The PRO
manual.

Make your first work in PRO

PRO gives you individual control over source contours, effect layers, color, motion and output. Start with a look, then adjust one part at a time.

1. Choose an image or video with ＋ SOURCE, or drop it into 01 / SOURCE. You can also work with the demo image already on screen.
2. Choose a starting point from LOOK PRESET above the preview. CONTOUR ATLAS draws contours of light; FLOW ENGRAVING draws flowing engraved lines.
3. Open a panel by selecting its heading. Turn on the effect you want, then move a slider or enter a number directly.
4. Use COMPARE SOURCE to check against the source, and UNDO to step back. Save settings you want to reuse through LOOKS.
5. Choose a ratio in 13 / OUTPUT and use EXPORT STILL for a PNG. For video, choose a length and use EXPORT INSTAGRAM or EXPORT X.

Control names match the PRO interface. Use ⌘F on Mac or Ctrl F on Windows to find a control anywhere on this page.

Workspace & basic controls

On a wide screen, source and geometry controls sit on the left, the preview in the center, and subject, layer, color, audio and output controls on the right. On narrow screens, scroll down through the stacked panels.

LOOK PRESET

Loads a coordinated set of settings. After manual edits, the selector may show CUSTOM / MANUAL. Looks marked “enable Subjects” require SUBJECTS / OBJECT to be enabled first.

FIELD RANDOM

Randomizes the geometry field, including shape, connection, density, some surface settings and seed. It does not choose a new palette or reset every layer.

RANDOMIZE ALL

Explores a broad new combination of generation settings, including color, layers and motion, while keeping your source, output ratio and freeze state. Save a favorite look first if you want to reuse it.

UNDO / REDO

Steps backward or forward through look edits. Shortcuts: ⌘/Ctrl Z and ⌘/Ctrl Shift Z. This is an editing history, not a backup of source files.

COMPARE SOURCE / SHOW ARTWORK

Switches the preview between the source and artwork. It does not change the exported artwork.

EDGE MAP / COMPOSITE VIEW

Switches between the edge-analysis view and the composite so you can inspect where points and lines come from.

HOLD / LIVE

Pauses or resumes preview playback. To keep an image-based composition completely fixed during video export too, use FREEZE STILL FRAME.

Sliders & number fields

Confirm a number with Enter or by leaving the field; Escape cancels the edit. If a control is disabled, check its parent layer or selected mode first.

Load your source

Images and videos are processed in your browser. Composition, contrast and contours all affect the result, even with the same look.

Images

Browser-readable images such as JPG, PNG and WEBP. Limits: 32 MB, 50 megapixels and a 10,000 px long edge. Images over 4096 px on the long edge are reduced for processing.

Videos

Formats such as MP4, MOV and WEBM. Limits: 100 MB, 4K and 5 minutes. A supported extension does not guarantee that the browser can decode the file’s codec.

NEW PHOTO

When available, replaces the source with an Unsplash photo while keeping the current look.

Reloading or closing the tab

Loaded source media and audio do not survive a reload or closing the tab. To resume, choose the original files again and load a saved look.

Draw contours & flowing lines

Turn SOURCE CONTOURS on to draw continuous lines from the image’s light and edges. This is a separate layer from EDGE LINK GRAPH, which connects individual points.

DRAWING METHOD

TOPOGRAPHIC turns light levels into map-like contours. FLOW ENGRAVING follows the direction of image edges with flowing strokes.

CONTOUR LEVELS · 4–32

The number of light levels represented by contours. Higher values trace more tonal bands. Available only in TOPOGRAPHIC mode.

LINE DETAIL

Controls line detail. Raise it for finer features; lower it to emphasize broader structures.

CONTOUR OPACITY

Opacity of the contour layer. Lower it to let more of the source show through.

FLOW SPEED

Controls the lines’ time-based flow. At zero, strokes are continuous and still.

ARTWORK FRAME

Toggles corner marks, the artwork title and generation notes. Turn it off when you do not want this framing in your work.

