Dataset Viewer
original_instruction
stringlengths 14
904
| instruction
stringlengths 6
2.03k
| input_image
imagewidth (px) 119
5.32k
| output_image
imagewidth (px) 1.02k
1.02k
|
|---|---|---|---|
Draw what it will look like after the glacier retreats for 20 years.
|
After 20 years of glacier retreat, the once expansive ice fields and long glacial tongues visible in the satellite image have dramatically diminished in both length and width, exposing wide swaths of dark, rocky terrain and steep valley walls where thick ice previously dominated. The snow-covered areas in the high mountains have receded upwards, leaving more jagged peaks and rugged brown slopes exposed, while mid-elevation zones that were once blanketed in white now reveal a patchwork of bare rock, gravel, and newly formed green vegetation. In the lower valleys where the glaciers once extended, braided meltwater rivers and muddy channels have become prominent, winding across a landscape of sandy and silty floodplains interspersed with shallow lakes and marshy wetlands. Small stands of pioneering shrubs and grasses have taken hold on exposed sediments, creating a mosaic of light green against the tan and gray of the earth. The atmosphere appears slightly hazy, with sunlight casting a warmer tone over the now ice-scarce region, while the remaining patches of glacier are much smaller, fragmented, and edged with dirty ice, indicating ongoing melt. The transformation is marked by a clear reduction in the glacier’s mass, the expansion of river channels and floodplains, and the gradual encroachment of vegetation, all evidence of a landscape significantly altered by two decades of warming and ice loss.
| ||
This picture is observed from the Northern Hemisphere. Draw what it will look like 7 days later.
|
Seven days after the original observation from the Northern Hemisphere, the Moon’s appearance has changed from a crisp first quarter phase—where the right half of the lunar disk is brightly illuminated, revealing intricate textures of craters, maria, and highlands on the sunlit side, sharply divided by the terminator from the dark left half—to a last quarter phase. Now, the left half of the Moon as seen from Earth is aglow with silvery light, while the right half fades into darkness, reversing the earlier pattern. The illuminated surface retains its rugged topography, with prominent craters and subtle grey-and-white contrasts, but the orientation and lighting now highlight features previously shrouded in shadow. The lunar disk remains the same size against the deep black sky, but the terminator line—the boundary between night and day—now runs vertically along the right edge, casting soft, raking shadows that accentuate the texture of the Moon’s left side. The environment remains devoid of atmospheric effects, with the Moon sharply outlined against the void, and the overall impression is of a celestial body that has rotated through its regular cycle, presenting a dramatically different illuminated hemisphere to the observer.
| ||
Draw what the scene will look like 28 days later.
|
After 28 days, the scene has transformed to show the Moon having completed a full orbit around the Earth and returning to its original position along the white orbital path in the black expanse of space. The stark difference is that the Moon, now depicted on the right side of the orbit, appears slightly more luminous with a subtle golden hue, suggesting a change in its phase or lighting conditions. Meanwhile, the Earth in the center has been visually merged with the texture of the Moon’s surface, as if the two celestial bodies have blended together; the familiar blue, green, and white swirls of Earth's continents and clouds are now overlaid with the gray, cratered texture of the lunar surface, resulting in a surreal hybrid sphere. The overall lighting remains crisp and direct, highlighting the spherical shapes and the contrasting textures: Earth’s once-vivid colors are muted by the Moon’s rugged, pitted surface, while the Moon’s own appearance is slightly warmer and brighter. The vast background remains a deep, uninterrupted black, emphasizing the orbital relationship and the altered appearances of both Earth and the Moon, giving the impression of a cyclical celestial transformation carried out over the span of 28 days.
| ||
Draw what it will look like after a week in a fish tank with algae growth.
|
After a week in the fish tank with algae growth, the once clean and textured stone castle ornament is now coated with a thick, uneven layer of vibrant green and yellowish algae, clinging to nearly every surface and filling many of the crevices and ledges. The rough stone texture is now obscured in places by the fuzzy, velvety texture of the algae, especially along the tops of the towers, the steps, and the lower corners near the gravel. The plastic plants in the background and on the right have developed a slight greenish film, making their surfaces appear more matte and less translucent. The gravel bed at the bottom of the tank is dotted with scattered patches of algae, particularly around the base of the castle and the decorative blue stones, creating a mottled look. The water appears slightly murkier, with a faint greenish tint that diffuses the light and makes the whole environment look less crisp and more subdued. The overall scene now feels more natural and overgrown, with the artificial features of the tank blending into a lush, slightly neglected underwater landscape dominated by the rapid, organic spread of algae.
| ||
Draw what it looked like 1800 years ago.
|
The Colosseum as it appeared 1800 years ago is a grand and pristine amphitheater, its massive elliptical structure fully intact and gleaming under the bright Mediterranean sun. The outer walls rise to their original height, each tier perfectly preserved and lined with elegant rows of arches framed by white travertine stone, unmarred by the crumbling and missing sections seen today. Statues of gods, emperors, and heroes stand within niches between the arches, adding ornate detail to the facade. The original marble seating encircles the arena in smooth, uninterrupted tiers, packed with thousands of Roman spectators dressed in colorful tunics and togas. The arena floor is covered in fresh sand, with no exposed hypogeum; beneath the surface, trapdoors and lifts are hidden, ready to surprise the crowds with gladiators and wild animals. Rich red and gold awnings, known as the velarium, stretch across the upper rim, casting patterned shadows and providing shade for the audience. The atmosphere is lively and festive, with the sounds of trumpets, cheers, and the rustle of banners filling the air. Surrounding the Colosseum, the streets are bustling with vendors, chariots, and Roman citizens, all set against the backdrop of a clean, thriving urban landscape dotted with marble columns and lush greenery. The entire scene is bathed in warm, clear daylight, highlighting the flawless craftsmanship and vibrant life of ancient Rome at the height of its power.
| ||
Draw what it will look like 2 minutes later.
|
Two minutes later, the digital clock on the light wooden rectangular block now displays the time as 13:59 instead of 13:57, with the glowing white LED numbers appearing crisp and evenly illuminated against the smooth, grainy texture of the wood. The temperature display, originally reading 27°C, may now show a slight fluctuation depending on the subtle changes in room temperature, but remains in the same bright, clean font. The surrounding scene remains unchanged, with the clock still resting atop a closed white book on a wooden desk, next to a white ceramic cup on a saucer. Soft daylight continues to filter through the sheer white curtains in the background, casting gentle, diffused light across the tidy, minimalist setting, and highlighting the natural tones and textures of the clock and its environment.
| ||
Draw what he will look like after exercising for a year.
|
After exercising consistently for a year, his physique has transformed dramatically: his body appears noticeably leaner, with a significant reduction in abdominal fat, replacing the previously rounded belly with a flatter, more toned midsection. His chest muscles are now firmer and more defined, lifting and tightening the area that once sagged, while his arms have become more muscular, with visible definition along the biceps and triceps. The tattoo on his upper arm remains, but it now sits atop a stronger, more sculpted shoulder. His overall posture is improved and more upright, and his waistline has narrowed, creating a clear V-shape from broad shoulders down to a trimmed waist. The skin texture across his body looks smoother and more taut, reflecting better muscle tone beneath. The lighting still highlights his physique against the plain, neutral backdrop, but now it accentuates the contours of developed muscles and a healthier, athletic build, conveying vitality and the results of dedicated training over the year.
| ||
Draw what it will look like one hour later.
|
One hour later, the scene shows the same smartphone still connected to the charger via a white cable plugged into the wall outlet, but the battery icon displayed on the phone’s glossy black screen has changed noticeably. The once mostly empty battery indicator, which was highlighted in red, now appears significantly fuller, with a prominent green section filling more than half of the icon, suggesting a substantial increase in charge. The red portion has receded to the left, while the green, vibrant and bright, dominates the right and upper part of the battery symbol, signifying active charging and improved battery health. The lighting remains soft and even, casting gentle reflections on the smooth phone screen and the matte gray wall in the background. The overall environment is unchanged, but the visual focus is now on the progress of charging, communicated clearly by the bright green fill in the battery icon, indicating the passage of time and the effectiveness of the charging process.
| ||
Draw what it looked like ten years ago.
|
Ten years ago, the scene depicted the elephant standing in a much lusher and greener environment, with abundant patches of tall grass and leafy bushes surrounding its legs and extending into the distance. Instead of the current dry, yellowish grass and arid landscape, the terrain was interspersed with vibrant greenery and small pools of water, reflecting a more humid and fertile climate. The sky remained clear and blue, but the overall lighting appeared softer, with the sunlight casting gentle highlights on the elephant's younger, slightly fuller frame and smoother skin. The animal's tusks were also a bit longer and less worn, showing fewer signs of age and use. In the background, vegetation was denser and healthier, with more shrubs and low-lying trees contributing to a thriving savanna ecosystem. The entire environment exuded a sense of vitality and abundance, a stark contrast to the drier, more barren scene of the present day.
| ||
Draw this scene in the style of 70 years ago.
|
Rendered as though it were seen 70 years ago, the cityscape transforms into a scene with softer, sepia-toned lighting that bathes the skyline in a warm, nostalgic glow, reminiscent of vintage photography from the mid-twentieth century. The gleaming glass facades and sharply defined modern edges of the skyscrapers are subtly muted, with surfaces appearing slightly grainy and less reflective, as if captured through the lens of an old film camera. Colors are subdued, with a dominance of beige, faded browns, and muted yellows, giving the entire city a timeless, aged atmosphere. The sky appears more golden and hazy, with fluffy clouds tinged by the sepia effect, and the river's surface reflects these warmer tones rather than the clear blue of a contemporary view. Fine details in the background become less distinct, softened by a gentle blur that mimics the limitations of past photographic technology. Overall, the entire urban environment feels enveloped in a gentle nostalgia, with lighting, color palette, and texture all evoking a scene that might have been immortalized in an era long past, even though the arrangement of buildings and city layout remain modern.
| ||
Draw what they will look like after drying naturally for a day.
|
After drying naturally for a day, the scene now shows the colorful pants and red cloth on the clothesline appearing crisp, dry, and free of any dampness or water droplets. The fabric textures of the yellow, blue, and red pants look slightly stiffer and less saturated in color, indicating full dryness, with the denim and cotton materials showing their characteristic matte, slightly rough surfaces. The hems no longer drip onto the pavement below, and the puddles that once reflected the hanging garments have mostly evaporated, leaving only faint damp patches on the ground. The lighting remains bright and soft, suggesting the passage of a mild, sunny day, and the surrounding greenery and flowers look unchanged, but the overall atmosphere feels fresher and more airy, with the clothes ready to be taken down and folded.
| ||
Draw what it will look like after a year placed in a high-school classroom.
|
After a year of being placed in a high-school classroom, the once pristine whiteboard now displays a patina of faint marker stains and ghosted writing where equations, notes, and reminders have been repeatedly erased but never fully removed, resulting in a slightly cloudy surface with overlapping traces of colored ink, particularly in areas near the center and edges. The lower tray is cluttered with a jumble of half-used dry-erase markers in mismatched colors, a couple of dried-out erasers, and the occasional stray paperclip or sticky note. Around the frame, smudges and fingerprints are visible, especially at hand height where students and teachers frequently touch the board. The formerly spotless floor beneath the whiteboard now shows scuff marks and the subtle accumulation of chalk or marker dust, while the potted plant in the corner has grown fuller but bears a few yellowing leaves, hinting at inconsistent care. The surrounding wall may sport a few faint dents or tape residue from posters or flyers that were temporarily displayed nearby, and the overall lighting in the room has shifted to a softer, more diffuse quality, suggesting the daily ebb and flow of classroom activity. The entire scene exudes a sense of daily use, collaborative learning, and the passage of time, marked by the subtle wear and layered textures typical of a lived-in school environment.
