Merge
Combines two upstream branches with blend and opacity controls.
Artifact docs
Use this page when you already know what you need to look up: a node, a control, a file type, or a recovery check.
A solid color plane. Every cover starts here, with one decision about color.
A photo or graphic dropped into the stack. Fit, scale, and reposition it freely.
Type set directly on the canvas. Use text starts for title, subtitle, label, credits, or poster type, then tune curated poster, mono, pixel, and typewriter fonts.
Glyphs scattered by seed. Use density, emoji set, and min/max size for the scatter; add dedicated effect nodes for blur, trails, or distortion.
A lightweight faux-3D form, rendered directly into the canvas. Material color and light color are durable; camera rotate/pan/zoom is controlled inside the node preview.
A full-frame procedural texture source. Start from concrete, film grain, static, cells, clouds, paper, or CRT dirt presets, then tune pattern scale/detail/color and node seed.
A motif repeater for lines, grids, and radial bursts. Start from sticker grid, radial burst, barcode line, orbit rings, or shard field presets, then tune the same array fields.
A full-frame procedural line source for optical fields, contour posters, masks, and warped graphic material.
Thick colored poster-burst beams from center.
Highlights bleed outward into surrounding pixels.
Overexposed edges and chemical flare.
Bright edges bloom with a saturated chromatic halo.
Colored haze that fills highlights first and softens the source without changing alpha.
Thin white radial streaks from center for manga motion.
Horizontal slice tears at random scan intervals.
RGB channels split diagonally.
Radial chromatic aberration creates lens fringe at edges.
Alternating rows offset like a CRT field artifact.
Block compression artifacts, repeated frame error.
Horizontal band desync like VHS tape dropout.
Low-bitrate stream failure: large macroblocks, smaller compression fragments, smearing, chroma drift, and dark dropped blocks.
Large video-codec squares with averaged color and optional dark pressure.
Small codec fragments for crunchy low-bitrate texture inside the frame.
Copied neighboring blocks that smear the frame like a stalled stream.
Blocky chroma compression and color drift, separate from RGB split.
Dark dropped blocks, like missing packets in a damaged stream.
Directional source-pixel streaking for stretched scanline artifacts.
Photographic overlay grain across the full frame. For editable texture branches, use a Noise source set to Film Grain.
Round tone-aware stipple dots for old-render shadows and PS-era texture.
CRT phosphor bands with adjustable opacity and thickness.
Low-scale paper or canvas texture overlay.
Bayer ordered dithering reduces the color palette visibly.
Diagonal convolution relief for raised surface texture.
Bayer-dithered posterization for bold graphic print texture.
Flat color overlay at variable opacity.
Displacement mapped by layered Perlin noise.
Sine-wave surface distortion.
Rotational warp strongest at center.
Radial lens distortion, concave or convex.
Horizontal row shift at random positions.
Fold the frame: horizontal, vertical, or both.
Sine-wave horizontal displacement scanned per row.
Radial motion blur expanding from center.
Radial sine displacement from center for concentric wave distortion.
Refract the source through a repeating wave pattern.
Mirror-fold into repeating radial segments.
Anamorphic stretch or compression along each axis.
Rotate all hue values by a fixed degree.
Corner darkening that pulls the eye to center.
Renders the upstream branch at a fixed low internal resolution in base cover pixels, then nearest-upscales it. Unlike Pixelate, export scale does not change the apparent pixel grid.
Downscale then upscale the whole image for a deliberate low-resolution block treatment.
Quantize color values to a fixed step count.
Map visible pixels to the nearest color in a small editable palette while preserving transparency.
Map source luminance through a three-color ramp, then blend it back over the original.
Crossfeed RGB channels into each other for matrix-like color separation.
Warm monochrome tone, classic darkroom look.
Channel swap shifts green to red, simulating IR film.
Inverts pixels above a moving brightness threshold. Low values affect only highlights; high values pull midtones into the negative break.
Simulates skipped film bleach by reducing saturation, lifting harsh contrast, and pushing shadows harder.
Prussian blue photographic print process on ivory paper.
Shadow/highlight color grade with independent color choices.
Map luminance to two chosen colors.
Simulate print dots at configurable frequency.
Color channels shifted as if mis-fed through a press.
CMYK plate offset with ink-on-ink misregistration.
Gaussian blur across the entire frame.
Luminance cutoff to stark black and white. 0 disables the pass; higher values require brighter pixels to stay white.
