| A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
1 | Original | Brushed | Output | Subject | Prompts | Notes | |||||||||
2 | Eyewear Brushing | Close Up Shot. Frontal Pose Of A Man. European Young Man. | In Order Not To Damage The Glasses, You Should Not Get Closer Than 2 Mm To The Frame While Brushing. If A Part Of The Eyebrows Is Under The Frame, It Is Important Not To Brush The Eyebrows. | ||||||||||||
3 | Elimination Of The Eye Or Reflection Seen Through The Glasses | Black Glasses Lens. Non-Reflective | To Remove Reflections On Reflective Surfaces Such As Eyeglasses, You Need To Brush Over The Disturbing Images On The Lens Without Approaching The Frame. In This Example, Since The Lens Is Black, I Specified The Color Of The Lens And The Lens In The Prompt Section. It Can Be Difficult To Get The Right Color On Light Colored Lenses. | ||||||||||||
4 | Head Turn | Three-Quarter Right-Side Profile Pose Of A Woman. Without Makeup. An Athletic Face With Defined Bone Structure And High Cheekbones. Expressive Eyes. Short, Dark Brown, Wavy Hair. | The Area Covered By The Model'S Head In The Frontal Pose Is Different From The Area Covered In The Profile Pose. In Order For The Ai To Correctly Create The Direction And Pose Specified In The Instructions, The Changed Pose (Profile Pose) Should Be Visualized In The Mind And The Brushing Area Should Be Expanded Accordingly. Both The Head In The Original Image And The Part Of The Head That Will Be On The Left, As Well As The Neck Area, Should Be Brushed. In This Pose Change, Since The Image Will Also Change Depending On The Muscle Movement In The Body Parts Connected To The Head, These Areas Should Also Be Brushed By Taking These Areas Into Consideration. | ||||||||||||
5 | Hair Extension / Collection Brushing | Fashion Model Woman No Makeup And Skin Light Fair Skin Tone. A Woman With Her Hair Styled In A Sleek, High Ponytail. The Hair Is Neatly Combed Straight Back From The Forehead, With No Loose Strands, Creating A Smooth Look. The Ponytail Is Tied At The Top Of Her Head, And The Long, Straight Hair Flows Down | If A Bob Hairstyle Is To Be Transformed Into A Different Style, Such As A Bun, All Of The Hair Visible In The Original Photo Must First Be Brushed. Then, The Brushing Area For The Ponytail Section That Will Be Created By Bunting The Hair Must Be Expanded So That The Ai Can Correctly Place The Ponytail In This Area. The Instruction Must Also Be Written In Detail. In This Example, The Original Hair Intersects With Many Areas Of The Face. In Order To Ensure That The Face Is Not Distorted During Brushing, The Expressions Used To Create The Face Or Information About Skin Tone Must Be Specified In The Instruction To Ensure That The Ai Correctly Creates The Face. | ||||||||||||
6 | Arm Movement | A Man Standing Straight With His Right Arm Raised Upward, Fully Extended Above His Head, Forming A Strong Fist With His Hand. His Fingers Are Clenched Tightly Into A Fist, Showing Strength And Confidence. His Left Arm Rests Naturally Along His Side. Symmetrical Posture With A Determined, Natural Expression. | When Brushing, You Should Not Work Only On The Arm. Since The Shape Of The Body Muscles Such As The Trunk And Neck Will Change Depending On The Position Of The Arm, The Brushing Area Should Be Kept As Wide As Possible. In Addition, When Writing Instructions, The Instructions Previously Stated Regarding Clothing Should Be Added. In This Way, There Will Be No Change In The Clothing. | ||||||||||||
7 | Erase The Model'S Hand In The Photo | Delete And Remove | Only The Hands And Arms Should Not Be Brushed. The Left Arm Should Also Be Brushed Due To The Shoulders, Neck And Back. | ||||||||||||
