Hello and welcome to this video, in which I would like to exchange some life time for knowledge again. Today we look at image generation with gradients. Gradients are color gradients and we will not only see color gradients in this video, but also patterns. But I would still like to show you what is possible with it and the pictures that I am showing you here. I created them with the help of gradients. It's been a few days since I tested it. Unfortunately, I didn't get to make a video again earlier, but you can get really good things out of it. And we will also build the workflow together in this video. And I hope I remember all the little games that I had built in with me. But I think I just let a little review go by and we can do that. But as you can see here, there are really great pictures that have been created. And we will now try to recreate that one-to-one so that you can have fun with it. So how many pictures do I still have? That's the last one. I didn't cut it, but I just did image preview here. And here we go. To do this, we need a new plug-in. Who has come up with this UI now, does it look like that with you too? The developer probably thought to himself, oh, I can't go down anymore, it's getting too big now. I mean, I still have a WQHD monitor, but smaller monitors or something. And now it goes to the width. At first I thought it was broken or something, but I think it really looks like that. Well, to use the gradients and the patterns, we need or I used the ComfyRoll extension. I actually had it installed for another purpose. We'll see that right away. So we'll need another node out there and maybe I'll make an extra video about it. Because there are a few interesting and cool things in there. But for this video we will now only look at the patterns and the gradients. You have already seen, just enter ComfyRoll up here. So ComfyRoll and then the right node collection will appear automatically. Let's take a quick look at the github page. A lot of things come with it. Here these patterns, we'll take a look at them right away. And where is she here? I haven't even looked where she is here yet. In any case, this node collection also offers presets for sizes. So once to render stable diffusion 1.5 images and once to render SDXL images. Down here it is deleted nodes, aspect ratio replaced. That's exactly what I mean, the aspect ratio nodes. Once for SDXL and once for SDXL 1.5. They are super practical, I'll show you right away. But we're not going to look at this ComfyRoll suite now. We really don't need that. Well, let's get started. Let's take a look at the gradients now. I've already said that these are color gradients. And you can find that here in the ComfyRoll folder. Each of these entries here is also provided with a small icon. I find that very lovingly designed. I think there are still the Pythongossss that have something like that. But it doesn't matter. And we have to go into the area here. It's already going on. Not an image area. Graphics. It was Graphics. Sorry, I was just on the hose. But I've been working for nine hours again. Forgive me. So in the Graphics area. I was stiff on it now. That means image, but it means graphics. And that makes sense. And here is the pattern area. And here are different things that we can take a look at. What is a bit annoying to demonstrate is that we are here most of the time. It still works. The ComfyRoll Halftone Grid. I'll just show you quickly all the possibilities we have here. I click correctly. It shouldn't be that hectic. So. Color bars. This is just a mixture of gradients and patterns here. Often you get such a black screen. This is due to the fact that Color 1 and Color 2 are on Custom. And Custom can then be entered down here as a hex value. But we can also just choose two random colors here. And then we get the picture generated. Up here you can only do color. We don't go into all the possibilities now. Just so you know, they exist. Here we can always enter height and width. The orientation. There we sometimes have a little room to play. To say whether it should now be vertical, horizontal or diagonal. Otherwise, if you always put the colors here on Custom. Then you can enter a hex value down here. Exactly, these are the color bars. Just go through there. Then style bars. Some of these nodes also take quite a long time to execute. Here, for example. We just have to wait a moment. Is that the one with the book? Yes, here we can then select different styles. I don't know if I should run it again. In any case, take a look at it yourself. In theory, everything should work for what we have in mind. What I want to show you. But I'm going to do a little bit on ... I'm going to do a little selection of four different things. Here we just take some random colors. It also works faster. Here are checker patterns. You can usually enter everything here. What then somehow defines the corresponding pattern. How many rows and how many patterns you want to have there. So the next would be polygons. Polygons are, I think, something that takes a little longer. I'll take all the colors here. Just so random. No, that worked pretty well. Here you can see, for example, if I increase the rows. Interesting mixture. I'll do that right away. You can already get some nice patterns out of it. Line width and so on. Play around with it. Graphics