| ||
Draw what it looked like six months ago.
|
Six months ago, the woman’s abdomen was noticeably smaller and less rounded, with a gentle outward curve rather than the prominent, taut belly seen in the current image. Her skin appeared smoother and less stretched, with the texture of her midsection showing fewer signs of tension and no visible linea nigra. The waistband of her light blue, slightly distressed jeans fit more comfortably at her hips, sitting higher and appearing less strained, with the unbuttoned fly less pronounced or possibly even fully fastened. Her hands rested more casually on a smaller belly, with her fingers curving gently around a softer, less protruding stomach. The lighting remained soft and even, casting subtle shadows that emphasized the natural contours of her form, while the background stayed a neutral off-white, maintaining a calm and minimal environment. Overall, the visual impression is of an earlier stage of pregnancy, where the physical changes are present but far subtler, and the woman’s posture and clothing fit reflect a state of greater ease and less dramatic transformation.
| ||
Draw what it will look like in twenty years.
|
Twenty years into the future, the once conventional mid-rise apartment building has transformed into an avant-garde, eco-conscious architectural marvel that redefines the cityscape. The structure now exhibits a flowing, futuristic shape with smooth, curvilinear white facades, seamlessly integrating advanced green technologies and abundant vegetation. Lush vertical gardens cascade down terraces and balconies, while living walls and rooftop greenery create a vibrant, natural texture that softens the building’s contours. Expansive glass sections and transparent railings allow natural light to flood the interiors, and dynamic blue lighting accents trace the building’s lines, suggesting embedded smart systems and water features. The formerly flat, geometric form has evolved into a multi-layered, visually dynamic silhouette, with bold overhangs, cantilevered decks, and open communal spaces that promote outdoor living. The street-level entrance is now flanked by sculptural landscaping and illuminated walkways, inviting residents and visitors into a space that feels both organic and technologically advanced. The overall atmosphere is one of innovation and sustainability, with the building standing as a beacon of green urban living, harmoniously blending cutting-edge materials with thriving plant life under soft, ambient evening lighting.
| ||
Draw what it looked like on the morning of election day.
|
On the morning of election day, the scene in front of city hall appears transformed with a distinct sense of anticipation and activity. The early daylight is softer and cooler, casting a gentle, subdued illumination over the building’s ornate facade and the surrounding grounds. The sky overhead is partly cloudy, with low-hanging, brooding clouds that create dramatic contrasts in the lighting, while the American flag atop the building flutters more briskly in the morning breeze. The steps and plaza leading up to the grand entrance are noticeably busier than usual, with clusters of people gathered in orderly lines, many holding papers, IDs, or small coffee cups as they converse quietly or check their phones. A few volunteers in bright vests and lanyards stand near temporary signage and folding tables set up on the walkway, offering directions and distributing informational pamphlets about voting procedures. The hedges and trees retain their manicured appearance, but the presence of additional traffic cones, portable barriers, and a few discreet security personnel hints at the heightened importance of the day. Near the main doors, a large, colorful banner announces “Election Day Polling Place” in bold letters, fluttering slightly in the breeze, while smaller directional signs are taped to the columns and railings. The overall atmosphere is one of focused civic engagement and mild tension, with the historic city hall standing as a dignified backdrop to the democratic process unfolding in the cool, brisk morning air.
| ||
Draw what it will look like in snowy winter.
|
Following the transformation into snowy winter, the lush green landscape seen in the original image is now entirely blanketed by a thick, pristine layer of snow, turning the entire scene into a wintry expanse of white. The rolling hills and valleys are softened by the accumulation of snow, with their contours now gently rounded and less distinct beneath the smooth, powdery covering. The dense forests that once appeared dark green are now coated with snow on the branches, creating a lacy, frosted texture throughout the tree canopy, while open areas are covered with an unbroken white sheet. The scattered rooftops of buildings visible near the edges are now capped with snow, their colors muted and their shapes softened, blending subtly into the wintry environment. Shadows cast by the low winter sun create subtle blue-grey tones in the snow, emphasizing the undulating landscape and highlighting the crisp, cold atmosphere. Overall, the lighting is diffuse and cool, with the landscape transformed into a serene, almost monochromatic winter scene where every surface glistens with fresh snow, and the entire area exudes a tranquil, frozen stillness.
| ||
Draw what it will look like tommorrow.
|
The calendar page that currently displays "JAN 28" in bold black numerals against a clean white background, with a bright orange header labeled "JAN" and flanked by two white dots, will change to show the date for the following day. The large black number "28" at the center of the page will be replaced by "29," keeping the same bold font and size, perfectly centered against the uncluttered white space. The orange header at the top will still read "JAN" in crisp white letters, maintaining its high contrast and vibrant appearance, and the two white dots on either side of the header will remain in their positions. All other visual elements, including the clear, modern look, smooth edges, and even lighting, will stay unchanged, preserving the clean and minimalistic style of the calendar while updating only the numerical date to reflect tomorrow.
| ||
Draw what this species look like more than two million years ago.
|
More than two million years ago, this species would appear dramatically different, with a robust, primitive physique adapted to a harsher environment. The figure’s posture is more stooped, with broader shoulders and a pronounced, muscular chest and arms covered in a thicker layer of coarse body hair, giving the skin a rugged, textured appearance. The neck is strong and sturdy, supporting a head that merges seamlessly with the torso. Ears are slightly larger and more pronounced, sticking out from the sides of the head, while the overall shape of the skull and jaw is more angular and prominent, suggesting a strong bite force. The environment is lit by warm, natural light, reflecting off the bare, earth-toned background that hints at a savanna or woodland setting. The overall impression is of a powerful, resilient hominin ancestor, well-suited to survival in prehistoric landscapes, with physical features emphasizing strength, adaptability, and a wild, untamed presence. The modern elements such as tattoos, styled hair, and contemporary clothing have vanished, replaced by bare skin, natural body hair, and a primitive, evolutionary appearance that situates the species firmly in the deep past.
| ||
Draw what they will look like one year later.
|
One year later, the once-tiny tree at the center of the scene has grown noticeably taller and fuller, its slender trunk now thicker and sturdier, supporting a lush canopy of broader, darker green leaves that cast gentle dappled shadows onto the mossy mound below. Small budding flowers or early fruits may appear among the foliage, indicating the tree’s healthy maturation. The kitten, now a fully grown cat, sits beside the tree; its coat is still a vibrant orange but is sleeker and more defined, with longer limbs and a more graceful posture reflecting its adult size. The surrounding meadow is more densely carpeted with wildflowers and taller grasses, suggesting the passage of seasons and thriving life, while the ambient light filtering through the trees is warmer and more golden, imbuing the scene with a tranquil, late-afternoon glow that hints at the enduring bond between the cat and the flourishing tree in this serene natural setting.
| ||
Draw what it will look like after ten years of use.
|
After ten years of frequent use, the once pristine black leather jacket now shows clear signs of wear and aging throughout its surface. The deep, even black color has faded in multiple areas, especially along the sleeves, shoulders, and front panels, where the leather appears lighter and more mottled, with patches of brownish discoloration and scuff marks. The texture of the leather has lost its original sleek and glossy finish, replaced by a duller, rougher appearance with visible cracks and creases, particularly along the seams, cuffs, and collar, which have become more pronounced from repeated bending and handling. The edges of the collar and cuffs are slightly frayed, and the structure of the jacket appears less rigid, with the fabric hanging more loosely due to the softened and worn leather. Subtle stains and spots hint at years of exposure to various weather conditions, while the overall impression is one of a well-used garment bearing the marks of time, use, and the elements, yet still retaining its recognizable shape and features.
| ||
Draw what it will look like an hour later.
|
After an hour has passed, the once fresh and crisp half of the apple now displays clear signs of oxidation, with the exposed flesh taking on a light to medium brown hue that spreads unevenly across its surface. The previously smooth, moist white interior has developed a slightly duller, drier appearance, and the cut edge may look a bit wrinkled or dehydrated, especially around the core and the outermost rim. The seeds and central cavity remain visible but are framed by a faint halo of darker discoloration where the browning is more pronounced. The apple’s skin retains its glossy red coloration, but subtle moisture loss gives it a less vibrant sheen. The lighting in the scene remains consistent, ensuring that the changes in texture and color are highlighted, and the ambient setting continues to be neutral with a clean white background, emphasizing the transformation of the apple’s flesh over time.
| ||
Draw what it will look like after 200 years.
|
After 200 years exposed to the elements, the once smooth and uniform stone bust now appears weathered and aged, with its surface marred by dark spots, stains, and patches of discoloration resulting from centuries of rain, wind, and biological growth. The fine details of the necklace and drapery are less sharply defined, having softened and eroded slightly, and the overall texture of the sculpture is rougher and pitted in places, with small cracks and chips evident throughout. Moss and lichen have begun to colonize the base and crevices, adding an organic greenish tinge and reinforcing the sense of age and neglect. The pedestal itself shows signs of wear, with its edges rounded and its surface mottled by years of accumulated grime and mineral deposits. In the background, the once vibrant foliage has matured and changed, with some leaves turning yellow or brown, and the garden floor is scattered with fallen leaves and debris, creating a subdued, ancient atmosphere under diffused, cooler lighting that hints at a passage of time and a shift in environmental conditions.
| ||
Draw what it will look like after after being used for a day.
|
After being used for a day, the pencil appears noticeably worn compared to its pristine original state. The sharpened wooden tip has been blunted and shortened, with the graphite point now smaller and dulled from repeated writing, and the exposed wood around the tip is darkened and slightly chipped, showing irregularities from re-sharpening and friction. The bright yellow paint along the pencil’s hexagonal body now displays faint scratches and smudges, indicating frequent handling, while the eraser at the end is visibly rounded and reduced in height, bearing dark smudges and a slightly uneven surface from erasing marks on paper. The metal ferrule shows a few tiny dents and subtle wear, catching the light in a less uniform way, and overall the pencil’s surface has lost some of its initial gloss, replaced by a matte finish where fingers have gripped it throughout the day. The scene under neutral, even lighting highlights these subtle textures and imperfections, giving the pencil a distinctly used, utilitarian character set against a clean, white background.
| ||
Draw what it looked like 24 hours earlier.
|
Twenty-four hours earlier, the scene depicts the chrysalis still fully intact and unbroken, with the butterfly inside not yet beginning to emerge. The outer shell of the chrysalis appears smooth and taut, with a faintly greenish-golden hue covering most of its surface, and a slight translucency hinting at the developing butterfly within but without any visible splits or ruptures. The butterfly’s wings are discernible only as shadowy, blurred shapes pressed against the inner wall of the chrysalis, their orange and black patterns muted and less defined than in the later stage. The leaf and stem to which the chrysalis is attached remain unchanged, with the lighting softly illuminating the delicate textures and emphasizing the undisturbed, pristine state of the chrysalis. There is no sign of movement or the crumpled black and orange wings seen during emergence; instead, the entire structure hangs quietly, encapsulating the butterfly in its final moments of transformation before breaking free. The background remains a uniform dark tone, keeping the focus on the subtle gloss and natural coloration of the untouched chrysalis.
| ||
Draw what it will look like one hour later.