Choose where points come from

Adjust the points extracted from source contours. These settings affect point-based layers such as GEOMETRY NODES and EDGE LINK GRAPH.

NODE DENSITY

Point density. Raise it for a denser construction; lower it for a more selective arrangement of points and lines.

EDGE THRESHOLD

The threshold for accepting edges. Higher values discard weaker contours. Lower it when too few points are appearing.

POINT RADIUS · 0.4–4 px

The size of rendered points. Changes their prominence without changing their count.

Shape & size of geometry marks

Enable GEOMETRY NODES in 07 / SIGNAL LAYERS. These controls shape the marks placed on selected source contours.

CIRCLE / SQUARE / DIAMOND / CROSS / BRACKET / MIXED

Choose circles, squares, diamonds, crosses or brackets. MIXED combines multiple shapes.

MIN SHAPE / MAX SHAPE

Lower and upper bounds for mark size. MIN stays below MAX. Lower both for finer marks.

FEATURE SIZE

How strongly local feature strength influences size. Raise it to give important features more size emphasis.

SEED VARIATION

Seed-based variation in size. Lower values are more uniform; higher values add irregular size differences.

SIZE HIERARCHY

The hierarchy between small supporting marks and larger focal marks. Raise it for stronger size contrast.

SHAPE STROKE · 0.25–3 px

Stroke width of the marks. Use MIN / MAX SHAPE to change the size of the shape itself.

Connect points with lines

Enable EDGE LINK GRAPH in 07 / SIGNAL LAYERS. Choose how contour points connect and which lines are retained.

EDGE LINK SYSTEM

PROXIMITY links nearby points; DELAUNAY builds a triangular network; EDGE CHAIN follows contours; RADIAL radiates; ORTHOGONAL uses right-angle structures; HYBRID combines approaches.

MAX DISTANCE · 18–160 px

Connection distance. Raise it to allow longer connections; lower it to keep links more local.

LINE CONFIDENCE · 0–70%

How strictly links are filtered for support from source edges. Raise it to reject weaker links; lower it if too many lines disappear.

LINE WEIGHT · 0.2–2.5 px

Thickness of connection lines. Use fine lines for detail or thicker lines to emphasize structure.

Balance the source & surface

Balance the source image, scanlines, grain and geometry overlay. Some independent effects also have their own OPACITY controls.

SCANLINE FIELD

Strength of the scanline field. Raise it for more pronounced horizontal scanlines.

GRAIN

Surface grain. This is separate from the grain pitch in DITHER PRINT.

SOURCE OPACITY

Opacity of the base source image. Keep it high to retain the photograph; lower it to emphasize generated elements.

OVERLAY OPACITY

Opacity of the geometry overlay. If effects are too faint, check this alongside the individual layer’s opacity.

Focus effects on subjects

Detect people, animals, vehicles and other supported objects to guide where effects appear. Allow the model to load on first use. Your source is analysed on your device.

OBJECT COMPOSITION

OFF disables subject composition. EMPHASIZE draws toward subjects; PROTECT draws around them. These two use soft regions around detected boxes. OBJECT ONLY uses estimated masks to limit effects to subjects and preserve the source background.

SUBJECT SELECTION

Appears in OBJECT ONLY. Select the largest subject, people, vehicles or any class. Multi-subject options handle up to three detected objects.

OBJECT MATERIAL

Appears in OBJECT ONLY. Apply the current look inside objects, or choose REFRACTION for refracted fragments and PIXEL BLOCKS for color blocks.

FRAGMENT SIZE · 6–80 px

Size of fragments or color blocks. Disabled when using the current look as the object material.

SUBJECT STRENGTH

Strength of the subject treatment. Increase gradually while watching the transition to the surrounding image.

DETECTION CONFIDENCE · 20–85%

Threshold for accepting detections. Higher values are stricter and may leave fewer subjects. Lower it slightly if a subject is missed.

OBJECT ANNOTATIONS

Adds detected subject names and corner marks to the artwork. Turn it off if you do not want them in exports.

