Prompt Test: Clothes Made of Mud — Comparing Expressions, Outfits & Textures Across 51 Images

Key Takeaways

• sculpted from wet mud best conveys “clothes made of mud.” Comparing 5 expressions, the shortest form mud dress produced tattered fabric dresses in 3/3 cases, with weak material recognition. Both sculpted from wet mud and formed from dripping mud consistently produced glossy, three-dimensional mud textures in 3/3 cases
• Larger garment surface area = better mud material expression. Dresses, coats, and corsets showcase mud sculpting well, but bikinis were interpreted as “muddy fabric bikinis” in 3/3 cases. Too little surface area weakens the mud-as-material reading
• Texture modifiers give you control over the mud’s state. rough textured mud with cracks produces dried crackle, glossy smooth mud gives latex-like sheen, and mud mixed with water semi-transparent yields a translucent mud dress — all stable at 3/3
• Watch for background side effects. thick clay-like mud and rough textured mud with cracks tend to spawn massive mud walls in the background. For clean backgrounds, wet dripping mud is the most stable

Experiment Design

Base Prompt

White background and studio lighting were chosen to maximize visibility of mud textures.

Evaluation Criteria

• Mud material recognition: Can “made of mud” be distinguished from “stained with mud”?
• Garment shape retention: Does the specified outfit silhouette hold?
• Texture fidelity: Do modifier words affect the texture as intended?
• Background side effects: Does the white background remain clean, or does mud texture leak into it?

Experiment 1: Comparing Base Expressions (5 Conditions)

Testing which English phrasing best produces “clothes made of mud” rather than “clothes stained with mud.”

E1-1: mud dress (Shortest Expression)

seed 42	seed 43	seed 44

Observations: 3/3 produced “tattered fabric dresses in mud color.” Hems are ragged and torn, with fabric draping still visible. The surface reads more as “fabric dress covered in mud” than “dress made from mud.” Skin and legs also show mud spatters.

E1-2: dress made of mud (Descriptive Expression)

seed 42	seed 43	seed 44

Observations: 3/3 recognized it as mud material. Compared to mud dress, the three-dimensionality of the mud increased. Mud dripping from the hem appeared in 3/3 cases. Dress length tends shorter (above-knee to knee-length). More mud on skin as well.

E1-3: dress sculpted from wet mud (Sculpted Expression)

seed 42	seed 43	seed 44

Observations: 3/3 produced the strongest “molded mud dress” effect. Glossy wet mud forms a corset-like silhouette that fits closely to the body. The surface shows three-dimensional mud grain and bubble textures. Puddles of mud spread at the feet. No trace of fabric — clearly “a garment shaped from mud as a material.”

E1-4: wet clay dress (Clay Expression)

seed 42	seed 43	seed 44

Observations: 3/3 produced dresses with a uniform mud surface. Compared to sculpted from wet mud, the surface is smoother — like thinly spread clay. Less glossy, more matte finish. Silhouette is tank-top style: knee-length (seed 42) or mini (seeds 43/44). Wet hair appeared in 3/3.

E1-5: dress formed from dripping mud (Dripping Expression)

seed 42	seed 43	seed 44

Observations: 3/3 produced dynamic dripping effects from the hem. Slightly glossier than sculpted from wet mud, with a viscous quality. Mini-length dresses dominate. Mud grains and clumps dot the surface, with drip trails extending down to the legs and ground. More skin spatters overall.

Experiment 1 Summary

Recommendation: Use sculpted from wet mud as the default. Add formed from dripping mud when you want more dynamic movement.

Experiment 2: Outfit Type Variations (7 Conditions)

Using the best expression from Experiment 1 (sculpted from wet mud), we test how different garment shapes interact with mud material.

E2-1: Bikini

seed 42	seed 43	seed 44

Observations: 3/3 produced “fabric bikinis covered in mud” rather than “bikinis made of mud.” The string and fabric structure of the bikini remains clearly visible. Too little surface area for mud sculpting — there’s simply not enough garment area for “mud as material” to read. Seed 43 even shows navy-colored fabric intact.

E2-2: Long Coat

seed 42	seed 43	seed 44

Observations: 3/3 maintained the coat silhouette with mud material. Decorative three-dimensional mud sculpting (shell-like, vein-like patterns) appeared on the surface — art piece quality. Notable side effect: 3/3 produced a layered composition with a giant close-up of the coat composited in the background. The coat’s large surface area yields the richest mud texture detail.