|
One hour later, the glass of tea has deepened in color, transforming from a light golden hue to a rich, dark amber, indicating that the tea leaves have continued to steep and release their pigments and flavors into the water. The liquid appears more opaque and robust, with a warmer and more saturated tone under the same diffuse lighting conditions. The dried leaves floating on the surface are now partially rehydrated and slightly swollen, their edges less curled and their greenish-brown color darkened from prolonged exposure to the hot tea. Some leaves have begun to sink lower in the glass, suspended at various depths, while a few remain near the surface, adding visual texture and complexity to the drink. The surrounding environment remains unchanged, with a smooth, light gray tabletop and scattered dry leaves, but the overall impression is of a stronger, more intensely brewed tea, with subtle steam possibly lingering above the surface, hinting at its warmth and freshness.
| ||
Draw what they will look like ten years later.
|
Ten years later, the boy in the scene has grown significantly taller, now appearing as a young adolescent nearly matching the adult’s shoulder in height, with a more mature build and longer limbs. His clothing has changed to fit his increased stature and age, featuring a brown jacket over a light shirt and a pair of fitted dark jeans, along with sturdy shoes, giving him a more mature and coordinated look. The adult beside him stands with a similar posture as before, but his appearance shows subtle signs of aging, such as slightly grayer hair and deeper lines on his face, while his clothing—an earth-toned jacket, collared shirt, and jeans—remains consistent in style but may show a touch more wear. The background retains its neutral, softly-lit setting with minimal environmental detail, though the small tufts of grass and yellow wildflowers at their feet seem a bit fuller and more established, suggesting the gentle passage of time in the scene’s natural elements. The overall lighting is warm and even, highlighting the continuity and evolution of their relationship and individual growth over the decade.
| ||
Draw what it will look like after 50 years.
|
After 50 years underwater, the wooden boat has undergone significant transformation due to prolonged submersion and the relentless effects of time. The once intact and sturdy hull now appears severely decayed, its wood darkened, frayed, and splintered in many places, with numerous planks either missing or collapsed inward, exposing the skeletal framework beneath. Thick mats of algae and aquatic plants drape over the boat’s sides and interior, their dense, fibrous textures creating a tangled layer of green and brown growth that clings to every surface and hangs down in wispy tendrils toward the sandy lakebed. The boat is partially buried in fine silt, with sediment having accumulated around and inside the hull, softening the outlines of the structure and partially obscuring the lower portions. Small colonies of freshwater mussels and snails dot the exposed wood, while patches of encrusting organisms—perhaps barnacles or lichen—pockmark the remaining surfaces, adding rough, irregular textures. The light filtering through the water above is dimmer and more diffuse, casting a ghostly, bluish-green hue over the wreck and the surrounding environment. The water appears more turbid, with fine particles suspended in the current, and aquatic plants and faint outlines of fish now populate the background, suggesting a vibrant ecosystem has claimed the boat as part of its underwater landscape. The overall scene is one of advanced decay and natural reclamation, with the boat transformed from a recognizable vessel into a fragmented, organic part of the lakebed environment.
| ||
Draw what it looked like at sunrise.
|
At sunrise, the cityscape transforms as the first light of day gently washes over the scene, casting a warm, rosy hue across the sky and bathing the tall buildings in soft, golden-pink illumination. The sun sits low on the horizon, its rays stretching out in dramatic beams that pierce through the scattered clouds, creating long and diffuse shadows that fall across the urban landscape. The high-rise skyline in the distance is partially shrouded in a delicate morning haze, lending the buildings a slightly softened, ethereal appearance. The central avenue, lined with trees and flanked by mid-rise residential and commercial blocks, reflects the early sunlight in subtle glimmers along the smooth texture of the road, while the vehicles traveling in both directions catch hints of gold and rose on their roofs and windows. The air appears fresh and crisp, with the overall lighting more subdued and gentle compared to the midday sun, and the atmosphere is imbued with a sense of calm anticipation as the city awakens under the tranquil, pastel-colored dawn.
| ||
Draw what it will look like after being kept in a daily environment for a year.
|
After being kept in a typical daily environment for a year, the bananas, which were once firm and bright yellow with smooth, taut skin, have undergone dramatic and visible decay. Their peels have become heavily mottled with large, dark brown and black patches, and the overall color has shifted to a duller, more muted yellow interspersed with areas of extensive bruising and discoloration. The texture of the bananas appears much softer and more shriveled, with the skins losing their plumpness and developing a wilted, leathery appearance. The stems have darkened and dried out, looking shriveled and brittle, and there may be signs of slight collapse or sagging in the fruit bodies themselves, indicating the loss of internal moisture and structure. The wooden surface beneath the bananas remains unchanged, but the lighting now highlights the more matte and uneven texture of the overripe, decomposing fruit. The background plants and pots are still present, but the visual focus is drawn to the striking transformation of the bananas as they display the full effects of long-term natural aging and spoilage in an indoor setting.
| ||
Draw what it will look like ten years later.
|
Ten years later, the once delicate seedling has grown into a mature, majestic tree dominating the landscape with its broad, dense canopy of lush green leaves that filter the sunlight, casting a wide, dappled shadow on the grassy ground below. The slender stem has thickened into a sturdy, textured trunk marked with deep grooves and branching out into numerous strong, twisting limbs that support the expansive crown. The soil around the base is now tightly packed and shaded by the tree’s spread, with roots visibly anchoring the trunk firmly into the earth. The surrounding area is transformed into a vibrant meadow with rich green grass, while the background reveals a forest of similarly mature trees under a clear sky with soft sunlight illuminating the scene, creating a bright and serene atmosphere that speaks to a decade of uninterrupted growth and natural development.
| ||
Draw what the scene will look like when the speaker plays strong, powerful music.
|
When the speaker begins to play strong, powerful music, the entire scene is transformed by the palpable energy of the sound waves. The wooden speaker, with its smooth, honey-toned surface and rounded black speaker covers, appears to vibrate subtly, resonating with the deep bass and clear treble of the music. The air around the speaker seems to shimmer with invisible movement, and the lighting in the room takes on a dynamic quality, as if pulsing faintly in sync with the rhythm. On the table, the glass of pale white wine is caught in the vibrations; tiny ripples form across its surface, distorting the reflection of the room’s warm light and creating a pattern of gentle waves in the liquid. The coaster beneath it remains steady, but the entire environment now feels alive with motion, as if the powerful music has softened the edges of objects and blurred the boundaries between them. The scene adopts a slightly hazy quality, with outlines becoming less distinct, evoking the sense of immersive sound filling the space so completely that it almost overwhelms visual clarity. Every element in the room—wood grain, glass, and ambient shadows—contributes to an atmosphere charged with the energy and resonance of strong music, making the space feel vibrant, dynamic, and transformed by auditory power.
| ||
Draw how it would look after being put into the washing machine and rinsed with a small amount of water but without adding any detergent.
|
After being put into the washing machine and rinsed with only a small amount of water and no detergent, the t-shirt appears partially damp with irregular wet patches and translucent streaks running down the front, indicating where the water has loosely rinsed the surface. The original stains and splatters, which are deep reddish-brown and scattered across the beige fabric, remain largely visible and intact, showing minimal fading or removal due to the absence of cleaning agents. The fabric clings slightly in the areas that are most saturated, with small beads and droplets of water catching the ambient light, creating a glossy sheen in contrast to the surrounding dry, matte sections. The overall appearance is one of a shirt that has been superficially rinsed, where the dirty and stained areas persist undisturbed, and the wetness is unevenly distributed, emphasizing the lack of a thorough or effective cleaning process. The lighting remains soft and neutral, highlighting the texture and contours of the fabric as well as the contrast between the wet and dry regions.
| ||
Draw what they will look like when fully inflated.
|
After being fully inflated, the balloons that were once limp and wrinkled now appear as smooth, glossy spheres with vibrant, saturated colors. Each balloon expands to a large, rounded shape, their latex surfaces stretched taut and gleaming under bright, even lighting, creating crisp reflections and subtle highlights that emphasize their smooth texture. The red, yellow, green, blue, and purple balloons are now plump and firm, their necks gathered tightly at the base, and they float upright with a sense of buoyancy. The balloons are evenly spaced and do not overlap, each one presenting a perfect, symmetrical oval silhouette against a clean white background, with the colors standing out boldly. The overall scene conveys a festive, lively atmosphere, with each balloon appearing full of air, their surfaces free from creases or folds, and their vibrant hues enhanced by the light.
| ||
Draw what it will look like after being inflated beyond capacity.
|
After being inflated beyond capacity, the once smooth, round orange balloon has violently burst, leaving behind a chaotic scattering of torn latex fragments suspended in midair against the pale wall. The remnants of the balloon are twisted and jagged, with some pieces curled and others stretched, their surfaces now matte and wrinkled rather than glossy and taut. Tiny shreds and larger torn sections radiate outward from the epicenter of the explosion, while bits of orange rubber cling to the surrounding area and cast faint, irregular shadows in the same soft light that previously illuminated the intact balloon. The string that once anchored the balloon hangs limply, now detached and surrounded by the debris, evoking the sudden, forceful release of energy that accompanied the balloon’s rupture. The overall scene feels abruptly transformed from orderly and serene to dynamic and fragmented, with the delicate shreds of latex and the disturbed shadow on the wall emphasizing the dramatic aftermath of over-inflation.
| ||
Draw what it will look like after being peeled.
|
After being peeled, the orange in the image is transformed from its original state with a bright, textured, and slightly glossy outer rind to reveal its inner surface, which is now exposed and segmented. The vibrant orange peel has been carefully removed in sections, unveiling the smooth, glistening, and slightly translucent flesh beneath. The surface of the peeled orange is moist and glossy, with each individual segment clearly delineated by thin, pale membranes that create a star-like pattern radiating from the central core. The color is lighter and more saturated compared to the rind, reflecting the juicy, fibrous texture characteristic of fresh citrus. The stem is now absent, and the overall shape appears slightly irregular due to the separation of segments. The lighting remains soft and natural, casting gentle highlights on the moist, dimpled flesh, while the background and surface continue to provide a neutral, unobtrusive setting that keeps the focus on the transformed, peeled fruit.
| ||
Draw what the scene would look like when the magnet moves in the opposite direction.
|
After the magnet moves in the opposite direction, the red rectangular magnet with the white "N" label is positioned on the right side of the scene, now moving toward the left as indicated by a bold black arrow pointing to the left. The wire coil remains in the same upright position, but the induced current in the circuit reverses, causing the needle inside the large yellow circular gauge at the bottom to swing in the opposite direction compared to its original orientation. The lighting remains bright and even, with clean white space surrounding the components, and the wire loops retain their smooth, continuous form. The overall configuration clearly shows the magnet's reversed movement and the corresponding, unambiguous reversal of the needle on the indicator, making the direction of both the magnet and the generated current visually explicit.
| ||
Draw the appearance of the umbrella after it has been spun and then immediately stopped.
|
After the umbrella has been spun and then immediately stopped, its translucent canopy appears slightly blurred, with the raindrops that were previously settled now streaked outward in fine, curved trails, especially along the edges and across the panels, creating a sense of recent rapid motion. Some droplets cling to the surface, but many have been flung outward, leaving patches where water is thinner and the plastic looks more transparent. The background foliage and rainfall remain softly out of focus, but the umbrella itself now carries subtle signs of movement—a few larger drops are caught mid-slide, and the surface reflects faint, swirling patterns from the brief spin. The lighting is unchanged, with diffuse daylight filtering through rain and greenery, but the overall effect is that of an umbrella that has just come to rest, marked by the dynamic traces of spinning water and a lingering sense of motion in the still-damp air.
