Mosaic and stained glass work from a photo as well as a description, and they estimate materials — smalti or glass. Graphics is description-only for now and estimates nothing: it is a sketch in a monumental-art technique — fresco, sgraffito, relief, ceramics, stove tiles.

Not yet: the from-photo mode is being prepared for version 2.3. There is a Notify button on the tab — leave an email and we will write when it is ready.

Six techniques with four substyles each — twenty-four cards. Every card has its own preview and a short description of the manner, so you can see what you are choosing before you generate.

Yes. A free account has a daily quota for description-based sketches, shared with mosaic and stained glass. A Pro subscription raises the quota, removes the watermark and unlocks 4K.

True fresco (buon fresco) is painted into wet plaster and is held by the lime crust that forms as it carbonates. A secco painting sits on a dry wall in a binder and lasts less. The sketches here follow buon fresco: earth pigments, craquelure, small losses.

A giornata is the patch of plaster a painter can finish in one day; the joins stay as fine seams. The Renaissance style shows them, the Pompeian one hides them behind painted panels.

As a compositional base, yes: it sets the palette, the division of the wall and the character of the brushwork. For transfer at full scale it is enlarged and adjusted on site, like any cartoon.

A wash is heavily diluted ink laid in layers: each layer darkens the tone a little while the light stays as bare paper. It is the academic way to show volume and plan without colour.

Marker lays flat bands of even tone and does not blend on the paper, which gives a graphic look and visible strokes. Watercolour runs past the outline and leaves edges unfinished.

Yes: describe the building, interior or detail in words — the rendering style stays the one you picked on the card, and the subject is yours.

Usually two or three: a coloured ground, a contrasting top coat and sometimes one in between. More layers mean a richer design but a tighter schedule — the scratching must be done while wet.

Scratching gives a hard edge and carries no half-tone: the image is held by its silhouette. Small figures and a busy background merge at full scale, which is why the card texts suggest one hero.

Fresco is painting with pigment into wet lime; sgraffito is relief graphics — the colour is already in the plaster layers and the design is made by removing the top one.

In low relief (bas-relief) the figure projects less than half its depth and stays attached to the ground; in high relief it projects further, sometimes detaching. The low plaster style here is bas-relief, while bronze and chamotte are closer to high relief.

Because there is none in the real thing: bronze, stone and plaster are monochrome and the form is shown by light. The sketch deliberately keeps one material and one lighting scheme.

As a compositional study, yes: the depth planes, the surface character and the material texture are all there. Exact plane heights are set by the sculptor in clay.

Glaze runs off the ridges and pools in the recesses: the layer is thicker there and the colour deeper. On the ridges it is thin and pale — and that difference is what draws the relief in the monochrome styles.

Reduction firing is done with a shortage of oxygen: metal oxides in the glaze are reduced to a metallic film and the surface starts to shimmer. That is where the clouding and metallic sheen of lustreware come from.

Majolica is painting on an opaque white tin glaze: the relief is minimal and the work is done by flat areas of colour inside the outline.

A tile under a single transparent green glaze — murava. There is no colour in it; the image is held by the relief alone, the glaze darkening in the hollows and thinning on the ridges.

Gzhel is cobalt painting on a white glaze — brushwork and flat areas of colour. A polychrome tile is moulded: coloured glazes are separated by relief ridges so they do not run together.

The stove-fragment style deliberately shows a set with the joints between tiles, so the repeat is visible. A full stove set is sketched in parts: the mirror, the bands, the cornice.