RETRY DETECTION

Appears after a detection error. Check your connection and retry the model loading or detection.

Detection and masks are estimates, not guaranteed precise cutouts. Classes outside the detector’s scope, such as buildings or signs, cannot be selected automatically. OBJECT ONLY shows the source when a detection or mask is unavailable.

Fit geometry to people & faces

Use a person’s silhouette, pose or face to guide geometry. This is separate from SUBJECTS / OBJECT, and includes controls for keeping facial features readable.

DETECTION MODE

OFF uses normal contour analysis. SILHOUETTE uses a person mask; POSE RIG uses joints and skeleton; FACE MESH uses facial geometry; FULL PERSON combines these guides.

FIT STRENGTH

How strongly person information influences the drawing. Inactive when DETECTION MODE is OFF.

FACE FIELD / MESH TOPOLOGY

OFF uses normal density. REDUCE gently attenuates generated layers over the face; EXCLUDE protects eyes, nose and mouth more strongly. The original face is not pasted over the artwork.

PROTECTION AREA · 100–135%

Expands the face-protection area. Adjust it to reduce effects farther around the face boundary.

TOPOLOGY SPREAD · 0–28

Controls the spread of protection across the facial mesh. Watch the transition between protected and unprotected regions as you adjust it.

FACE FIELD DEBUG

Shows facial triangle cells and protection strength in the preview. This diagnostic display is excluded from exports.

Choose your effect layers

Toggle effect visibility in one place. Effects with their own panels share the same ON / OFF state here. Opening a panel alone does not enable its effect.

GEOMETRY NODES

Geometry marks on selected contours. Adjust their shape and size in 03 / SHAPE SYSTEM.

EDGE LINK GRAPH

Connections between contour points. Set the connection method in 04 / CONNECTIONS.

ANCHOR MOTIFS

Places arcs, boxes and reticles on strong contour points.

CIRCLE CHAIN / CHAIN INTERSECTIONS

A sequence of circles and their intersections. Intersections require CIRCLE CHAIN to be on. Adjust both in 09 / GEOMETRY CHAIN.

NODE LABELS

Adds coordinate indices to nodes. Turn it off for artwork without these labels.

GRID SYSTEM

Drafting grids and source-responsive rectangular compositions. See 07B / GRID SYSTEM.

SPECTRAL CURTAIN / PORTRAIT WINDOW

Color extrusions and a face-following window. Adjust them in 08 / SOURCE TRANSFORMS.

DITHER PRINT

Converts tone into ink-and-paper texture. Adjust it in 08B / DITHER PRINT.

PIXEL MEMORY

Binary cells, horizontal echoes and memory windows. Adjust it in 08C / PIXEL MEMORY.

Grids & rectangular compositions

Turn GRID SYSTEM on. Choose a regular drafting grid or a composition that divides the frame in response to the source.

GRID PROGRAM

MEASURE is a drafting grid. EDITORIAL emphasizes negative space; FRAGMENT uses broken modules; DATA adds a signal-index treatment.

MODULE COUNT · 4–28

Controls the subdivision scale. Higher values create finer structures.

CELL VARIATION

Variation in cell sizes and divisions. Raise it for a less uniform structure.

SOURCE ADHERENCE

How strongly the structure responds to source contours and focal features.

GUTTER @1080 · 0–20 px

Space between cells, referenced to a 1080 px short edge and scaled with output size.

NEGATIVE SPACE

Amount of negative space. Raise it to leave more areas open.

GRID MOTION

Amount of time-based motion in the structure. Lower it for a quieter composition.

GRID OPACITY

Opacity of the grid layer.

MEASURE does not use CELL VARIATION, SOURCE ADHERENCE, GUTTER, NEGATIVE SPACE or GRID MOTION. Choose another GRID PROGRAM to use those controls.

Extrude color & add a portrait window

SPECTRAL CURTAIN and PORTRAIT WINDOW can be enabled separately. Both use the source image to build a new treatment.