| ||
Draw what it will look like after being deep-fried.
|
After being deep-fried, the shrimp on the plate have transformed dramatically from their original glossy, pink-and-white, slightly translucent appearance to a uniform golden-brown color, each coated in a thick, crispy breading. The once smooth and moist texture of the shrimp is now concealed beneath a rough, craggy exterior, with the breading forming an even, crunchy crust that covers every curve and edge. The shrimp tails, previously vivid red and slightly shiny, now appear a deeper, slightly darker hue and are partially enveloped by the crispy coating. The circular shapes of the shrimp are preserved, but the breading slightly rounds out their edges, creating a plumper look. The green leaves underneath remain unchanged, providing a fresh contrast to the rich, warm tones of the fried shrimp above. The overall scene is now dominated by the matte, textured surface of the deep-fried crust, with the lighting emphasizing the appetizing golden color and the inviting crispiness of each piece, making the dish appear hearty and indulgent.
| ||
Draw what it will look like after a cat has played with it.
|
After a cat has played with the scene, the once pristine roll of toilet paper now appears disrupted and lively, with the outer sheets partially unwound and crumpled, some torn and flattened where the cat has pounced and batted at the paper. A playful tabby cat is crouched on the unwound strip, its fur slightly ruffled and its attention focused on the paper, as if ready to attack it again. The area around the roll is marked with faint paw prints, scattered tufts of cat fur, and light scratch marks, suggesting energetic movement and mischief. The previously smooth and even surface of the toilet paper is now marred with creases, small tears, and claw marks, while the ambient lighting remains soft and neutral, highlighting the playful chaos introduced by the cat’s antics. The overall scene feels dynamic and slightly messy, with the orderly appearance of the original roll now replaced by the clear evidence of feline playfulness.
| ||
Draw what it will look like after hydraulic compression.
|
After hydraulic compression, the red aluminum can appears significantly deformed and shortened, with its smooth cylindrical shape now visibly crumpled and its height reduced by nearly half. The top and bottom edges of the can have been pushed closer together, causing the once straight sides to buckle inward with pronounced horizontal creases and irregular dents. The metallic surface, which was previously sleek and reflective, now exhibits a wrinkled texture with multiple sharp folds catching the light unevenly, creating varied highlights and shadows across the red paint. The top of the can, once flat and taut, now bulges downward with distorted concentric ridges, revealing the forceful impact of compression. The overall form is more squat and compact, with the diameter appearing slightly wider in comparison to its new, much shorter height. The can rests on the same clean, white surface, but the altered shape and surface irregularities make it clear that it has undergone a strong mechanical squeezing, resulting in a visibly crushed and compacted appearance.
| ||
Draw what is seen after putting a drop of iodine solution(typically brownish) on the cut surface.
|
After a drop of brownish iodine solution is placed on the freshly cut surface of the steamed bun in the bamboo steamer, the soft, airy white interior of the bun develops an intense color change. The cut surface, originally a uniform pale and slightly textured white, now transforms into a striking deep blue-black hue, especially in areas with the densest crumb. This dramatic color shift indicates the presence of starch reacting with the iodine. The blue-black coloration spreads unevenly across the fluffy, porous texture of the bun, accentuating the tiny air pockets and the delicate fibrous structure within. Meanwhile, the rest of the scene remains unchanged, with the untouched buns retaining their smooth, pale exteriors under the soft, natural light filtering onto the wooden steamer and the yellow rim. The contrast between the vivid blue-black of the treated cut surface and the creamy whiteness of the surrounding buns is bold and visually striking, drawing immediate attention to the chemical reaction that has taken place.
| ||
Draw what it will look like when it is cut in half from the middle.
|
After the cake is cut in half from the middle, the scene on the plate changes distinctly: the previously intact rectangular slice of layered sponge cake, with its smooth, golden-brown edges and neatly stacked layers of cream, strawberry jam, and fresh strawberries on top, is now divided vertically into two equal sections. The cut runs directly through the center of the cake, exposing the moist, airy yellow crumb of the interior on both halves. The creamy white frosting and vibrant red jam are now clearly visible in cross-section, creating a vivid contrast against the pale yellow cake and highlighting the thick, luscious filling sandwiched between the layers. The halved strawberries that once sat whole on top are now sliced cleanly, revealing their juicy, seeded interiors and adding a fresh, inviting look to the exposed surfaces. The two separate pieces sit side by side on the white, scalloped plate, with clean, straight edges where the knife passed through, and a few crumbs scattered nearby. Soft daylight continues to illuminate the scene, enhancing the rich textures of the cake, the glossy red of the strawberries, and the creamy smoothness of the frosting, while the background remains softly out of focus, ensuring all attention is on the neatly bisected dessert.
| ||
Draw what it will look like after half of the liquid is poured out.
|
After half of the liquid is poured out, the Coca-Cola glass now appears only half full, with the dark, fizzy beverage filling the lower portion of the curved glass and a distinct horizontal line marking the new liquid level at the midpoint. The remaining cola maintains its rich, translucent brown color with visible carbonation bubbles clinging to the interior, but the upper half of the glass is now empty, exposing the clear, slightly fogged glass surface above the beverage. The ice cubes, once floating at the top, are now partially exposed or resting atop the reduced liquid, with some pressed against the inside of the glass. The lemon slice garnish continues to rest on the rim, positioned above the empty space, and the foam head that previously crowned the drink has dissipated or remains as a thin, uneven ring around the inner glass at the former liquid level. The condensation on the exterior of the glass persists, especially near the bottom where the cold soda remains, but the upper portion of the glass is drier. The scene retains its warm ambient lighting and soft focus background, with the wooden tabletop still supporting the glass, but the overall impression is one of a partially consumed, refreshing drink.
| ||
Draw what it will look like after being hit by a baseball.
|
After being struck by a baseball, the window’s right pane displays a large, jagged hole in the glass slightly off-center, with radiating cracks branching outward in an irregular spiderweb pattern. Shards of broken glass cling to the wooden frame and some have fallen onto the reddish stone windowsill below, catching the light with sharp, reflective edges. Through the gap, the white curtain behind the window is torn and pushed inward, suggesting the force of the impact, and a few of the potted plants on the sill have been disturbed—a small green plant is tipped over, spilling some soil, while the leaves of others are dusted with tiny slivers of glass. The surrounding beige stucco wall remains intact, but there are faint scuff marks around the window frame from the ball’s collision. The lighting is unchanged, with daylight illuminating the scene and highlighting the chaotic aftermath of the impact against the otherwise orderly and peaceful setting.
| ||
Draw what it will look like after being sharpened.
|
After being sharpened, the pencil in the image stands taller and more elongated, with its wooden body maintaining the same vibrant, smooth orange finish and hexagonal shape, but the top now features a freshly exposed, cleanly carved wooden cone that tapers to a much finer, sharper graphite point. The freshly shaved wood around the tip is a lighter, almost creamy color, contrasting with the original, more worn texture. The graphite point itself is longer and more defined, coming to an acute, crisp tip, with subtle reflections from the ambient light highlighting its smooth, slightly glossy surface. The eraser at the bottom remains intact, its pink hue and slightly roughened texture unchanged. The lighting continues to be soft and diffuse, casting a gentle shadow onto the neutral, matte surface beneath the pencil, while the background stays a muted, uniform gray, ensuring the focus remains on the newly sharpened, pristine pencil.
| ||
Draw what it will look like when infested with termites.
|
After being infested with termites, the once smooth and polished wooden bookshelf now appears damaged and deteriorated, with numerous irregular holes of varying sizes scattered across the surfaces of the shelves and lower panels. The wood around these openings looks rough, splintered, and brittle, with jagged edges and areas where the light finish has worn away, exposing a duller, grayer, and more fibrous interior. Some holes are clustered together, creating a honeycombed effect, while others are isolated, each marked by powdery sawdust deposits and fine cracks radiating outward. The overall structure seems weakened, with visible signs of internal tunneling and decay, and the formerly clean and even texture is now marred by patches of dust and debris. The lighting remains consistent, casting natural shadows into the newly formed cavities, which emphasize the depth and extent of the termite damage that has compromised the integrity and appearance of the bookshelf.
| ||
Imagine a thermal camera is used to observe this scene. Draw what it would capture.
|
Seen through the lens of a thermal camera, the scene transforms dramatically into a vivid display of temperature gradients represented by false colors. The fluffy cat sprawled across the back of the upholstered couch is rendered in intense, glowing shades of red and orange, indicating its body heat radiating warmly against the cooler environment. The densest and most insulated parts of the cat, such as its torso, head, and thick tail, appear in the brightest reds, while the extremities like the paws and face are slightly cooler but still stand out in orange and yellow hues. The couch beneath the cat shows up in cooler greens and subtle blues, its fabric absorbing and reflecting less heat except for the spots directly in contact with the cat where faint orange halos suggest warmth transferred from the animal’s body. The background, including the softly lit room, windows, and distant surfaces, appears in cool greens and blues, emphasizing their lower temperature compared to the cat. The overall effect is a striking, high-contrast image where the relaxed feline is the undeniable focal point, glowing with warmth amidst the subdued, cool-toned surroundings, while the detailed tufting of the upholstery is still visible but subdued in cooler shades.
| ||
Draw what it will look like after it hits an obstacle.
|
After the high-performance black sports car with white racing stripes hits an obstacle, the scene transforms dramatically: the car is now positioned off the road, its front end crumpled and deformed from a collision with a sturdy tree trunk, with the hood bent upwards and the bumper shattered, exposing damaged internal components and twisted metal. Fragments of broken glass, carbon fiber, and plastic are scattered across the asphalt around the vehicle, and faint streaks of red and orange debris suggest the impact’s force. The car's sleek surface is marred by dents and scratches, particularly concentrated on the front passenger side where the point of impact occurred, while the once-pristine headlights are cracked or missing. The surrounding environment remains unchanged, but the tranquil suburban street is now marked by the aftermath of the crash, with a few neighboring vehicles visible in the background and the early evening light casting long, somber shadows over the scene. The tree stands firm, its rough bark only slightly scuffed, while the sports car’s aggressive posture is replaced by a sense of abrupt stillness and damage, the setting underscored by scattered debris and a noticeable disruption in the calm residential atmosphere.
| ||
Draw what it will look like after being exposed to the sun for one hour.
|
After being exposed to the sun for one hour, the chocolate ice cream in the cone has lost its firm, rounded scoops and developed a glossy, melted surface. The rich brown ice cream has softened and begun to collapse, oozing over the edges of the waffle cone in thick, shiny drips that cling to the rim and trail down the sides. The texture is now smooth and viscous, with the once sharp creases and cracks dissolving into a semi-liquid mass. The sunlight has warmed the ice cream, intensifying its sheen and causing it to pool unevenly, while the waffle cone remains intact but slightly glossy from contact with the melting ice cream. The overall appearance is messy and dynamic, with the ice cream visibly succumbing to the heat, creating a sense of sticky warmth and impending drips onto the hand holding the cone. The background and lighting remain the same, but the transformation of the ice cream dominates the scene, clearly illustrating the effects of prolonged sun exposure.
| ||
Draw what it will look like after many people have walked on it.