8 | Hat Brushing | Close-Up, Quarter Profile Pose. A Japanese Woman With Almond-Shaped, Slightly Upward-Turned Eyes That Captivate With Their Deep And Expressive Gaze. Her Eyes Are Dark Brown And Are Naturally Framed By Long, Slightly Curled Eyelashes. Her Eyebrows Have A Natural Arch. Her Skin Has A Realistic Texture, Pronounced Pores, Fine Detail, And A Natural Finish; It Avoids Being Overly Smooth Or Powdery. Her Cheeks Have A Slight Natural Flush, And Her Lips Appear Slightly Dry But Well-Defined And Naturally Toned. Her Smooth, Jet-Black Hair Has A Natural Cut. The Lighting Is Soft And Natural, Highlighting Her Features And Adding Depth To Her Gaze.The Face Is Visible Only From The Eyebrows Down, And No Additional Facial Structure Should Be Generated Above This Point. | Since The Woman'S Forehead Is Covered By The Hat, Brushing Should Be Done From The Top Of The Eyebrows Downwards. The Forehead Area Should Not Be Brushed. The Instructions Should Be Written Accordingly So That The Ai Does Not Complete The Forehead Area. | ||||||||||||
9 | Hair Change In The Hat | A French Woman With An Oval Face, Exuding Effortless Elegance And Natural Beauty. Her Fair Skin Has A Slight Glow With Faint Freckles, And Her Skin Texture Is Realistic With Visible Pores And Fine Details. Her Almond-Shaped Eyes Are Hazel, Framed By Naturally Arched And Slightly Tousled Eyebrows. Her Lips Are Well-Defined But Not Overly Full, With A Soft Matte Texture. Her Chin-Length Hair Is Styled In A Slightly Wavy Bob With Casual, Wispy Bangs Falling Over Her Forehead. | We Do Not Approach The Hat When Brushing The Hair. | ||||||||||||
10 | Delete Expand Line | Leave The Prompt Box Empty Or Even Out Skin/Color Tone | The Original Photo Can Be Seen As A Frame On The Face Completed With Magic Expand. The First Output Obtained With Magic Expand Can Be Thought Of As A Draft. It Is Enough To Mark By Brushing To Delete Only Those Parts That Appear As A Frame. You Can Take The Printout By Leaving The Prompt Section Blank Or You Can Write 'Even Out Skin Tone' If The Frame Falls On The Skin Area, Or 'Even Out Color Tone' If It Falls On Another Area. | ||||||||||||
11 | Brushing For Skin Matching | Even Out Skin Tone | To Correct The Incompatibility Between The Old And Newly Formed Skin At The End Of The Change, The Diameter Of The Brush Can Be Reduced And A Point Brushing Can Be Done. With This Method, You Can Soften The Skin Transitions And Correct The Skin Color In The Areas Close To The Necklace. However, The Point To Remember Is That It Is Important To Get Close Enough To The Product When Doing Point Brushing. | ||||||||||||
12 | Brushing For Clarification | Clearly | For The Parts That Are Not Clearly Visible Or Blurry In The Resulting Output; Those Areas Are Brushed And Typing "Clearly" As A Prompt Will Be Sufficient. | ||||||||||||
13 | Delete An Object From A Photo | Remove And Delete. It Is Visible From The Skin | Deleting The Formed Necklace | ||||||||||||
14 | Brushing For Change Of Clothes On Objects That Correspond To Clothes | Dark Navy, Turtle Neck, Long Sleeves Angora Sweater. | If The Product Falls On The Area Where Such A Change Will Be Made; The Product Is A Cup, Brushing It Without Getting Close To It Ensures That The Product Remains Exactly The Same. For This Reason, In Such Cases, The Clothing Selection Should Be Chosen From The Color Tones That Correspond To The Back Of The Object. In This Example, Since It Is Dark Navy Blue, We Dressed It With A Different Style In The Same Color. We Cannot Dress It In White. The Navy Blue (Not Brushed) Parts Around The Cup Are Visible. | ||||||||||||
15 | To Complete The Outfit/Make It Look More Defined | A Woman Wearing A Plain Black Faux Fur Coat With A Voluminous Shawl Collar. The Thick, Plush Fur Collar Wraps Around Her Neck, Extending Over Her Shoulders With A Raised, Structured Shape. The Texture Is Rich And Fluffy, Creating A Luxurious Look. | In Addition To The Collar, The Entire Collar Should Be Brushed. Not Just The Missing Part. It Should Be Marked As A Whole And The Instructions Should Be Written By Specifying The Detailed Posture. | ||||||||||||
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