aren’t random—they’re a slow motion collapse of autumn’s vibrancy their pink oranges muted by watercolor diffusion mimicking how memories fade under dusk light the background trees must recede into abstraction using diluted greens to suggest distance but keep branches rigid with ink strokes creating tension between organic decay and structural rigidity that lamp post isn’t just an object—it’s a narrative device its fractured design hints at age or neglect while casting dramatic shadows stretching toward unseen horrors beyond frame this asymmetrical composition is intentional left-heavy bench placement anchors the scene against chaotic foliage right side but why not center? because symmetry would feel too tidy for melancholy needs dissonance the empty seat isn’t an oversight it’s a void waiting to be filled by someone who never comes hence the isolation amplifies sorrow lighting strategy relies on high contrast white paper as highlight source making shadows pop against muted grounds those long shadows stretching toward vanishing point aren’t just depth cues they’re metaphors for unresolved time or absent presence watercolor blooms around edges soften harsh lines but ink defines form like a stubborn memory refusing to dissolve the whole scene is an emotional chiaroscuro—warmth dying into coldness with every brushstroke this isn’t pretty it’s necessary because beauty here lies in decay’s inevitability and that lamp post flickers not just as light but as hope flickering out

**Composition:**

A watercolor painting of a quiet, melancholic scene at dusk set within an autumnal park. The perspective is grounded from eye-level along the edge of a paved walkway or bench area stretching toward a vanishing point under a single light source—a solitary lamp post on the left side of midground that casts long shadows and illuminates with warm yellow tones while fading into cool blue-purple receding hues in background.

Foreground: The Park Surface & Immediate Bench Area
The bottom third is dominated by cracked pavement painted using transparent washes, showing subtle color bleeding at edges as if from a watercolor palette—rusted metal grating and scattered pebbles rendered with loose brushstrokes that allow paper texture to show through thin areas. A wooden park bench occupies center-left foreground; its dark wood grain defined by fine ink lines against soft, blooming washes of grayish-brown fading at edges. The seat is empty—a deliberate void emphasized by crisp black outlines contrasting the impressionistic background.

Midground: Atmosphere & Fallen Leaves
Floating leaves are captured mid-fall with delicate pink and orange hues built from layered watercolor strokes that suggest movement without sharp definition, pooling softly in shallow puddles near the bench's base where ink lines anchor their forms against fluid washes of reflected sky tones. To right side stretches a dense tree line—branches heavy with foliage rendered through loose brushwork suggesting autumn colors but left largely abstract by diluted pigments receding into background space.

Background & Atmosphere: The Vanishing Point
The scene converges toward center-right at what appears to be an open area or clearing beyond trees, defined not by sharp lines but subtle shifts in color temperature and value from warm foreground to cool distant ground—a single light source creating dramatic chiaroscuro effects that emphasize isolation through stark contrast between illuminated bench/pavement on left side and deep shadows stretching toward vanishing point.

Lighting: The Single Light Source's Effect
A solitary lamp post casts long, soft-edged shadows with high luminosity against dark wood of park surface—ink lines defining its form while watercolor washes suggest weathered metal texture fading into cool receding tones as it moves away from viewer perspective toward center. Colors shift subtly across scene: warm yellows near bench area where light is brightest; deep blues and purples in background suggesting dusk's twilight atmosphere through color bleeding that mimics natural decay or mist rising over grassy terrain not yet defined by ink outline but implied with soft washes of green-blue pigment pooling at ground level around tree bases.


</details>

<details>
<summary>Example 4 — Infuse the following composition in Oil Painting - Classical...</summary>