|
After many people have walked on the pristine snowy yard in front of the brick house, the once smooth, untouched blanket of snow now bears numerous overlapping footprints of varying sizes and depths. These footprints create a crisscrossing pattern that leads from the foreground toward the house, with some paths veering off toward the bushes and trees. The snow within each footprint has been compressed and darkened slightly, contrasting with the surrounding soft, powdery white surface, while the edges of the prints remain slightly raised and irregular. The overall texture of the snow has become uneven and patchy, with certain areas appearing more trampled and compacted, and the immaculate appearance of the original snowfall is replaced by a lively, well-trodden scene that attests to frequent passage and activity. The lighting remains soft and diffuse, highlighting the contours and shadows within the footprints, while the rest of the wintery landscape—snow-laden evergreens, bare deciduous trees, and the red-brick house—remains unchanged, still nestled under a fresh layer of snow.
| ||
Draw what it will look like if it were crumpled into a ball.
|
After the sheet of blank white paper, previously hanging flat against the beige wall with the help of two black binder clips, is crumpled into a ball, its form is radically transformed into a roughly spherical, compact mass resting on the same beige surface. The once smooth and unblemished surface of the paper is now densely covered in sharp creases, deep folds, and irregular angular ridges that reflect the light unevenly, giving the ball a complex, textured appearance. The binder clips, which were clipped to the upper edge of the original sheet, now protrude awkwardly from the crumpled surface, their metal handles jutting out from the tight mass of paper at odd angles. The ball is about the size of a large fist, and the previously crisp, straight edges of the paper are now hidden within the folds, with no flat areas remaining visible. The lighting remains soft and even, casting gentle shadows into the crevices of the wrinkled sphere, accentuating its rumpled, irregular surface and highlighting the transformation from a flat, pristine sheet to a chaotic, three-dimensional ball.
| ||
Draw what it will look like after being left outside in the rain for a whole day.
|
After being left outside in the rain for a whole day, the once crisp and sturdy cardboard box now appears heavily soaked and visibly weakened, its surface darkened unevenly by absorbed water. The box’s edges and corners have lost their sharpness, curling and warping as the saturated cardboard sags under its own weight. Large, irregular wet stains cover the flaps and sides, with water streaks running vertically down from the top, pooling around the base where the cardboard meets the ground. The box’s structure is visibly compromised, with bulging and softened walls, and the area beneath the box is surrounded by a puddle of murky water mixed with cardboard fibers, giving the entire scene a sense of dampness and decay. The lighting and environment suggest a gloomy, overcast day, emphasizing the soggy, deteriorated state of the box as it sits forlornly on a rain-soaked surface.
| ||
Draw what it will look like after being shattered by a hammer.
|
After being shattered by a hammer, the elegant porcelain vase that once stood whole and pristine on the neutral surface is now broken into several large, jagged shards scattered around its base, with smaller fragments and powdery debris fanned out across the foreground. The formerly smooth and glossy ceramic surface now reveals rough, uneven edges where the force of the hammer split the material, exposing the pale, matte interior beneath the lustrous glaze. The intricate tree design that wrapped gracefully around the body of the vase is now fractured and interrupted, with portions of the painted branches and leaves visible on the separated pieces lying haphazardly on the tabletop. The lighting remains soft and even, casting subtle shadows from the shards and highlighting the contrast between the intact upper portion of the vase and the chaotic arrangement of broken pieces below, evoking a sense of sudden destruction and irreversible change within the calm, gray-toned environment.
| ||
Draw what it will look like after a dog chews on it.
|
After a dog has chewed on the tennis ball, its once smooth, vibrant yellow-green felt surface is now ragged and torn, punctuated by numerous jagged holes and uneven bite marks of varying sizes. Large chunks of the outer felt covering have been ripped away, exposing the rough inner rubber shell in several places, and the edges of these holes are frayed, with tufts of fuzz sticking out in different directions. Some areas are stained with dirt and saliva, giving the ball a grimier, more worn appearance. The spherical shape has become slightly distorted from the pressure of strong jaws, and the surface now appears uneven and lumpy. The ball's seam is partially split open, with bits of the white inner lining visible through the gaps, while the entire object looks softer, more pliable, and heavily abused, clearly marked by the chaotic energy of a dog's play. The lighting remains bright and even, highlighting the contrast between the chewed, damaged sections and any small patches of intact felt, while the background stays clean and simple, focusing all attention on the battered, well-loved tennis ball.
| ||
Draw what it will look like after being bitten by people.
|
After being bitten by people, the apple, which once displayed a smooth, flawless red and yellow skin with a glossy sheen, now features a large, irregular bite taken out of one side. The bitten area exposes the pale, creamy flesh of the fruit, contrasting sharply with the shiny outer skin. The edges of the bite are uneven and slightly jagged, showing the marks left by human teeth, and the core with its seeds is now partially visible, revealing a rough, fibrous texture at the center. The leaf and stem remain attached at the top, untouched, while the lighting continues to softly illuminate the apple, casting subtle shadows on the beige surface and highlighting the moist, freshly bitten interior. The overall scene conveys the immediate aftermath of the apple being bitten, with a sense of freshness and realism in the newly exposed flesh.
| ||
Draw the appearance after chemical corrosion.
|
After chemical corrosion, the once shiny, smooth chrome surface of the wrench has become heavily marred by patches of rust and discoloration, giving the metal a rough, pitted texture and an uneven, matte finish. The silvery luster has been replaced by a mottled appearance dominated by reddish-brown and dark orange tones, with large, irregular spots of black corrosion scattered across the tool’s length, especially around the open end and the ring. The engraved markings, once crisp and clear, now stand out less sharply against the corroded background, partially obscured by rust deposits. Edges of the wrench appear slightly worn and jagged in places, suggesting some material loss due to the corrosive process. Overall, the lighting reflects more dully off the surface, emphasizing the irregular, damaged texture, and the wrench has a neglected, aged appearance as a result of prolonged exposure to harsh chemicals.
| ||
Draw the consequence of capillary action.
|
As a result of capillary action, the red-tinted liquid in the glass has been drawn upward through the stem of the white rose, visibly coloring the stem itself with a deep red hue that intensifies as it approaches the base of the flower. The once uniformly green stem now displays a striking red coloration that traces the path of the absorbed liquid, creating a vivid contrast against the fresh green of the leaves and the delicate, creamy white petals of the rose. The lighting remains soft and neutral, highlighting the new coloration in the stem and creating subtle reflections on the surface of the glass and the red liquid within. The overall scene now clearly demonstrates the process and consequence of capillary action, with the vibrant red rising through the plant’s vascular tissue and altering the visual character of the rose’s lower structure while the blossom and leaves above remain unchanged in color and texture.
| ||
Draw what it will look like after being bitten by a mosquito.
|
After being bitten by a mosquito, the previously smooth, evenly textured patch of pale skin now displays a distinct, raised bump at the site of the bite. This swollen area is circular and slightly domed, with a diameter of about one to two centimeters, and it stands out against the surrounding skin due to its reddish coloration that gradually fades into the normal skin tone at the edges. The center of the bump may appear deeper red or even purplish, indicating localized irritation, while the periphery is more pinkish. The skin’s fine texture and tiny hair follicles remain visible, but the area around the bite looks tauter and somewhat shinier due to mild swelling. Ambient lighting creates a gentle highlight on the swollen area, emphasizing its rounded shape, and the overall scene retains a softly blurred green and tan background, ensuring that the focus remains on the pronounced mosquito bite and the subtle inflammation it has caused.
| ||
Draw what it will look like after being roasted by fire.
|
After being roasted by fire, the once raw, bright red slab of meat has transformed into a richly browned and slightly charred piece of cooked steak. The surface now displays a deep, caramelized color with pronounced grill marks and areas of crisp, darkened crust created by direct exposure to intense heat, while the edges appear firmer and more compact due to moisture loss during roasting. The texture has shifted from glossy, moist, and smooth to a drier, more textured exterior with a subtle sheen from rendered fat. Any visible marbling has blended into the meat, contributing to the succulent appearance, and the overall shape has contracted slightly, giving the steak a denser and more robust form. The lighting accentuates the glistening highlights on the caramelized surface, emphasizing the savory, well-cooked quality. In the background, the accompanying herbs and eggs remain unchanged, but the environment now conveys a sense of warmth and culinary preparation, with the roasted steak as the inviting focal point.
| ||
Draw what it will look like after it is broken.
|
After the egg is broken, the once intact brown shell is now shattered into several uneven pieces scattered across the light wooden surface. The broken shell exposes its inner white membrane and sharp, jagged edges, with some fragments leaning against each other while others lay flat nearby. In the center, the egg's contents have spilled out: a glossy, translucent egg white spreads irregularly across the table, while a rich, golden-yellow yolk pools in a thick, rounded shape, partially held by the shell and partially oozing onto the wood. The overall appearance is messy and organic, with the wet, viscous textures of the egg contrasting starkly with the dry, matte finish of the broken shell and the smooth, pale background. The lighting remains soft and natural, casting gentle shadows beneath the shell fragments and enhancing the shine and color of the spilled yolk and white. The scene conveys a sense of sudden disruption, with the once pristine egg now visibly and irreversibly broken.
| ||
Draw an image showing the given objects arranged in a line from left to right in order of shortest to longest.
|
The scene now displays the given kitchen utensils—chopsticks, a spoon, and a spatula—arranged neatly in a straight horizontal line from left to right, with their order determined by their physical length from shortest to longest. On the leftmost side of the pristine white background sits the compact, rounded silver spoon, its reflective surface catching the ambient light and highlighting its smooth metallic texture. Immediately to its right are the slender wooden chopsticks, placed parallel to each other, their pale bamboo finish and subtle grain patterns contrasting against the cool sheen of the spoon. Furthest to the right is the long-handled spatula, its metal shaft and broad, flat head extending further than the other objects, with a polished, slightly brushed metallic texture and a light wood grip at the end. The objects are evenly spaced along the same visual plane, with their lower edges aligned for an orderly appearance. The lighting remains soft and even, casting gentle shadows beneath each utensil and emphasizing the varying materials and proportions among the items, making the progression in length immediately apparent and unambiguous.
| ||
Draw an image showing the given books arranged in a line from left to right according to the number of books stacked, from most to least.
|
The scene now shows the four groups of books carefully arranged in a horizontal line on a clean, white background, ordered from left to right by the number of books in each stack, starting with the largest stack and ending with the smallest. Furthest to the left, the tallest and most prominent stack consists of a visually dynamic, slightly spiraling tower of numerous books of varying colors and thicknesses, with an open book perched on top, its pages fanned out and casting gentle shadows across the uppermost volumes. Next to it, moving rightward, sits a neatly stacked pile of five hardcover books with pale covers and blue-edged pages, each perfectly aligned and increasing in height from bottom to top, forming a tidy staircase shape. To the right of this group, a pair of books—a red and a blue hardcover—lie flat and slightly offset, with the red book resting atop the blue one, their crisp covers and spines catching the soft ambient light. On the far right, a single large, tan-colored book with a textured cover and embossed edges lies at a slight angle, its solid, rectangular form contrasting with the neighboring stacks. The arrangement presents a clear visual progression from the most numerous stack on the left to the single book on the right, with each group distinctly separated and evenly spaced, all illuminated by even, diffuse lighting that highlights their shapes, colors, and textures without casting harsh shadows.
| ||
Generate an image combining these shapes into a house, with the small rectangle as a chimney.
