harness Stable Diffusion prompts

5 months ago

Metallic glam horror look for women, gold snakeskin-effect halter top with neck harness detail, glossy black flared pants slashed at knees revealing fishnet skin panels, studded belt with dripping chain tassels shaped like claws, wrists wrapped in medical tape over bloody cuff rings, smokey eye makeup that bleeds down temples, platinum hair singed at the tips, backlit by flaming amplifier stack on night stage, mood is apocalyptic rock goddess and self-immolating spectacle, Hold the microphone with one hands, hold the microphone close to your mouth and sing passionately

8 months ago

Black Felt tip pen drawing and gouache. A man and a woman, both light-skinned in their twenties, are positioned mid-rock climbing, holding hands. They are seen from behind, with the man on the left, and the woman on the right side of the image. Both are wearing climbing gear, including harnesses and climbing shoes. Their faces are angled toward each other, indicating connection and engagement. Their expressions are happy and light. The man and woman have stepped on a rock outcropping, on a gray rock face, above which the sky is blue. The vegetation sage green, pale pink , rusty red, rich autumn colors. The rock face is a mix of browns, and tans, rocky terrain with small bushes. A climbing rope is visible, extending above their heads to the top of the rock face. A sense of cooperation and partnership between the two individuals is strongly communicated.

5 months ago

Strapped bikini-style top layered with metallic mesh that drips like mercury, burnt palm tree iconography warped across the bust, cropped denim skirt distressed with blackened oil splash patterns, chainlink hip harness with tangled seaweed accents, oversized floppy sunhat with jagged brim and embroidered cracked gas mask emblem, platform sandals caked in faux sand and grime

6 months ago

A collaborative painting blending the sweeping, atmospheric landscapes of Joos de Momper with the surrealist vision of Max Ernst. A weathered horse-drawn flatbed wagon trundles along a winding dirt road, piled high with timepieces of all kinds—mantel clocks, pocket watches, alarm clocks, and sundials. Some are pristine, others rusted, cracked, or missing hands. Each intact clock displays a different time of day, as if fractured moments from across time are being transported together. The horse, properly harnessed with standard gear appropriate for such a rig, moves steadily and naturally. Surrounding the scene is a vast, moody landscape rendered in de Momper’s signature style: rolling hills, shadowy groves, and a turbulent sky heavy with stormlight. In the foreground, Ernst’s influence emerges in a junkyard of discarded clocks—warped faces, twisted springs, and tangled gears creating an unsettling mechanical graveyard. Time itself appears fragmented and decaying in this haunting fusion of Flemish Baroque majesty and surrealist distortion