**Prompt:** Infuse the following composition in Oil Painting - Classical: This is a horizontal composition depicting a striking architectural complex isolated in a serene landscape during twilight. The scene is divided into three distinct spatial zones to establish depth and hierarchy. Foreground: The lower third of the frame is dominated by a calm expanse of water, rendered in deep teal and dark blue tones. The surface features subtle, horizontal ripples that stretch across the width, creating a textured effect. Reflected on this surface are distorted, shimmering streaks of warm yellow and amber light from the building above, contrasting sharply with the cool, cool-blue darkness of the water. Mid-Ground: The centerline is occupied by the architectural complex itself, situated on a small rocky island or peninsula. The structure features symmetrical symmetry consisting of two tall, rectangular concrete towers flanking angled wings. Large hexagonal lattice screens screen the sloped roofs of the wings. These screens are glowing with a warm, amber light from behind, creating a honeycomb pattern that illuminates the surrounding dusk air. The central block is lower and wider, featuring horizontal slats of windows where bright interior lights spill out, contrasting against the dark gray concrete exterior. The architecture is grounded by sparse landscaping on the rocky shore—a cluster of small, sculpted cypress-like trees and dry grasses clinging to the rocks—emphasizing the isolation of the structure. Background: Rising behind the building are rugged mountain ranges with jagged peaks, rendered in muted greys and dark blues that fade into the horizon. The sky above is a heavy, textured slate blue filled with low-lying clouds that catch the last residual light from the horizon on their undersides. Lighting: The lighting logic relies on color contrast between the warm artificial light of the building (approx. 2500–3000 Kelvin) and the cool ambient twilight (approx. 6000–8000 Kelvin). The internal lights create a glowing, volumetric haze through the hexagonal lattice screens, while the exterior concrete surfaces are lit by soft, diffused moonlight or sky light from above, creating sharp shadows in the deep recesses of the vertical slits within the towers. The water reflects these two distinct color palettes, mixing the cool blues and warm oranges into a dynamic, rippling surface texture.

**Thinking:**

> spatial hierarchy first—foreground water must anchor viewer’s eye with calm yet active ripples to avoid static monotony those horizontal streaks aren’t just waves they’re deliberate interruptions in flatness forcing tension between stillness and movement the warm reflections on blue are a trick of perspective not realism light bounces off water but here we force it into geometric shards via impasto contrasts because subtlety is for amateurs  
>
> midground complex needs verticality to dominate scale those concrete towers aren’t just tall they scream upward with angles that carve space like prison bars flanking wings create asymmetrical balance hexagonal screens are the real stars their honeycomb pattern must glow from behind not front so internal lights act as backlight sources casting shadows into slats while keeping exterior surfaces cool and monolithic—grey concrete isn’t boring it’s a counterpoint to warmth  
>
> background mountains fade via atmospheric perspective but here they’re more than silhouettes jagged peaks demand impasto texture for grit slate blue sky with clouds is all about layered glazing underpainting first then thin washes over them let the paint whisper distance while keeping those cloud undersides orange like molten glass because twilight isn’t grayscale it’s a riot of complementary colors  
>
> lighting logic hinges on temperature warfare warm lights (2500K) aren’t just bulbs they’re volumetric explosions built with thick impasto in yellows and ochres to make air itself glow exterior concrete gets cold washes thin enough to see brush strokes through but heavy where moonlight hits peaks the water reflects both palettes into choppy chaos—dynamic texture isn’t accidental it’s calculated dissonance between fluidity and structure  
>
> landscaping on rocks is sparse because density would compete with architecture cypress trees are minimalist shapes dry grasses as flickers of yellow ochre against grey that isolation screams human intervention in nature but don’t overdo foliage keep them ghosts just enough to imply ecosystem without narrative the slats windows need bright dots inside not solid light—let those interiors scream artificiality while exteriors whisper decay  
>
> why symmetric towers? because asymmetry would destabilize massing this complex is a fortress of control hex screens repeat like prison bars but their glow softens edges creating paradoxical warmth within rigidity central block’s horizontal slats are strategic they slice through verticality forcing eye to scan horizontally before settling on focal points those windows aren’t just lights—they’re punctuation marks in the architecture’s prose  
>
> the palette is a battleground cool blues dominate but amber screens and warm reflections fight back creating chromatic friction that feels alive not static impasto for warmth glazing for depth this isn't realism it's emotional topography every stroke serves tension between human ambition (buildings) and nature’s indifference (mountains sky water) the composition breathes through opposing forces held in perfect dissonance because classical art doesn't do harmony—it does controlled chaos

**Composition:**

A classical oil painting of a serene yet imposing architectural complex isolated amidst a vast landscape during twilight. The horizontal composition is divided into three distinct spatial zones to establish depth and hierarchy with rich impasto texture that catches the light on raised edges, while transparent glazing layers build up subtle atmospheric effects in shadows—warm amber from internal lights contrasting cool teal-blue moonlight across stone surfaces.