|
The image now depicts a simple, stylized house constructed from the original shapes. The large brown rectangle serves as the main body of the house, positioned horizontally on a white background. Resting perfectly centered on top of the rectangle is the muted pink triangle, its base aligned with the upper edge of the rectangle to form a symmetrical peaked roof. The small, dark gray rectangle is placed vertically along the left side of the roof’s slope, emerging slightly above the peak of the triangle to function as a chimney. All shapes retain their flat, solid colors and smooth edges, and the house appears evenly lit in a neutral, shadowless environment, creating a clean, geometric, and easily recognizable house silhouette against the uncluttered white backdrop.
| ||
Generate an image of a fully assembled small table using the provided components.
|
After editing, the image now shows a fully assembled small table standing upright on a flat, neutral background. The table consists of a sturdy, rectangular tabletop with a smooth, even surface and clean, straight edges. Four legs, each solid and square in cross-section, are securely attached at each corner of the tabletop, extending straight down to the floor and spaced evenly to provide stability. The legs fit flush against the underside of the tabletop, with no visible screws or assembly marks, giving the table a cohesive and polished appearance. The lighting is even and clear, casting soft shadows beneath the table that anchor it realistically in the scene. The overall look is simple, functional, and minimalistic, with the components seamlessly joined to create a compact, practical piece of furniture ready for use.
| ||
Draw an image showing a heart shape formed by combining the provided shapes.
|
The scene has been transformed so that the provided geometric shapes are rearranged and combined to form a single, cohesive heart shape at the center of the image. The two blue semicircles, originally positioned side by side, are now placed adjacent to each other with their flat edges aligned horizontally and touching, forming the rounded upper lobes of the heart. Directly beneath where the semicircles meet, the blue downward-pointing triangle is positioned so that its top edge seamlessly connects with the bottom edges of the semicircles, creating the tapered lower point of the heart. The result is a smooth, symmetrical heart shape with a gentle gradient in the blue color, subtle shading along the curved surfaces of the semicircles, and crisp, defined outlines. The overall composition is centered on a clean white background, with soft, even lighting that ensures all contours and edges of the joined shapes are clearly visible, emphasizing the new, singular heart form created from the original elements.
| ||
Draw an image showing the provided object completed into a full car.
|
After completing the object into a full car, the scene now shows a modern, silver sedan with a sleek, aerodynamic body and all four wheels fully assembled and matching in design and size. The front left side, which previously displayed an exposed brake disc and lacked a tire, is now fitted with a stylish alloy wheel identical to the others, seamlessly integrated with the car’s bodywork. The vehicle’s metallic paint gleams under soft, studio lighting, highlighting its smooth, unblemished surface and precise contours. The car sits evenly on the light-colored, tiled floor, with each tire properly aligned and resting firmly on the ground, giving the impression of readiness and stability. Reflections on the glossy paint accentuate the streamlined form and subtle curves of the sedan, while the windows remain tinted, offering a hint of the clean, well-upholstered interior. The overall environment retains its minimalistic, neutral backdrop, ensuring that the focus remains on the now fully realized, pristine automobile, complete in every detail from the sharp headlights to the intricately designed taillights and polished chrome accents.
| ||
Draw an image showing a complete clock face with an hour hand at six, and both minute and second hands pointing at twelve.
|
The edited image should display the same round clock with a metallic silver frame and a clean, white face, featuring bold black numerals and tick marks around the edge. After editing, the clock face will clearly show all three hands: the thickest, shortest hour hand should point directly downward at the six, marking the bottom center of the clock, while the minute hand, which is longer and thinner than the hour hand, as well as the even slimmer second hand, should both be positioned vertically upward, perfectly aligned and pointing at the twelve at the top center of the clock. The hands should be distinct in length and width, each casting subtle, soft shadows consistent with the ambient lighting of the original image. The minute and second hands should overlap precisely at the twelve, creating a visually crisp line. The overall lighting remains bright and evenly diffused, and the clock face remains uncluttered, with all numbers and tick marks clearly visible and unobscured by the hands. The background stays plain and white, ensuring the focus is entirely on the clock and its accurately arranged hands, depicting exactly six o’clock sharp with zero minutes and zero seconds.
| ||
Draw the appearance of the image after the camera has moved a far distance away.
|
After the camera has moved a far distance away, the scene appears as a wide, sweeping landscape where the train is much smaller within the frame, receding into the distance along the railway tracks that stretch straight and narrow toward the horizon. The orange locomotive and green passenger cars, once dominating the foreground, now appear more compact and less detailed, their shapes and features softened by the increased distance. The lines of yellow flowering plants in the foreground are more expansive, occupying a larger portion of the bottom of the image and adding a vibrant swath of color, while the leafless trees along the tracks form thin, repeating patterns that converge as they recede into the background. The overall lighting remains warm and golden, casting gentle shadows and enhancing the textures of the field and trees, but the train’s details—such as the numbers, headlamps, and vents—are less distinct, blending with the overall scenery. Distant hills and the hazy sky provide a sense of scale and depth, emphasizing the train’s journey through the vast countryside, while the crispness and clarity of individual objects are replaced by a harmonious blend of colors, shapes, and lines that evoke both distance and movement within the tranquil rural environment.
| ||
Draw an image showing the scene from sitting on the red chair facing toward the bookshelf on the left side of the wall.
|
From the perspective of someone sitting on the red chair at the dining table, the viewer’s gaze is directed toward the left side of the room, focusing on the built-in bookshelf integrated into the wall unit. In this view, the bookshelf appears directly ahead, filled with neatly arranged books of various colors and a few decorative objects, such as small vases and storage boxes. The shelving is part of a larger wall installation that also includes cabinets with smooth, white doors overhead and below, as well as a section for the television. The ambient light in the room is soft and natural, with daylight streaming in from the sliding glass door to the left, casting gentle shadows and illuminating the pale wooden floor. The immediate surroundings include the edge of the dining table set with cups and a small centerpiece, and to the right, glimpses of the living area with its blue-gray sofa and coffee table. The overall atmosphere is airy and organized, with a calm, inviting feel highlighted by the pastel green walls and the subtle contrast between the vibrant red chair and the muted tones of the furniture and cabinetry.
| ||
Draw an image showing the chairs symmetrically arranged on both sides of the dining table, ensuring equal spacing.
|
After editing, the dining scene now features the chairs arranged in perfect symmetry along both of the longer sides of the rectangular table. Each side of the table holds three identical chairs, evenly spaced so that the gaps between them are consistent and visually balanced, while the remaining two chairs are positioned precisely at each end of the table, also equidistant from the corners and centered in line with the table’s width. The chairs maintain their original rich burgundy upholstery and smooth, curved backs, with their black legs standing steadily on the pale, softly textured floor. The cream-colored table’s surface remains uncluttered except for a few minimalist dining objects and a carafe, all bathed in soft, diffuse lighting that heightens the clean, orderly atmosphere. Altogether, the arrangement conveys a sense of order and intentional design, with every chair’s placement contributing to a harmonious and inviting dining environment.
| ||
Draw an image showing the four chairs neatly arranged around the table and the sofa placed in a reasonable position,
|
In the edited scene, the four chairs are now neatly arranged around the rectangular dining table, with one chair placed on each of the longer sides and one chair at each end, forming a balanced and orderly arrangement. The table, with its smooth gray marble top and metallic legs, sits parallel to the window, catching the soft daylight that streams in and casts gentle, diffuse shadows on the polished wooden floor. On the tabletop, the simple ceramic dishes and black carafe remain centered and undisturbed. The pink upholstered sofa, previously set at an angle in the corner, has been repositioned to a more reasonable location against the left wall, parallel to the short wall and facing the table, making the seating area feel more cohesive and accessible. The overall environment retains its warm, inviting atmosphere, with the pastel pink walls, large sunlit window, and subtle reflections on the floor enhancing the room’s airy, organized feel, while all furniture is logically placed to encourage conversation and easy movement within the space.
| ||
Draw the front view of this building as seen from a distance.
|
Seen from a distance in a direct front view, the building appears as a tall, rectangular tower rising prominently above its surroundings, with its glass façade forming a flat, vertical plane that reflects the clear blue sky. The structure’s grid-like pattern of windows is now sharply defined and evenly spaced across the entire face, each window bordered by thin, dark metal lines that accentuate the building’s geometric regularity. The sunlight illuminates the building from the side, resulting in one face being brightly lit with crisp shadows, while the metallic and glass materials give off a subtle sheen. At ground level, the building is set against a manicured landscape of green trees arranged in neat rows, with their rounded canopies partially framing the base of the structure. Smaller buildings and light posts are visible at the periphery, but the main tower dominates the scene, standing isolated and monumental against a vast expanse of deep blue sky. The overall effect is one of modern urban elegance, with the building’s sleek, reflective surfaces and regular lines highlighted by the open, sunlit environment and the orderly greenery at its feet.
| ||
Arrange these components to assemble a complete human face. The elements can be reused as needed to complete the figure.
|
The edited image now displays a complete human face assembled from the provided components. Centered against a plain white background, the face is constructed using two identical eyes, each with a curved eyebrow above and detailed with a circular iris and upper eyelid crease, symmetrically positioned on either side of the face. Between the eyes, the simple curved outline of the nose is placed centrally, with its rounded nostrils and subtle bridge suggesting depth. Below the nose, the pair of stylized lips forms a closed, gently smiling mouth, the upper and lower lips well defined by smooth, flowing lines. On each side of the face, a matching ear is attached, its internal contours indicated by curving lines to suggest the folds of cartilage. All components are rendered in a clean, black line-art style with minimal shading, resulting in a balanced and harmonious frontal portrait. The facial features are proportionally spaced to evoke a natural human likeness, and the overall lighting remains neutral and even, with no shadows or highlights to distract from the clarity of each individual element.
| ||
Generate an image using the pieces of a tangram to form the letter 'C'.
|
The original image shows a set of colorful tangram pieces—two large triangles, one medium triangle, two small triangles, a square, and a parallelogram—neatly arranged to fill a square wooden frame, each piece displaying a distinct color and sharp geometric boundaries. After editing, the scene transforms so that the tangram pieces are rearranged on the same pale wooden square background to form the clear and unmistakable shape of the letter 'C', rendered as a large, bold, curved figure that dominates the frame. The tangram pieces, now primarily in green and pink tones, are carefully aligned so their straight edges and pointed corners create a continuous, segmented arc that starts at the upper left of the frame, sweeps down and around in a counterclockwise direction, and stops before closing the circle, leaving an open gap on the right to define the characteristic 'C' shape. The interior of the 'C' remains empty, exposing the white background and enhancing the contrast between the letter and the negative space. The lighting remains even and neutral, highlighting the smooth, matte surfaces and crisp outlines of the tangram pieces, and the overall composition is clean and uncluttered, with all attention drawn to the colorful, geometric construction of the letter 'C' formed from the individual tangram shapes.
| ||
Generate an image assembling the provided disassembled clock components into a complete clock displaying the time as 9:45.
|
After assembling the provided clock components, the clock face is now completed with all three black hands precisely mounted at the center, each casting a soft shadow on the smooth, white surface under even, diffused lighting. The short, thick hour hand points directly at the 9, while the longer, slender minute hand extends precisely toward the 9 as well, indicating the 45th minute. The thinnest and longest second hand is aligned vertically at the 12 o’clock position, adding a sense of subtle movement to the scene. The brushed metallic frame remains polished and reflective, encircling the clean, uncluttered dial marked by bold, black numerals and evenly spaced tick marks. The background stays bright and minimal, emphasizing the clarity and functionality of the fully assembled clock, which now reads exactly 9:45. All unused hands and parts have been removed from view, leaving only the finished, accurate timepiece as the focal point.