pattern. The color gradient. Here we have arrived at the first gradient. We will also leave it in. This is a color gradient. And here we can specify whether we want the vertical or horizontal. I would say we go from cyan to magenta. This is actually a mixture. Because I am a child of the 80s. So born at the end of the 70s. But the 80s noticed that this is our typical neon pattern. That's why I always like to use it again and again. And that's why I always like to use it again and again. This is one of the gradients that we will definitely keep. Simple color gradient from left to right or from top to bottom. And depending on start and end color, you can then enter how you want it. You can also play a little bit with the shifts. So you shift here. You see that the second color is a little to the right or to the left. And then you get very interesting effects out of it. You can play around with it a bit. So I load it again with vanilla. We will need it in a moment. Color gradient. Again cyan and magenta. Whereby we will also rebuild that later. And here we go to the second gradient. Here we go to the second gradient. Here we go to the second gradient. And magenta. Whereby we will also rebuild that later. Just put them here on hold. So. ComfyRoll Graphics Pattern. Next we have the Radial Gradient. This is also a color gradient that runs in a circular pattern. Here we can set that up. Takes a little longer. I think it's nicer the other way around. Yes, you can see it a little better. So that's a circle. Here we can still move the center of the circle. That gives the emergency. And how far this point should be away here. Let's push that down too. Because we will use that later. Decorate yourself at the point. And we take the next pattern. These are the Starburst Lines. That's what we're going to use right away. I quickly enter the colors. So there we get such a structure. And here we can also say. But we want to have more lines at the end. We can also make the lines a little thicker. And we can move the center. So this is the center of the center. With center X and center Y. We can say how the whole thing should turn a little. So the rotation. We'll put that down on hold. We won't have to play around with the settings at the point. Because I'll show you here how it works in principle. And fine tuning and so on. I'll leave it to you at the point. And finally, it's something similar. These are the Starburst colors. Here I take Cyan and Magenta. They just create triangles for us. And here we can also say that we actually want to have more triangles. Something like that, for example. Otherwise, there are also the same setting options here. So every node here from these patterns has the option of customizing up here. And then down here in hexadecimal. To be able to enter a color. So let's get started. And that's what we're pushing ourselves down here again. Here below the collection of nodes that we want. Review Image I'll throw out now. We'll need it again later, but it doesn't matter. We're going to build a basic setup now. So once we need a loader. Then we need a sampler. And I can already say that we will later also take a sampler. So we have to take a second one behind it. But I just copy it to me after I've made the previews here. Here we can say preview. C control V and I just see that I don't have my shortcut. Program not at all. One moment. Prepared again 0. Here it is bad. So you can see that now. C control V. Yes. So we also connect that. Here I say once. I would like to save that. And now it's already going. To take these gradients as a template. We take our normal gradient here now. Now I need the preview image again. We remember. The normal gradient was this one. I would like this one to be horizontal. So. And to install it here. In principle, we only need an image to image. Turn on the notes again. And to have an image to image. We know we have to encode that once. All the terms, something like VAE or something like that, take a look at the channel. I've already explained that in another video. What exactly that is and what it does. Don't be too scared now. If you just find this video here first of all or something. Take a look at the channel. I've already explained a lot of these things here. And we've already done that. So please don't be scared if it's a little fast now. But I want to get to the heart of this video here. We already have the other things here. Especially when it comes to basic setups and so on. We've already talked about it here. So. I take a model. With the epic realism we can take the baked VAE. I would like to take something from the preview at this point. That was the reuse your prompts. Because I want to say here. I want positive to input and negative to input. And load the saved template here in the last video. Because you can put the positive in the front here and the negative in there. And I'll take a look. Here I have anime. That's wrong. I just have to. Change to my standard prompt. Copy the path. Control V. Get rid of quotation marks and done. Negatives is YouTube. That's right. And up here. I had prepared a prompt from my tests. Nothing bad in principle. I'll copy that out. So. Because I just said. Beautiful woman. Then I have a string of random terms. So from the eighties, from the seventies, from the sixties or from the fifties. Taken. That