The Foreground:
At the bottom third lies a calm expanse of water rendered with thick, deliberate brushwork showing deep teal and dark blue tones that seem to ripple through painted light on its surface. The horizon is defined by faint horizontal ripples stretching from edge to edge—a textured effect built up in layers where warm yellow-orange reflections from above shimmer across the cool darkness like liquid gold caught in glass.

The Mid-Ground:
In the center stands a symmetrical complex upon a rocky island, its tall concrete towers flanking angled wings with precise architectural rendering that gives them monumental scale and weight. Large hexagonal lattice screens cover sloped roofs; each panel is individually painted to glow from behind with warm amber light—a honeycomb pattern illuminating surrounding dusk air in soft, volumetric haze built up through transparent glazes over a dark underpainting of grey stone surfaces. The central block has lower width and horizontal slats where bright interior lights spill out against dark gray concrete exterior; these windows are rendered as distinct points of glowing warmth that stand apart from the cool monolithic mass around them.

The Background:
Behind rises rugged mountain ranges with jagged peaks—each contour line carefully defined in thick impasto for texture, while their muted greys and dark blues fade into atmospheric perspective toward horizon under heavy slate blue sky filled with low-lying clouds catching residual light from above on undersides that glow like molten gold. The contrast between warm artificial illumination within the complex's windows and cool ambient twilight across water creates a dynamic interplay of color temperature throughout painted space—a composition where every stroke serves both structural clarity and emotional resonance through layered, deliberate mark-making.


</details>

<details>
<summary>Example 5 — A dynamic combat scene in the Warhammer 40k universe, render...</summary>

**Prompt:** A dynamic combat scene in the Warhammer 40k universe, rendered in Painterly Strong Graphic Novel art style.

**Thinking:**

> spatial logic starts with diagonal tension—violet blade slicing up-right creates kinetic energy that pulls viewer into frame while her raised weapon anchors left side creating counterweight balance chaos cant exist without opposition so the fallen body diagonally opposite reinforces motion and stakes must feel immediate not static armor details matter rusted joints on terminator suggest recent combat but still formidable contrast between his matte black and her vibrant red establishes visual hierarchy protagonist as focal point even if he’s dead or dying foreground debris needs to clutter yet guide eye toward action jagged rocks imply environment hostile enough to justify siege weaponry smoke plumes in background aren’t just atmosphere they’re depth markers distance is critical here making fortress feel vast oppressive midground action must scream violence terminator’s bulk contrasts with her agility his slow deliberate strike versus her fluid motion highlights class divide or training disparity the fallen figure lies at exact midpoint between them physical manifestation of conflict outcome debris scattered around base shows aftermath not just present struggle lighting strategy high contrast backlit silhouettes create drama but also separation she stands stark against mist he looms larger through shadow smoke glows warm from below mimicking dying embers in ruins that’s intentional dissonance cold battle versus residual heat color palette is brutal violet and red scream urgency while amber firelight tempers it just enough not to look like a fever dream the banner’s faded text “Imperium” isn’t decorative its subtext worldbuilding without words this scene demands you feel small in scale but charged with meaning every element serves spatial tension narrative implication or emotional punch no filler here even dust particles are choreographed

**Composition:**

A dynamic combat scene unfolds within a jagged, rocky siege environment of the Warhammer 40k universe. The perspective emphasizes diagonal motion through a foreground figure and an opposing armored warrior mid-action against a backdrop of smoke-laden sky and distant fortress structures.

Foreground Action:
Dominating the lower right quadrant is a female combatant clad in sleek red armor with angular, futuristic design elements—a helmet featuring glowing orange visor lines that contrast sharply against her matte black tactical gear. She holds two jagged blades diagonally across her body; one extends upward toward the upper left while she prepares to strike down from above using another weapon. Her posture is fluid and aggressive as she leans into a dynamic lunge, creating an active relationship with space around her—she stands tall amidst scattered debris of broken stones or metal fragments that litter the rocky ground beneath them both.

Mid-Ground Conflict:
Opposing her on the left side stands a massive Space Marine Terminator in heavy power armor featuring distinct rusted orange and yellow tones over black chassis plating, with exposed mechanical joints visible through worn visor panels. He holds two large siege weapons—one vertical like a battering ram while he raises another overhead for impact or defense against incoming threats near his flank area behind him where shadows deepen into darkness suggesting depth within the structure itself beneath them both looking up toward each other creating layered spatial planes between foreground and background elements establishing clear visual hierarchy through scale contrast.