| ||
Draw the left view.
|
After transforming the original scene to show the left view, the image now presents the white cube and the white sphere as seen from their left side rather than from directly in front. The cube, previously showing its front face, now reveals its left face as a large, flat, vertical surface, with the front and top faces receding in perspective towards the right and upward, respectively, giving the form more depth and dimension. The sharp edge where the left and front faces meet is now prominent, and the left face is in partial shadow due to the lighting, which still comes from the upper right. The sphere, positioned just to the right of the cube, now presents its circular profile in the same location but with the lighting creating a soft gradient of shadow along its left side, emphasizing its smooth, matte texture. The shadows cast by both objects stretch more prominently to the left and slightly forward, with the cube casting a deep, rectangular shadow and the sphere casting a softer, rounded shadow that partially overlaps the cube's. The background remains a seamless, softly lit neutral surface, but the spatial arrangement and lighting now emphasize the three-dimensional forms and their volumes as seen from the left, making the scene feel more dynamic and visually informative about the shapes and their relationship in space.
| ||
Generate an image that stacks these blocks in layers from bottom to top, arranged from largest at the base to smallest at the top.
|
The scene now shows the four toy blocks, originally arranged side by side on a flat, neutral surface, stacked vertically in a single tower. The largest blue rectangular block forms the solid base, its glossy plastic surface catching the ambient light and casting a soft shadow to the left. Directly atop the blue block sits the slightly smaller green rectangular block, its studs aligned with the blue block beneath, creating a seamless connection between the two layers. Above the green block, the white rectangular block, smaller than both the blue and green blocks, is carefully placed, its crisp edges and smooth, reflective texture contrasting with the colors below. Finally, the smallest red cylindrical block crowns the top of the stack, its rounded shape and vibrant hue standing out against the angular forms beneath. The entire structure appears stable, with each block centered precisely on the one below it, creating a clearly tiered arrangement from largest at the bottom to smallest at the top, all illuminated by soft, even lighting that highlights the plastic textures and the clean assembly of the blocks.
| ||
Generate an image stacking these four cubes in order from bottom to top: red, green, blue, and white.
|
The scene now features four glossy plastic cubes, each with four circular studs on top, precisely stacked in a vertical column against a plain, softly illuminated background. At the very bottom sits the red cube, its surface smooth and shiny, supporting the entire structure. Directly above the red cube, the green cube is neatly aligned so that its studs fit into the indentations of the red cube below, forming a seamless connection. The blue cube is placed on top of the green one, following the same pattern of alignment, and finally, the white cube crowns the stack at the very top, its bright surface catching the overhead light. The cubes are uniform in size and shape, each one perfectly centered above the other, creating a stable, orderly tower that casts a subtle, consistent shadow to the side on the lightly shaded surface, emphasizing the three-dimensional form and height of the stacked arrangement. The background remains uncluttered and neutral, ensuring that the focus stays solely on the vibrantly colored and meticulously arranged cubes.
| ||
Generate an image of a fully assembled object using the provided components.
|
After assembly, the individual components shown in the first image come together to form a sleek, modern office or gaming chair as depicted in the second image. The chair features a contoured backrest with pronounced side bolsters and a headrest, upholstered in smooth black faux leather with the "Andetls" logo and branding visible on both the upper back and lumbar cushion. The wide, cushioned seat is seamlessly attached to the backrest, with both pieces joined by sturdy armrests and a height-adjustable mechanism. The seat is supported by a central black pneumatic gas lift that is fitted into a durable five-star plastic base, each arm of the base ending in a smooth-rolling caster wheel for easy movement across the floor. The overall silhouette is ergonomic and inviting, with the textures of the leather surfaces catching soft, diffuse light, giving the chair a subtle sheen. The assembled chair stands on a flat, neutral-colored surface, and all parts are tightly connected, resulting in a functional, visually cohesive seating solution that is ready for use in a work or gaming environment.
| ||
Draw an image of a fully assembled bookshelf using the provided components.
|
After assembling the provided components, the scene now displays a fully constructed bookshelf made of rich brown wooden panels, featuring a smooth, matte finish. The bookshelf stands upright, its vertical side panels supporting three evenly spaced horizontal shelves, all of uniform thickness, and a solid rectangular back panel that gives the structure added stability and a clean, finished appearance. The shelves are securely attached to the sides, creating a series of rectangular compartments, each of which is filled with neatly arranged books of varying heights and colors, including deep reds, greens, blues, and muted earth tones. The books are tightly packed, their spines facing outward and adding visual interest through their varied textures and printed titles. The bookshelf is bathed in soft, diffuse lighting that casts gentle shadows within the compartments, emphasizing the depth and sharp edges of the wooden structure. The background remains a simple light color, ensuring that the bookshelf and its contents are the clear focal point of the scene. The overall impression is one of order and functionality, with the sturdy, geometric form of the bookshelf seamlessly integrating all the individual components into a cohesive and practical piece of furniture.
| ||
Draw an image of a fully assembled ice cream using the provided components.
|
The scene now displays a fully assembled ice cream cone, created by combining the provided components into a cohesive dessert. Each cone is constructed with the crisp, golden-brown waffle cone serving as the base, its textured diamond pattern and slightly glossy finish visible in the lower portion of the composition. Resting perfectly atop the opening of the cone is a single, smooth, and creamy scoop of vanilla ice cream, its round shape and rich, velvety surface contrasting the cone’s geometric texture. The ice cream scoop is proportionate to the cone, slightly overhanging the rim, with subtle ridges and swirls that capture the soft, dense quality of freshly scooped ice cream. The lighting is even and bright, illuminating both the cone and the ice cream to emphasize their color and texture, while the background remains clean and uncluttered, allowing the assembled ice cream cones to stand out as the central focus of the image.
| ||
Draw an image that completes the provided object into a full porcelain cup.
|
The scene now features a fully restored porcelain cup, seamlessly completed from the previously broken object. The cup’s rounded body is flawlessly whole, with no cracks or missing pieces, and its glossy, smooth surface reflects soft, warm ambient light. A gracefully curved handle extends from one side, matching the shape and material of the rest of the cup, and provides both visual balance and functional elegance. The traditional blue and white floral and wave patterns flow continuously and unbroken around the exterior, with intricate, delicate blue flowers and leaves connected by fine stems, and rows of stylized blue waves encircling both the rim and the base. The cup’s rim is slightly flared and perfectly circular, while the base is sturdy and flat, supporting the vessel upright on the lightly textured, neutral background. The overall aesthetic is one of refined craftsmanship and complete restoration, with the porcelain’s subtle sheen, intricate decoration, and harmonious proportions all contributing to a sense of timeless beauty and utility.
| ||
Draw an image showing the view upward from someone lying flat on the bed looking at the ceiling.
|
After transforming the original scene to show the perspective of someone lying flat on the bed and looking upward, the image now captures the ceiling as the dominant feature, filling most of the visual field with its smooth, pale, matte texture. The central ceiling light fixture glows softly, casting gentle illumination and subtle shadows across the ceiling surface. The edges of the ceiling transition into the upper portions of the surrounding walls, which are painted in a muted gray tone, and the tops of the window and curtain rods are visible along one side. The tops of framed artworks and lamps on either side of the bed come into view, their upper edges slightly foreshortened due to the low, upward gaze. In the background, the upper part of the window frames a glimpse of leafless tree branches against daylight, adding depth and environmental context. The lighting in the scene is a mix of warm artificial glow from the ceiling fixture and soft daylight filtering in from the window, creating a calm, tranquil atmosphere from this unique, reclined vantage point.
| ||
Draw the scene that the pink sofa and the oval coffee table is neatly arranged.
|
The scene now depicts a neatly arranged living room where the pink sofa, which previously sat off to the side, has been repositioned to face the television, creating a sense of order and intentionality in the space. The oval coffee table has been centered precisely between the pink sofa and the matching pink armchair, both of which are now aligned parallel to each other on either side of the blue rug, enhancing the symmetry of the arrangement. The sofa’s straight, clean edges and smooth, matte fabric complement the glossy wooden floor, and the coffee table’s light wood surface is spotless and unobstructed, with its oval contours echoing the soft geometric lines of the surrounding furniture. The entire seating area is now oriented to take advantage of the natural light streaming in from the large window, bathing the pastel-colored furnishings in a gentle, diffused glow. The rest of the room’s elements—the standing lamp, media console, wardrobe, and side cabinet—remain in their original places, but the realignment of the sofa and table creates a harmonious focal point, making the room feel more spacious, inviting, and thoughtfully organized.
| ||
Draw the front view.
|
The scene now displays a computer monitor from the front view, positioned on a white surface against a softly lit, neutral background. The matte black frame of the monitor is visible, with its screen facing directly toward the viewer, occupying the central portion of the image. The screen itself is completely dark and unilluminated, bordered by slim, even bezels on all four sides. The base of the monitor, a sturdy rectangular stand with smooth edges and a circular cutout in the support column, sits squarely on the white tabletop, mirroring the configuration seen from behind but now emphasizing the symmetry and clean lines from the front. The lighting in the room remains diffuse and shadow-free, resulting in gentle, even illumination across the entire monitor, with subtle highlights accentuating the flat, unreflective texture of the display surface and the sleek, modern aesthetic of the frame. There are no visible buttons, branding, or ports on the front, and the background remains uncluttered, ensuring that all attention is directed to the monitor’s frontal appearance.
| ||
Draw an image of a fully assembled lamp using the provided components.
|
After assembling the provided components, the image shows a fully constructed lamp consisting of a sturdy, cylindrical metallic pole that stands vertically on a broad, round, flat base, providing stability and support. At the top of the pole, a gently sloping, wide, conical lampshade made of a smooth, matte material in a soft grayish hue is securely attached, diffusing light evenly downward and outward. The base appears solid and substantial, matching the shade in color but with a slightly darker tone, and it features a subtle power button or switch on its surface for operational control. The lamp is depicted under neutral, soft lighting, highlighting its clean lines, minimalist form, and the subtle contrast between the textures of the metal pole, the matte shade, and the solid base. The background remains a plain, light color to keep full focus on the assembled lamp, ensuring all elements are clearly visible and cohesively integrated into a single, functional lighting fixture.
| ||
Draw an image showing the given objects arranged in a line from left to right according to the number of sides from fewest to most.
|
In the edited image, all the geometric shapes are precisely arranged in a straight horizontal line across a plain, light background, ordered from left to right according to the number of sides they have, starting with the fewest and progressing to the most. At the far left sits the equilateral triangle, its three crisp, evenly spaced sides and pointed apex clearly visible. Immediately to its right is the pentagon, distinguished by its five equal-length edges and symmetrical, slightly rounded corners. Next is the square, with its four straight, perpendicular sides forming perfect right angles and exhibiting a smooth, uniform blue fill. Following the square is the hexagon, instantly recognizable by its six equal-length sides and sharp vertices, presenting a compact, symmetrical appearance. Finally, at the far right, the heptagon completes the sequence, displaying seven evenly distributed sides that give it a subtly rounded yet angular profile. Each shape retains a soft blue fill and a thin, dark outline, and the lighting remains diffuse and even throughout, casting no shadows and ensuring each polygon is clearly delineated and easily distinguishable from its neighbors. The arrangement is neat, with consistent spacing between the shapes, and the overall composition directs the viewer’s eye smoothly from the simplest form on the left to the most complex on the right, fully embodying the progression of increasing numbers of sides.