SPECTRAL CURTAIN / CURTAIN DIRECTION

Extrudes color from strong edges vertically. Choose DOWN, UP or BOTH directions.

CURTAIN DENSITY

Density of the curtain-like bands.

EXTRUSION LENGTH

Length of the color extrusion. Raise it for longer bands.

CURTAIN OPACITY

Opacity of the curtain layer.

PORTRAIT WINDOW / WINDOW TREATMENT

Creates a window that follows a detected face. HALFTONE uses dots; ENGRAVE uses print-like lines; SOURCE uses the original image. Without a face, the window uses the image-edge centroid.

WINDOW WIDTH · 10–70%

Width of the window. Raise it to include a larger area.

BACKDROP BLUR

Amount of blur in the backdrop.

DOT / LINE DETAIL

Detail of the halftone dots or engraved lines. Disabled when WINDOW TREATMENT is SOURCE.

Make an ink-on-paper print

Turn DITHER PRINT on to represent source tones with a two-color texture. Adjust grain pitch, tone, palette and blending separately.

DITHER ALGORITHM

ATKINSON gives organic dots; FLOYD–STEINBERG gives a denser distribution; BAYER 4×4 is ordered; BLUE NOISE uses a stochastic distribution.

GRAIN PITCH @1080 · 1–32 px

Grain pitch at a 1080 px short edge. Use 1 px for fine print or 32 px for bold, coarse texture. Inspect fine detail in the exported image rather than only in a small preview.

DITHER THRESHOLD

The tonal threshold between paper and ink. Adjust it when one color dominates too much.

DITHER CONTRAST

Contrast before dithering. Raise it for stronger light/dark separation; lower it for gentler tones.

EDGE PRESERVE

How much source-edge detail is preserved. Adjust it if the subject is getting lost in the texture.

INK / PAPER PALETTE

The ink and paper colors. This palette is independent of the main COLOR + BLEND palette.

INVERT PRINT

Reverses the light/dark assignment to ink and paper.

DITHER OPACITY / DITHER BLEND

Opacity and blend mode of this layer. Start with NORMAL to see the print clearly before trying other blends.

DITHER MOTION

Time-based variation of the dither pattern. FACE FIELD protection also applies to this layer.

Binary cells, echoes & memory windows

Turn PIXEL MEMORY on to build cells and image fragments from source luminance and contours. It creates the composition from the source and seed, rather than recording a history of video frames.

MEMORY PROGRAM

ARCHIVE FIELD uses binary cells; HORIZONTAL ECHO uses source-colored horizontal echoes; GLYPH CLOUD uses character density.

CELL PITCH @1080 · 3–48 px

Cell pitch referenced to a 1080 px short edge. Lower it for finer detail or raise it for larger blocks.

BINARY CUT

Threshold for the binary treatment. Adjusts the balance of light and dark cells.

HORIZONTAL FEEDBACK

Strength of the horizontal image echoes.

MEMORY WINDOWS · 0–10

Number of image windows sampled around strong contour features. Zero removes the windows.

ENTROPY MOTION

Amount of time-based variation in the composition.

MEMORY OPACITY

Opacity of the PIXEL MEMORY layer.

INK / PAPER / ACCENT

Ink, paper and accent colors for this effect, independent of the main palette.

Build a circle chain

Turn CIRCLE CHAIN on to extend circles from a strong contour feature into open space. CHAIN INTERSECTIONS also shows where neighboring circles intersect.

CHAIN COUNT · 3–15

Number of circles in the chain.

CHAIN ANGLE · 0–180°

Direction of the chain. The composition compares both directions at this angle and uses the more open side.

BASE RADIUS · 36–320 px

Radius of the starting circle.

SIZE RATIO · 0.55–1.08×

Radius multiplier for each next circle. Below 1 shrinks the circles; 1 keeps them equal; above 1 makes them grow.

Color & blending

Set how the source is colored and how geometry blends with it. DITHER PRINT and PIXEL MEMORY have their own independent palettes.