Background Environment:
The setting is a ruined fortress wall rising steeply in layers of stone masonry, smoke-laden sky above with distant structures barely visible against haze suggesting siege or battle aftermath environment dominated by red ochre tones with cool blue undertones from mist clinging to lower levels near the ground level creating atmospheric perspective depth. A banner bearing faded Imperial insignia hangs tattered on a broken archway overhead its fabric torn revealing patches of weathered material that catch faint light falling through gaps between stone blocks above them both reinforcing siege atmosphere and narrative context without distracting detail cluttering action focal point foreground figure versus opposing armored warrior mid-ground establishing clear spatial relationships grounded in dynamic movement against static environment background architecture suggesting scale depth within the scene's universe.

Lighting:
The lighting is high contrast backlit silhouettes of figures with warm amber glow from fire or torches below illuminating smoke rising upward toward sky creating atmospheric haze that blends distant structures into misty backdrop while foreground action remains sharp against cooler tones establishing emotional tone through color palette—vibrant reds and oranges pop against muted stone grays suggesting urgency tension within siege setting.


</details>

<details>
<summary>Example 6 — What is the difference between Architectural Fantasy Linewor...</summary>

**Prompt:** What is the difference between Architectural Fantasy Linework art style and Watercolor art style?

**Thinking:**

> Architectural fantasy linework prioritizes structural clarity through meticulous ink outlines, while watercolor leans into fluid abstraction via color diffusion—a fundamental shift from geometry to atmosphere. The former’s precision creates a grid of knowledge, each line a calculated step toward material truth; the latter dissolves boundaries like wet sand on a shore, letting pigment bleed and pool as if gravity itself were conspiring against order. Linework is all about control: parallel hatches for metal sheen, cross-hatching to imply depth in wood grain—every stroke a deliberate counterpoint to chaos. Watercolor’s spontaneity contrasts with that rigidity; it’s the artist half-awake, letting paint wander while maintaining enough structure through washes and underpainting to avoid total anarchy. The architectural fantasy palette leans into chiaroscuro via ink density—dark lines carve shadows as if etched by a blade, light areas left deliberately sparse for maximum contrast. Watercolor’s warm golds on the armor? They’re not just color choices; they’re strategic highlights applied with thin washes that catch reflected sun, mimicking specular response without overworking texture layers. The fantasy figure’s pose is all about line tension: every angle calculated to imply movement and power through directional strokes—no fat in those curves or angles. Watercolor would struggle here because its medium can’t hold such defined edges; it prefers softness even when depicting aggression, like how a brushstroke dissolves into the paper grain after application. The helmet’s rivets are precise dots—not random smudges but deliberate marks suggesting industrial precision beneath fantasy aesthetics. In watercolor this would collapse under its own fluidity; you can’t have both meticulous detail and uncontrolled diffusion without losing either identity. Spatial logic is another battlefield: architectural linework creates a layered map where foreground elements like the boots anchor scale through repetition of line weight, mid-ground armor follows that same grid but with more complex hatching for texture variation—background mountains are simplified to silhouettes because distance demands abstraction even if rendered in full color washes. Watercolor doesn’t do maps; it does atmospheres where every element bleeds into the next like ink spilled on water, creating depth through value shifts alone rather than line hierarchy or chromatic contrast between planes. The fantasy figure stands isolated against a vast landscape—a deliberate choice to emphasize solitude within grandeur using stark black outlines as visual punctuation around its form; watercolor would dissolve that boundary entirely by making all elements merge into the same wet medium, losing any sense of separation except through color temperature alone which is too passive for this composition’s narrative intent. Critique: why not hybridize? Because linework and watercolor operate on different planes—one structural one emotional/organic—and blending them risks muddying their distinct voices; each has its own grammar that when violated becomes jarring rather than harmonious. The final image isn't just a scene rendered in two styles but an argument between control versus surrender, order versus entropy where the fantasy figure is both protagonist and paradox: it exists within architecture yet defies it through fluidity of form while maintaining enough structural integrity to remain legible as 'armor' not abstract paint splatter.

**Composition:**

Architectural Fantasy Linework Art Style focuses on precise, clean ink linework that defines every architectural detail with meticulous accuracy. The style is characterized by high-contrast black lines against a white ground or pale background, creating sharp graphic clarity without heavy color rendering. This approach emphasizes the structural logic of buildings and armor through careful observation and draftsmanship.