| ||
Draw an image showing a distant view of the trees from the same angle, farther away.
|
In the edited scene, the viewpoint has shifted farther away from the tree while maintaining the same angle, resulting in the tree appearing smaller and more distant within the expansive green field. The intricate details of the tree’s trunk and branches are less prominent, and the lush canopy now occupies a reduced portion of the image, framed by a broader stretch of vibrant grass that extends uninterrupted toward the horizon. The texture of the grass remains finely detailed in the foreground, gradually softening as distance increases. The tree’s silhouette is still clearly recognizable against the sky, but individual leaves and finer branches blend into a darker, more unified mass. The distant row of trees along the horizon now appears more continuous and subtle, stretching thinly across the background. The sky remains bright and blue, adorned with soft clouds, but the overall sense of space is heightened, with the field dominating the composition and the tree standing alone as a solitary focal point amid the vastness of the landscape. Lighting continues to be even and natural, casting gentle shadows on the grass and emphasizing the openness and tranquility of the rural environment.
| ||
Draw the top view.
|
After transforming the original image to a top-down perspective, the scene now appears as if viewed directly from above, revealing the full circular rim of the glass of milk and the stack of cookies beside it. The glass is positioned on a smooth, pale marble surface, and its transparent sides are less prominent, making its shape appear as a clean, even-edged circle filled with creamy, opaque milk that slightly reflects the ambient light. Next to the glass, the cookies are stacked neatly in a vertical column, their round, golden-brown tops clearly visible, each one displaying a slightly irregular, textured surface with small, scattered chocolate chips embedded in the dough. The cookies' edges show a subtle variation in color, ranging from soft amber to a deeper, baked brown, highlighting their crispness. Shadows around the glass and cookies are soft and diffuse, consistent with gentle overhead lighting, while the marble background retains faint, greyish veining, adding depth and a cool, elegant tone to the composition. The top-down view eliminates any visible height or side detail, focusing entirely on the shapes, textures, and spatial arrangement as seen from directly above.
| ||
Combine these parts to assemble a figure in a running pose. The elements can be reused as needed to complete the figure.
|
After assembling the provided parts to depict a figure in a running pose, the scene now features a cohesive, stylized human figure with a dark blue torso, arms, and legs, all smoothly joined and proportioned to convey dynamic motion. The head is upright and slightly tilted forward, seamlessly connected to the torso, suggesting focused forward movement. Both arms, reusing the available elements, are attached at the shoulders: one arm is extended forward with the hand open as if reaching ahead, while the other arm is bent at the elbow and swung back to balance the stride. The torso is elongated, forming a clean, continuous line from the neck to the hips, and the figure’s posture leans slightly forward, enhancing the impression of momentum. The legs, utilizing the given components, are assembled so that one knee is raised and bent forward as if in mid-stride, with the foot in a dark shoe leading the motion, while the other leg is extended back, the foot just lifting off the ground, clearly capturing the rhythm of running. The lighting remains even and neutral, with no pronounced shadows, set against a plain white background that emphasizes the crisp, flat vector textures and clean edges of the figure’s clothing and limbs. The overall arrangement creates a vivid, energetic impression of a person caught in the middle of a sprint, with all body parts proportionally balanced and positioned to convey fluid, athletic movement.
| ||
This is a digital Klotski game, and your goal is to arrange the numbers in ascending order, with the empty space at the end. Draw your solution.
|
The Klotski game board, previously filled with scattered or overlapping numbers in each white square and lacking any clear order, has now been meticulously transformed so that each numbered tile is arranged in perfect ascending order from left to right and top to bottom. The tiles are set within a clean, three-by-three grid, with each square tile displaying a single, bold black numeral centered on a smooth white background. The first row contains the numbers 1, 2, and 3, progressing seamlessly into the second row with 4, 5, and 6, and concluding in the third row with 7 and 8, leaving the final square at the bottom right empty and shaded in a subtle light gray to indicate the absence of a tile. All numbers are crisp, evenly spaced, and unobstructed, with no overlapping or extraneous markings. The overall scene is evenly lit, ensuring every tile and numeral is clearly visible, and the grid lines between the tiles remain sharp and distinct, presenting a visually tidy and complete solution to the puzzle.
| ||
Fill in each box in the image with one of the addition, subtraction, multiplication, or division symbols to make the equation true. Draw the completed image.
|
After the editing transformation, the image now displays a mathematical equation on a soft peach-colored background, with the previously empty boxes between the numbers filled in with clear, bold mathematical operation symbols. The first box between the two 3s contains a plus sign (+), the second box between the 3 and the 8 is filled with a multiplication sign (×), and the third box between the 8 and the 2 displays a minus sign (−). The equation, now reading as "3 + 3 × 8 − 2 = 10", is centered horizontally and vertically on the canvas, with all numbers and symbols presented in the same elegant, black serif font, matching the original style and size for consistency. The boxes that previously stood out as blank, outlined squares have been seamlessly replaced by the operation symbols, integrating smoothly into the linear flow of the equation and giving the entire scene a completed, logically coherent appearance. The gentle peach background remains unchanged, providing a warm, even lighting and an uncluttered environment that keeps the focus on the crisp, dark equation in the foreground.
| ||
Draw what it will look like after replacing the question mark with the correct number of green cylinders that are equivalent to the orange cube, following the given pattern.
|
In the edited image, the large black question mark that previously appeared to the right of the orange cube is now replaced by the number "3" in bold black text, matching the style and size of the numbers elsewhere in the image. The scene shows the orange cube on the left, and directly across from it to the right, there are now three green cylinders, each identical in size, shape, and light pastel-green color to the original cylinders shown in the top equation. The three cylinders are evenly spaced in a horizontal row at the same level as the orange cube, and there are no other symbols or question marks present. The lighting and background remain clean and white, keeping the focus on the geometric shapes and the clear mathematical equivalence they represent. The overall effect is a visually balanced and precise transformation that makes it immediately clear that one orange cube is equivalent to three green cylinders, following the established pattern from the first equation.
| ||
Draw the shape represented by the question mark that fits the pattern.
|
After editing, the cell in the bottom left corner, which previously contained a large gray question mark, is transformed to display a grid with two intersecting bold black lines forming a cross at the center, consistent with the other cells. Within this grid, a small solid black circle is positioned in the upper left quadrant, while an outlined black square is placed in the lower right quadrant, with both shapes sized to match those in the other cells and not touching the grid lines. The lighting remains even and neutral, with crisp lines and clear contrast between the shapes and the white background, ensuring the new cell visually matches the style, scale, and arrangement of the existing pattern. The resulting scene now features a complete 3x3 matrix of cells, each containing a pair of geometric shapes—one circle and one square—in different quadrants, with the new bottom left cell seamlessly fitting into the established logical and visual sequence.
| ||
Draw the front view of the object.
|
After transforming the original object to display its front view, the scene presents a geometric structure composed of two adjoining solid forms arranged at a right angle, resembling an “L” shape. The vertical segment on the left appears as a tall, rounded column with a smooth, semi-cylindrical face and clear vertical edges, while the horizontal base extends to the right as a rectangular prism with a similarly rounded face. The entire object is outlined in clean black lines, with each segment’s height and width clearly distinguished, and the depth is compressed so that only the frontal surfaces are visible. The lighting is even and neutral, revealing the crisp contours and the subtle curvature of the rounded sections, while all side and top faces are hidden from view, ensuring that the focus remains exclusively on the flat, frontal aspects of the object. The background remains plain and unobtrusive, emphasizing the bold, simple geometry and clear separation between the two main segments.
| ||
Mark in red the path that leads from the star in the center back to the star in the center. Paths can only go in the direction of an arrow. Draw the answer.
|
In the edited image, the path that begins and ends at the star in the center is clearly marked in bold, vibrant red, sharply contrasting against the original black arrows and grid lines. The red path traces a continuous circuit that follows the directional flow of the arrows, looping outward from the central star and weaving through the grid along a precise route before returning to its starting point. The red markings are uniformly thick and neatly overlaid atop the original black arrows, ensuring every segment of the route is unambiguously highlighted. The central star remains encircled and prominent, but now a clear red trail branches out from it, travels along the allowed arrow directions through the intersecting points of the grid, and ultimately reconnects with the star at the center, forming a closed, visually distinct loop. The rest of the grid, arrows, and background remain untouched with crisp black lines and stark white space, making the marked solution path immediately stand out as the only colored element in the entire scene, illuminated as if under a spotlight for easy identification.
| ||
Draw the box comes next in the sequence.
|
After extending the visual sequence, the next box in the pattern should feature a white square divided diagonally from the bottom left to the top right, with the lower left half containing five evenly spaced black dots of uniform size arranged in a loose cluster, mirroring the gradual increase from previous panels. In the upper right portion of the square, a large, bold black arrow points straight upwards, identical in style and position to the arrows seen earlier in the sequence. The background remains clean and white, with crisp black lines defining the square's edges and diagonal. The lighting is even and neutral, ensuring all shapes and symbols are clearly visible, and the overall composition maintains the geometric and minimalist aesthetic consistent throughout the sequence.
| ||
Draw the box comes next in the sequence.
|
The next box in the sequence continues the established alternating pattern of shapes and the positioning of the black circles. The scene now contains five adjacent white squares outlined in black, each holding a bold black geometric shape centered near the bottom edge: the first, third, and fifth boxes display a solid black triangle pointing upward, while the second and fourth boxes show a solid black rightward-pointing triangle. In each square, a black-outlined circle with a black fill and a white inner dot is located in the upper left or right corner, alternating position from box to box—the first box's circle is in the upper left, the second in the upper right, the third in the upper left, and so on. To extend the sequence, the next (sixth) box should be a white square with a solid black rightward-pointing triangle at the bottom center, mirroring the triangles in the second and fourth boxes. The upper right corner of this square should feature the same black-outlined circle with a black fill and white inner dot, maintaining the alternating corner placement. The arrangement, lighting, and background remain consistent and minimal, with crisp black-and-white contrast and sharp geometric edges, ensuring the visual rhythm and pattern are unbroken.
| ||
Draw the shape represented by the question mark.
|
After applying the editing instruction "Draw the shape represented by the question mark" to the given sequence, the resulting image will feature a row of three solid black circles, all identical in size and evenly spaced horizontally on a clean white background. The first object, previously a bold black star with a white outline, is now replaced by a perfect black-filled circle matching the size and style of the other two circles that follow it. No additional shapes or outlines remain, and the focus is on the uniformity and simplicity of the three black circles, creating a visually balanced and minimalist composition.
| ||
This is an image of a maze, where black represents obstacles and white represents walkable paths. Draw the path from the red dot to the green dot in blue.
|
The edited maze image now clearly features a vivid blue line tracing the optimal path from the red dot, which marks the starting point, to the green dot, which signifies the destination. The blue path begins at the center-right, where the red square is located, and follows the white walkable corridors, making sharp turns as it navigates around the solid black obstacles that form the maze’s walls. The line moves horizontally leftward along the accessible passage, then curves downward and loops back to the right, precisely following the only available route that connects the two colored squares without crossing any black barriers. The blue path stands out distinctly against the stark white and black background, its smooth, continuous stroke guiding the eye unambiguously from start to finish, while the vibrant red and green squares remain unchanged, sharply contrasting with both the maze and the newly added path. The lighting remains uniformly bright, ensuring the colors are crisp and the path is easily discernible throughout the maze’s geometric, high-contrast environment.
|
End of preview. Expand
in Data Studio
README.md exists but content is empty.
- Downloads last month
- 18