E2-3: Bodysuit

seed 42	seed 43	seed 44

Observations: 3/3 produced tight-fitting mud bodysuits. Mud gloss and adhesion rival the dress results. Seed 42 shows a ghost (semi-transparent double image) on the right side. Mud thickness is thinner than the dress, emphasizing body lines more.

E2-4: Corset + Skirt

seed 42	seed 43	seed 44

Observations: The corset portion showed clear mud gloss and lace-up structure in 3/3. The skirt portion tends toward tattered rags (3/3). Background mud spatters or artistic wall surfaces appeared in some cases (seed 42). The corset’s cinched sculpting pairs well with mud material’s three-dimensionality.

E2-5: Boots

seed 42	seed 43	seed 44

Observations: The boots themselves look more like mud-colored leather boots than boots made of mud (3/3). The mud influence bleeds into the dress, generating a mud-colored decorative dress. Similar to coats, a layered composition with giant close-ups appeared in the background (2/3).

E2-6: Jewelry + Crown

seed 42	seed 43	seed 44

Observations: 3/3 generated earth-toned accessories. Necklaces appear as large mud-colored beads, crowns as floral mud sculptures. The dress also takes on an earth tone, creating a unified palette. Accessories lean more toward “color influence” than “material texture.”

E2-7: Kimono

seed 42	seed 43	seed 44

Observations: The kimono silhouette (long sleeves, obi belt, flowing hem) was maintained in 3/3. Mud texture coexists with the kimono’s patterns — a unique combination of mud gloss and traditional motifs. Similar to coats, giant kimono close-ups appeared in the background (2/3). Mud dripping from sleeve tips was also observed.

Experiment 2 Summary

Recommendation: Dress (Experiment 1) and Corset + Skirt offer the best balance of mud material expression and shape retention. Large-area garments (coat, kimono) produce rich mud sculpting but watch for background contamination.

Experiment 3: Texture Control (5 Conditions)

Using dress × sculpted from as the base, we vary the mud’s state with texture modifiers.

E3-1: wet dripping mud

seed 42	seed 43	seed 44

Observations: Adding dripping to sculpted from wet mud strengthened the dripping effect from the hem in 3/3. Dress surface gloss increased, with mud grains and bubbles scattered across the surface. Background remained clean white-to-gray.

E3-2: thick clay-like mud

seed 42	seed 43	seed 44

Observations: 3/3 showed increased dress thickness with decorative three-dimensional sculpting (spirals, spheres, vein-like patterns) on the surface. High viscosity impression. Background contamination: massive mud walls appeared in 2/3. The walls carry the same sculptural patterns, creating an art installation-like composition.

E3-3: glossy smooth mud

seed 42	seed 43	seed 44

Observations: 3/3 showed extremely smooth surfaces with strong light reflection. Latex-like gloss. Almost no mud grain — the surface is uniform. Knee-length dresses dominate. Swirling mud art appeared in the background (2/3). Can read more as “glossy earth-tone material” than actual mud.

E3-4: rough textured mud with cracks

seed 42	seed 43	seed 44

Observations: 3/3 showed dry, cracked earth textures clearly across the entire dress. The polar opposite of other conditions — zero gloss, fully matte finish. The dress surface becomes a patchwork of dried mud plates. Cracked mud walls also appeared in the background (3/3). Dry mud fragments scattered at the feet. Extremely striking when contrasted with wet mud conditions.

Note: The dried-lakebed-like texture translates directly into the dress design, producing a result that also works as a fantasy costume.

E3-5: mud mixed with water, semi-transparent

seed 42	seed 43	seed 44

Observations: 3/3 produced transparent-to-translucent dresses with mud particles suspended inside — a unique result. The texture resembles glass or ice with mud embedded inside, closer to “mud-infused resin” than mud itself. 3/3 show the body visible through the material, a completely different direction from other conditions.

Experiment 3 Summary

Recommendation: For wet mud, wet dripping mud gives the most authentic texture. For dry mud, rough textured mud with cracks produces the most stable results.

Overall Summary

Key findings for prompting “clothes made of mud”:

1. The core expression is sculpted from. This word shifts the interpretation from “stained with mud” to “shaped from mud as a material”
2. Larger garment area is advantageous. Dresses, coats, and corsets showcase mud sculpting; bikinis and similar small-area items struggle
3. Texture is controllable via modifiers. wet/dripping (moist) and rough/cracks (dry) let you clearly control the mud’s state
4. Background contamination is a trade-off. Stronger texture modifiers tend to leak mud texture into the background

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