Watercolor Art Style relies on fluid pigment diffusion across paper surfaces to create atmospheric textures. Soft edges dissolve into one another as colors bleed naturally at their boundaries, with transparent washes building up tone gradually rather than being applied in solid blocks. The style prioritizes organic flow over precise rendering, allowing pigments to pool and spread organically while maintaining some structural control through strategic placement of stronger color fields against lighter areas of paper showing through.

Key Differences:
1. **Line vs Fluidity** - Architectural fantasy linework uses bold black ink lines for definition; watercolor employs soft edges where colors diffuse naturally into one another without heavy outlines to maintain a sense of spontaneity and movement in the composition's textures rather than architectural accuracy.
2. **Texture Contrast** - Watercolor creates organic texture through pigment spread, pooling at paper grain; architectural fantasy relies on clean graphic lines that remain crisp even when rendered with varying line weights for depth or shadow effects—such as cross-hatching to suggest metal sheen or wood grain without losing outline clarity.
3. **Color Application Logic** - In watercolor, colors are layered transparently over dry areas before wet application creates bloom; in architectural fantasy linework, pigments applied through fine brushes maintain the sharpness of lines while building up tone gradually where needed—such as using warm golds to suggest armor highlights without softening their geometric edges.
4. **Spatial Rendering** - Architectural fantasy uses precise perspective grids with defined planes separated by line work; watercolor allows colors and textures in background elements like mountains or sky washes to bleed softly into one another, creating atmospheric depth through value contrast rather than sharp spatial divisions between foreground architectural forms rendered as solid graphic shapes against a simplified landscape.
5. **Contrast Mechanism** - Architectural fantasy relies on line weight variation for shadow areas—darker lines suggesting darker surfaces beneath lighter tones; watercolor achieves similar effects by varying wash opacity and pigment density where colors are applied thickly over dry paper creating dark values that contrast with more transparent applications in brighter zones without relying on hard-edged separation between form and environment.

</details>


---

## 🛠️ Included: Mordant Prompt Enhancer (Comfy‑UI Node)
A custom **Comfy‑UI node** (`MordantPromptEnhancer`) is included with this model. It automatically:
- Loads the GGUF file you select.
- Detects your GPU's VRAM and **auto‑tunes the number of offloaded layers**, leaving a safe 2 GB margin to avoid OOM errors.
- Handles all tokenization, prompt formatting (ChatML), and chain‑of‑thought parsing (`<think>…</think>`).
- Node looks for the gguf models in comfy-ui's "text_encoders" folder.
**Outputs:**  
- `composition` (the final, rewritten prompt)  
- `thinking` (the model's internal reasoning)

**Installation**  
Place the node file in ComfyUI's `custom_nodes/` folder. The only additional dependency is `llama-cpp-python`.

**CPU‑only** (no GPU offloading):
```bat
# Windows portable
python_embeded\python.exe -m pip install llama-cpp-python
```
```bash
# Linux / venv / Mac
pip install llama-cpp-python
```

**GPU / CUDA — recommended** (pre‑built wheels, no compiler required):
```bat
# Windows portable — replace cu121 with your CUDA version
python_embeded\python.exe -m pip install llama-cpp-python --extra-index-url https://abetlen.github.io/llama-cpp-python/whl/cu121
```
```bash
# Linux / venv — replace cu121 with your CUDA version
pip install llama-cpp-python --extra-index-url https://abetlen.github.io/llama-cpp-python/whl/cu121
```
> Supported versions: `cu121` · `cu122` · `cu124` · `cu125` — run `nvidia-smi` to check yours (top‑right of output).

<details>
<summary>Build from source (advanced — only if wheels fail)</summary>

Requires CUDA Toolkit, CMake, and C++ build tools (Visual Studio on Windows).

```bat
# Windows
set CMAKE_ARGS=-DGGML_CUDA=on
python_embeded\python.exe -m pip install llama-cpp-python --force-reinstall --no-cache-dir
```
```bash
# Linux
CMAKE_ARGS="-DGGML_CUDA=on" pip install llama-cpp-python --force-reinstall --no-cache-dir
```
</details>

After restarting ComfyUI, the node appears under `text/llm` as **Mordant Prompt Enhancer**. Just pick your model and start composing.

---

## License

Apache 2.0 — see [LICENSE](LICENSE) for full terms.
