Brand
Add approved logos, product shots, colours, and type to the brief. Every output works from the same source.
Take a design direction to finished work.
Start with a brief, a sketch, or a reference, and carry one direction across every format.
Design to delivery, one home
Layers
Turn a flat image into editable foreground layers. Move, resize, or replace one element without rebuilding the composition around it.
Reframing
Extend an image past its borders when a layout needs another ratio, instead of stretching the original.
Cleanup
Upscale for larger layouts, or cut the background for a clean product. No round trip to another tool.
Angles
Generate additional viewpoints from one product or character reference. Review the set together and regenerate any view that drifts.
Method
Save the instructions and the order of steps that worked, then run the next project through the same method.
A direction applied
Direction on a grid
A square grid forces a direction to be specific: one cell, one decision, and nowhere to hide a reference that was only pretty. Bring the sketches, the swatches and the found images you already have, and the grid comes back filled and consistent. You edit a cell at a time, so the direction firms up in front of you rather than in a rebuild.
A direction applied to a format
A board can stay agreeable forever. One applied piece, with a fixed shape and a real message, makes a direction commit. Give it the format and the words, and the layout is composed on that artboard with type you can still edit. The argument moves from whether the direction is nice to whether it works at this size.
One style across a set
A cover, two column scenes, three spots that read as one artist. Settle palette, line and detail once, and each new piece is drawn in the style the last one settled, so the set holds together as it grows. Changing your mind re-runs the series rather than starting it.
Sequence before production
A board is where framing, order and rhythm can still be argued with for the price of a redraw. Bring the script or the premise and get a readable sequence back, shot by shot, with the same characters and locations holding across the panels. The crew works from it later, and nothing expensive was decided in the dark.
Type built to move
Vertical is where motion work is actually seen. Compose at 9:16 from the start so type stays legible at the size it is read. Frame, type and timing are set together, and the stills and the horizontal cutdown come out of the same composition. Nothing gets reflowed into a shape it was never drawn for.
Frequently asked questions
How closely does it follow my reference?
Closely on palette, materials, framing, and mood; less reliably on exact logos, small type, and precise proportions. Attach the approved asset and review those details before anything ships.
Can I bring the brand kit in?
Yes: logos, product shots, colour values, type references, and example layouts all go into the brief with the project. There is no saved brand setting that applies itself, so those inputs are what keep the outputs related.
Can I edit what comes out, or only regenerate it?
You can edit it. A flat image can be separated into foreground layers you can move, resize, or replace, and an image can be extended past its original frame when a layout needs a different ratio.
What about real type?
Text inside a generated image is drawn rather than set, so treat it as artwork. Where the type has to be exact, set it as real text on the project canvas over the image instead of asking the model for it.
Can I reuse a process on the next project?
Yes. Save the instructions and the sequence of steps that worked, then run the next brief through it and change the inputs, rather than rebuilding the method from memory.
Does this replace the design decisions?
No. It takes on production: variants, angles, cleanup, extension. The brief, the references, and every approval stay yours, and generated imagery does not give you pixel-level control, so the details still need looking at.