means here this syntax. That with every prompting or with every run. StableDiffusion takes one of these separate terms here. So either eighties or sometimes sixties, fifties or sometimes seventies. Just to get a little variation in there. Style added to it. So it always says 80 style here. In the next run it says 60 style and so on. Neon lighting. Just to get the patterns and the gradients out a little better. I would like to have explicit neon lighting in there. And to make the setting a little bit. I still have American Diner. And here in this arrow I have a few style descriptions. We'll probably see them later here in the text debug. So we have that now stored here. I think I need a little more space. So a little bit here. Not so sparse. We have a big canvas. What I would also do is. Once the width of the image as input and the height of the image as input. And here comes this other ComfyRoll node into the game. You just have to look. Exactly, it is under other ST15 aspect ratio. Here we can already connect the width with our sampler and the height with our sampler. And we can now enter here very conveniently. You can already see the resolutions that we want to have. And in this case I would like to have a 3 to 4 portrait. That's a photo size. And. It is higher than far. So it's a portrait. That's what the term says. Otherwise it would be a landscape. We select that and by doing so we get this size here. Here already simply entered into our sampler and done. The nice thing about it is that we can now just go there and say we want to also in our gradients. The width. And the height. Define as input. And then we push it down here too. So now we don't have to worry about it anymore. That the gradient we want to have also has the same size as the image. Of course, we also go in here as optional latent and it takes over. But depending on the setup later we have it a little nicer. So that means we have now selected our gradient down here. That's a bit like that. Now we can start theoretically. But of course we still have to have an image to image at one point. Adjust the noise here a bit and there I found out when testing. There is such a certain threshold at which the whole thing turns around. If I remember correctly, it is at 0.65. But we can just touch it. Queue Prompt. F5 I don't know if any note up here is a bit annoying at this point. I already had that in the last video. No idea. So here we see now 0.5 does not bring anything in the new one. If we go up to 0.6. Then we see that something is happening. 0.65 There is already a little more going on and that is the range from which it starts. So from 0.6 you can already see that it dissolves from the pure pattern and transitions into rendering images. And if you really want to have good pictures, I think 0.8 to 0.85 is a very good value. Which already transforms the whole thing into a reasonable picture. But then you know you can at the point. Wait a minute, I'll just go to Dress Closures. Sometimes very belly-free pictures come out. I want to reduce that a bit. So just so you know, from 0.6 to 0.65 you get pictures already. So from that point the calculation breaks, so to speak. And we get a bit of our motif, but also the gradient. But at 0.8, 0.85. From there it breaks over. 0.8 I even find a little nicer. I think we have a little more influence from the gradient at this point. Yes, especially with the near lighting. Now it comes through a bit stronger. We see that on the left side we mainly have the blue areas. And here on the right it goes into this magenta. And the rest of the picture then fits. And up here or back here or at this point we also do an image to image. So we now drag the latent over here. Make the noise of 0.5. Just to smoothen the picture a bit again. So we use the first sampler to make a model-generated picture from the gradient. And the second sampler then crackles over it again and makes it a bit smoother. Well, now of course we have a lot of other options down here. Well, we have our gradients here first. And we have our patterns that we can use. We now have to store the height and width for each of these things. It's a bit annoying, but you only do that once in doubt. So now we can go there and link each width to each width. For the width it is still pleasant because it automatically connects with the first available connector when released. We have to do it like this for the height. So and now we basically have here ... Yes, I don't need to have it rendered here now because it still takes it out of the first anyway. But we now generate our output values all over here. Well, to generate a bit of coincidence here ... So you can basically say at this point ... But I just want to have that. Then he pulls that up here into the VAE encode. We can do that once. So then he has now taken the radial gradient at this point. That's still the one, even if he's mopping right now, but he won't have done much there. Here we also see in the middle we have the focus on the magenta and around the outside the blue influence comes in. I think that always does very well with neon lighting. We now simply ignore that she has three arms on something like that. I don't know, people may not like to be addressed that they have three arms. Okay, so that we have a little more convenient opportunity to have one here. I'll stay with the