Crush semi-transparent antialiasing into hard alpha edges for cutout-style compositing.
Chip alpha-mask and high-contrast borders into jagged sprite-like silhouettes.
Find contrast boundaries and blend them back as grayscale contour linework.
Lens-like blur with highlight lift around brighter source pixels.
Tone-aware hatch linework over darker source regions.
Blur-and-threshold alpha merge for nearby visible source shapes.
Directional two-color ramp blended over the source while preserving source alpha.
Combines two upstream branches with blend and opacity controls.
Applies brightness, contrast, saturation, and hue after a branch has rendered.
Repeats any source branch into line, grid, or radial patterns over an optional backdrop. Per-copy rotation can stay fixed, follow radial angle, step per copy, or jitter deterministically.
Cuts a source branch by an alpha, luma, or threshold matte from another upstream branch.
Moves, scales, rotates, and fades a completed upstream branch after masks, effects, and other graph utilities. Pivot can use the canvas center or the visible alpha center for masked objects.
Builds a layered dirty shadow from the visible alpha of an upstream branch. Use Shadow only when the shadow should be merged separately.
Start with Film Grain or Paper noise. For finer speckles, lower Noise Scale toward 1–3, then merge under artwork with overlay or screen.
Use Static or CRT Dirt noise as a branch, harden it with Threshold, then blend it through Merge for broken-video grit.
Use Array presets such as Sticker Grid, Orbit Rings, or Shard Field when the texture should be visible graphic content.
Use Line Field when the artwork needs editable optical lines, contour surfaces, or a maskable stripe source instead of a flattened image.
Feed a logo, emoji, image cutout, or text node into the Sticker Grid repeater to build a tiled poster surface.
Connect a text node into Echo Trail or Type Cascade, then use Color or Merge to turn the repeats into motion or shadow.
Feed a small source into Orbit Rings or Burst Field for halos, confetti clusters, constellation marks, and radial energy.
Feed Line Field into Mask as the source and Text into Mask as the matte, then merge the cut line texture over a plate.
Grain, dot grain, scanlines, matte, dither, emboss, and linocut add physical surface before or after image sources.
Noise warp, morph, wave, ripple, barrel, vortex, squeeze, and kaleidoscope bend composition geometry.
Tint, hue shift, indexed palette, duotone, infrared, sepia, cyanotype, split tone, and gradient overlay reshape palette.
Halftone, riso shift, overprint, posterize, threshold, alpha/silhouette crush, and linocut push artwork toward poster production.
Glitch, interlace, data mosh, Bad Stream, codec block nodes, RGB split, chromatic aberration, VHS tracking, retro resolution, and pixelate create media failure.
Use for light leaks, glow, dust, static, and pale texture over a dark plate.
Use for paper stains, ink shadow, halftone grime, and anything that should darken the cover.
Use when texture should inherit the colors underneath instead of sitting on top like a sticker.
Use sparingly for harsh poster inversions, experimental type, and graphic accidents.
Draws this node over what is below. Use it when the node should replace or sit plainly on top.
Keeps dark ink and darkens the backdrop. Good for shadows, grain, paper texture, and printed dirt.
Keeps light pixels and brightens the backdrop. Good for glow, haze, bloom, and light leaks.
Adds contrast from this node into the backdrop. Good for punchy texture without fully replacing color.
Uses this node brightness while preserving backdrop color. Good for masks, light maps, and tone passes.
EXPORT downloads pixels. It does not include font files, project metadata, or editable layer data.
SAVE downloads a readable .artifact.json document for small portable work and compatibility with older files.
PACKAGE downloads an editable .artifact project. It carries image payloads, font metadata, and open-license Google font files. Unknown local font files stay out by default.
PKG+FONTS includes every imported font file. Use it only when you have the right to distribute those font files.
Packages preserve original text plus font identity. If a font is missing later, replace it and keep editing the same text layer.
Check layer visibility, confirm the graph Export node has an input, and try stack mode if the document is meant to be layer-only.
Local images live in browser storage. If a shared document loses an image, reimport it or save an editable .artifact package.
Large imported images can fill browser storage. Save an editable .artifact package before clearing site data.
Imported fonts may be unavailable on another browser. The text remains editable, and the font can be replaced from the Font Library. Google Fonts imports carry open-license metadata.
Primitive and GPU effects depend on the browser. Reload, reduce active previews, or export again after switching tabs back.
Export uses the canonical renderer. Check aspect ratio, graph target, image readiness, and primitive camera state before exporting.