Palette

Choose a combination of background, secondary and accent colors. SOURCE OPACITY also affects how much of the original image remains visible.

SOURCE COLOR

ORIGINAL retains source color; HYBRID combines it with the palette; DUOTONE maps tone into two colors. Choosing ORIGINAL sets SOURCE OPACITY to 100.

GEOMETRY BLEND

NORMAL draws over the source. SCREEN and LIGHTEN produce lighter combinations; MULTIPLY and DARKEN produce darker ones. OVERLAY, SOFT LIGHT and HARD LIGHT combine colors through contrast.

More blend modes

COLOR DODGE intensifies light; COLOR BURN intensifies dark. DIFFERENCE and EXCLUSION use color differences; LUMINOSITY blends using brightness. Results depend on the source and palette.

Make the artwork react to audio

Choose or drop a track through ADD MP3 / AUDIO. Use browser-readable audio such as MP3, WAV or M4A, up to 15 MB and 3 minutes. Use LIVE to play and preview the response.

RHYTHM SYNC

Drives visual motion with bass, midrange, high frequencies and beat energy. Available after loading audio.

INCLUDE IN MP4

Includes the added track in the MP4. This is independent of RHYTHM SYNC, so you can export silent visuals that still react to the track.

BPM · 65–180

Beat tempo. Estimated automatically; correct it manually if it does not match your track.

BEAT OFFSET · −1000–1000 ms

Shifts the beat alignment in time. Adjust until the visual peaks match the track.

SYNC STRENGTH

Overall strength of the audio response.

BASS → SCALE

How strongly bass affects scale.

MID → LINKS

How strongly midrange energy affects links.

HIGH → DETAIL

How strongly high frequencies affect scanlines and particles.

RESTART / REMOVE

Restart the track from the beginning or remove it.

MP4 audio comes from the separate track added in this panel. The source video’s original soundtrack is not automatically carried into the export.

Motion, freezing & seed

Animate a still image, or add moving geometry over a video source.

GEOMETRY MOTION

Choose MOTION OFF, CONTOUR FLOW, SIGNAL PULSE, SCAN SWEEP, PARALLAX, ASSEMBLE, ORBIT, EDGE WAVE, GLITCH SLICE or AUTO SEQUENCE: flow, pulse, sweep, parallax, assembly, orbit, wave, sliced displacement or an automatic sequence.

MOTION SPEED / MOTION + TEMPORAL GAIN

Motion speed. With a video source, this is labeled MOTION + TEMPORAL GAIN because it also affects the response to changes between frames.

MOTION AMOUNT

Amount of displacement. If motion feels too large, try lowering this before changing speed.

FREEZE STILL FRAME

For image sources only. Freezes the current time, particles, dotted lines and audio response, keeping the visual composition fixed in MP4 too. Included audio can continue while the picture stays still.

STRUCTURE SEED

Displays the value used for randomized structure. This button runs FIELD RANDOM: it changes geometry-field settings as well as the seed.

MOTION OFF does not necessarily stop every layer’s own animation or audio response. Use FREEZE STILL FRAME when you need a fully fixed image-based composition.

Export PNG & video

DIRECT DOWNLOAD saves a file to your device. It does not publish a social post.

FORMAT

Choose PORTRAIT 4:5, STORY 9:16, SQUARE 1:1 or WIDE 16:9. The ratio is selected from the source automatically and can be overridden. Changing it changes how the source fits the frame.

VIDEO LENGTH

Choose 3, 5, 8, 10 or 12 seconds. Start with 3 seconds to check the result before making a longer export.

EXPORT STILL

Exports the artwork as a PNG image. Use FREEZE STILL FRAME first to lock an image source at a particular animation phase.

EXPORT INSTAGRAM / EXPORT X

Creates an MP4 file for posting. Instagram uses a 30 fps, 8 Mbps profile; X uses 30 fps, 5 Mbps. Dimensions for the selected ratio are shown below the buttons.

