There should be open space between the lines FLUX prompts

8 months ago

Female space nurse, clad in a fitted, high-collared white latex jumpsuit with a zippered front, open to reveal a modest, yet elegant, scoop-neckline top, with long, flowing red locks cascading down her back, stands in a futuristic, metallic spaceship hospital corridor, illuminated by warm, golden light spilling from an adjacent room, casting a shallow depth of field, bokeh effect, and subtle lens flares. A prominent red cross emblem adorns the wall behind her. She wears a crisp, white nurse's hat, slightly askew, adding a touch of humanity to her high-tech attire. The metallic corridor, lined with sleek, silver panels and soft, blue-green accents, stretches into the distance, punctuated by glowing, holographic displays and pulsing, fiber-optic cables. The scene is reminiscent of Greg Rutkowski's concept art style, blending traditional matte painting techniques with Unreal Engine's hyper-realistic capabilities, in 8k resolution, utilizing a vibrant, triadic color scheme, with bold, contrasting hues, and meticulous, hyper-detailed textures, evoking the moody, atmospheric lighting of Syd Mead's Blade Runner concept art, and the rich, tactile textures of Ash Thorp's futuristic illustrations.

2 months ago

Full background image from a blank coloring book showing a simple lion standing proudly with a big mane, roaring at the sky. There should be open space between the lines, leaving room for hand coloring, without shading, in the style of a coloring book.

7 months ago

Create a series of images showcasing a bustling parking lot filled with various cars. The main focus should be on a single parking space that is empty, highlighting its open spot. Capture this empty parking space from multiple angles, including: A wide shot of the entire parking lot with the empty space prominently framed in the center, surrounded by parked cars. A close-up shot from the ground level to emphasize the lines and the texture of the asphalt around the vacant space. An aerial shot of the parking lot, focusing on the contrasting colors of the vehicles around the empty space. A side view that showcases the proximity of the empty space to a busy entrance of a store. A perspective shot from the viewpoint of a driver approaching the space, creating a sense of anticipation.

6 months ago

A photo-realistic or painterly image of a thoughtfully connected community, seen from a slightly elevated or wide-angle perspective. The neighbourhood layout includes pedestrian-friendly streets, green pathways linking parks, and accessible public transport options like a nearby bus or train stop. People of all ages are seen walking, cycling, chatting at crossings, and gathering in shared green spaces. The design feels cohesive and flowing, with clear, natural movement between homes, community areas, and transit links. Trees line the paths, signage is clear, and there’s a strong sense of openness and ease. Warm golden hour light casts long shadows, giving the scene a welcoming, calm atmosphere. The image should communicate how movement, meeting, and mixing are built into the fabric of the place — creating meaningful connection across the community and beyond.

4 months ago

On a sheet of warm kraft paper that seems to hold time itself, space unfolds in colored pencil — soft layers revealing shadows and whispered light. At the center floats a planet in faded blues and ochres, its rings drawn with fine lines of white and gold. Tiny stars dot the background, their glow enhanced by delicate touches of white pencil against the brown paper. Around it, nebulae bloom in smoky purples and crimson hues, as if the galaxy were slowly being dreamed into existence. A single rose — drifting in the vacuum — hovers beside the planet, its petals open in antique red, like an offering to the infinite. No human figures appear. Only the sacred silence between stars, drawn with the tenderness of a hand that still believes in the beauty of the universe.

4 months ago

On a sheet of warm kraft paper that seems to hold time itself, space unfolds in colored pencil — soft layers revealing shadows and whispered light. At the center floats a planet in faded blues and ochres, its rings drawn with fine lines of white and gold. Tiny stars dot the background, their glow enhanced by delicate touches of white pencil against the brown paper. Around it, nebulae bloom in smoky purples and crimson hues, as if the galaxy were slowly being dreamed into existence. A single rose — drifting in the vacuum — hovers beside the planet, its petals open in antique red, like an offering to the infinite. No human figures appear. Only the sacred silence between stars, drawn with the tenderness of a hand that still believes in the beauty of the universe.

5 months ago

*A painting in the style of Pieter Jans Saenredam, master of luminous, meticulously detailed 17th-century interiors. The setting is an expansive, vaulted museum hall bathed in soft daylight pouring through high arched windows. The architecture is elegant and austere—clean lines, pale stone, a sense of sacred stillness. Yet this stillness is breaking. Classical marble sculptures—Roman soldiers, Greek gods, Renaissance muses—are in the midst of coming to life. One statue's foot is suspended midair as it steps down from a pedestal; another figure looks directly at the viewer, its stone eyes now animated with expression. Cracks form where rigid limbs are beginning to flex, and fragments of marble flake off to reveal living flesh beneath. On the walls, large oil paintings in sleek black and silver frames are no longer static. Figures inside them are bursting into motion—one canvas shows a woman tearing the painted surface open like a curtain, another depicts a battle scene where soldiers are charging out into the room, their feet and weapons breaching the picture plane. A cherub’s wings flutter outside the frame, casting shadows on the real floor. The boundary between artwork and reality is collapsing, yet the composition holds Saenredam’s restrained geometry, quiet light, and reverent sense of space—making the surreal phenomenon even more hauntingly vivid.

5 months ago

*A painting in the style of Pieter Jans Saenredam, master of luminous, meticulously detailed 17th-century interiors. The setting is an expansive, vaulted museum hall bathed in soft daylight pouring through high arched windows. The architecture is elegant and austere—clean lines, pale stone, a sense of sacred stillness. Yet this stillness is breaking. Classical marble sculptures—Roman soldiers, Greek gods, Renaissance muses—are in the midst of coming to life. One statue's foot is suspended midair as it steps down from a pedestal; another figure looks directly at the viewer, its stone eyes now animated with expression. Cracks form where rigid limbs are beginning to flex, and fragments of marble flake off to reveal living flesh beneath. On the walls, large oil paintings in sleek black and silver frames are no longer static. Figures inside them are bursting into motion—one canvas shows a woman tearing the painted surface open like a curtain, another depicts a battle scene where soldiers are charging out into the room, their feet and weapons breaching the picture plane. A cherub’s wings flutter outside the frame, casting shadows on the real floor. The boundary between artwork and reality is collapsing, yet the composition holds Saenredam’s restrained geometry, quiet light, and reverent sense of space—making the surreal phenomenon even more hauntingly vivid.