WEBM FALLBACK

A real-time recording option when MP4 is unavailable. Keep the tab visible while recording. It is affected by device performance and may also be unavailable on some devices.

During export

Editing and source changes are locked while exporting. Keep the tab open until processing finishes. The file location depends on your browser and device’s download settings.

DIRECT DOWNLOAD does not add the sharing ART SIGNATURE. ARTWORK FRAME, NODE LABELS and OBJECT ANNOTATIONS are separate artwork elements. Turn those off too if you want an export without their text or marks.

Save & reuse your settings

Open LOOKS above the preview. A look is a collection of creative settings, not a saved source file, audio track or finished artwork.

PRESET NAME / SAVE PRESET

Name and save the current settings in this browser, up to 50 presets. Saving under an existing name updates that preset.

MY PRESETS / APPLY

Apply a saved look. You can also choose it from MY PRESETS in the LOOK PRESET selector. The same settings will look different on a different source.

COPY SETTINGS · JSON

Copies settings as text. Keep important looks in a text file as a backup, or use this to transfer them to another browser or device.

APPLY IMPORTED LOOK

Paste copied settings into GEOMETRIC LOOK DOCUMENT and apply them. To keep the imported look in this browser, use SAVE PRESET afterward.

Presets are local to this browser. They do not sync automatically and are removed if browser data is cleared. When resuming work, load your source and audio files again too.

Share files & remix links

Open Save & share or SHARE TO SOCIAL, then choose X, Instagram Feed, Stories or Reels. Choose a still image or video and create the share file before saving or sharing it.

Destination ratios

X keeps the current ratio. Feed uses 4:5, or 1:1 when square is selected. Stories and Reels redraw at 9:16. This can differ from DIRECT DOWNLOAD.

CAPTION CREDIT / ART SIGNATURE

Optional credit in the caption and a small mark on the shared file. Turning either off does not change export quality.

Saving & sharing

Supported devices can pass the file to the share menu. Otherwise, download it and select it in the destination app. Opening the share menu does not complete a post.

CREATE + COPY REMIX

Saves the current look settings and seed to create a share link. It does not include your source image, video, audio or output ratio. The recipient can try the settings on their own source.

Short remix links expire after 180 days. If a short link cannot be created, a longer PORTABLE link containing the settings may be offered instead. Keep a COPY SETTINGS backup for looks you want to preserve.

When something does not look right

Check the relevant effect one step at a time. On-screen status and error messages can help narrow down the cause.

A control is disabled

Check that the parent layer is on. CONTOUR LEVELS requires TOPOGRAPHIC; DOT / LINE DETAIL requires HALFTONE or ENGRAVE; FREEZE STILL FRAME requires an image source. Exporting also locks editing.

An effect is not visible

Return to SHOW ARTWORK / COMPOSITE VIEW. Check the effect’s ON / OFF state and opacity. If points or links are scarce, lower EDGE THRESHOLD or LINE CONFIDENCE.

The photo disappears or is too dark

Raise SOURCE OPACITY and compare with SOURCE COLOR set to ORIGINAL and GEOMETRY BLEND to NORMAL. Strong DITHER PRINT or PIXEL MEMORY layers may cover the source; toggle them off individually to check.

A face or object is not detected

Allow the models to load. Small, obscured or unsupported subjects may not be detected. For OBJECT, try lowering DETECTION CONFIDENCE slightly and use RETRY when offered.

Motion or audio response is stopped

Return to LIVE and check that FREEZE STILL FRAME is off. For audio, load a track, enable RHYTHM SYNC and check that SYNC STRENGTH is not too low.

The preview is slow

Disable unused layers and subject analysis, then reduce density or detail. Try a shorter source clip. OBJECT ONLY video previews can update more slowly because masks must be analysed.

MP4 export fails

Try a 3-second export first. MP4 depends on browser encoding support and available device memory. Reduce unused effects, or try WEBM FALLBACK if needed.

A saved look does not restore the whole work

A look does not contain source media or audio. Load the same source files again, and check the output ratio and playback position.