gradient. These are patterns down here, these are not gradients, but I'll stay with the terminology here. So that we have the opportunity to choose that a little more conveniently, we can from the impact pack. Links are always in the description, also for the installed custom node packs that I have here. There are two options here. Once there is the so-called switch images mask node. It looks like this. But we can also use the impact pack and it is also pretty nice to use the switch any node under util. We have these two options. And I'll stay with the switch any node now. In principle, this is pretty clear. We can pull the pictures in here and continue from here and then select what we want with this index. In principle, the switch any node is nothing else, but you can see that if we connect a connector here, the next input appears below. If we connect the second connector, the next one appears and so on. Do you still hear that? Yes, so plop. And if we now go from here to the VAE ENCODE up here. Pull them down. Do this again. Come on, we'll be right there. What should the guide do? We can pull in a new one right away. So we can now say here with the SELECT INDEX which of these inputs we want to take. Don't take five at the point. Five will crash. No, he's broken. Because five is not occupied. We have four at most. And we can now say we want to use input 1. I should really leave the Preview Image Nodes in there. As soon as I say we can pull them back in, I need them right away. So we see here now he has selected the gradient. Let him rattle back there. I'll turn off the second sampler and the faster it goes. With input 2, SELECT 2, he selected it. Here again in the middle we have the magenta part. Around the outside the cyan part. We can now select input 3. That would be this pattern. Maybe a little better picture. No, but we could go there, for example, and reduce the DENOISE a bit. It doesn't kick through really hard now. But still the influence is there. Believe me. And that's this pattern under input 4. Here we can already see that he has adjusted the ceiling a bit. And the perspective above all. It turned out really nice. Yes, and so we can choose which pattern we have. But if we want to go a little steeper at this point. I'll turn it back on now. Swoosh, you can always see it down here on the left. When the keyboard shortcuts are displayed. We can make the whole thing a little more blatant. So this is such a setup. If you really want to create pictures with this or that or this or that. Use that. You can set it up here specifically. But I'm a friend of coincidence. So I said in the comments a little bit of genetic coincidence. So coincidence in a certain radius. So with genetics it's always like this. Part of the father, part of the mother. And what doesn't fit is simply cast together. So you have a little control. One brings the genes with it. The other brings the genes with it. But in between it is absolutely random. Set live and I actually like that very much. In the Voss suite we have a random number under number. It gives us a random number back. And the nice thing here is that we can now store the select index here. Select to input. And simply connect the output value of the Voss node suite random number node with the input value for select the switch any impact pack node. Say this is an integer. Now we have to look at input 1. That means our minimum number is 1. We only have up to input 4. That means our maximum number is input 4. And that's basically it. We can now. Namely, we still see the selected pattern in this preview image node. But now you go. He took that again. Now he took our first one. We always see in the small previews that it is always very much in the way. We can do that a little bit like this. So. Ugly corners up here. But oh well. Now he still took that. We can cancel that once. But now he took that again. And that's what the random number node does. And so you can basically just do a little bit here. How you want all these gradients now. And then just hang this random node in between and let pictures be generated. And just look forward to it. What kind of results will come out of this? Of course I don't have an upscaler behind it. The pictures that I showed you at the beginning of the video. They had an upscaler. We don't have that here now. But it will only get better with upscalers. We can push the whole thing a little further. Namely. We have start color and end color everywhere. Or here we have line color and background color. And here we have color 1 and color 2. I don't know why they are sometimes called so strangely. With gradients start and end is clear. Here I also understand it. Line color and background color. Color 1 and 2 I don't understand again. Although actually. Because that was this. Not this star effect, but this triangle effect. Well, how else do you want them? It's good, I take it back. Makes sense. Absolutely makes sense. But what I want to get out of it. Let's just take a look here. We have start color and end color here. Extract with it. We have start color and end color here. Extract with it. We have line color here. There it is. And background color. Extract with it. We have color 1 and color 2 here. Extract with it. If we go up here now and double click on start color. Then we get a primitive node for the start color. It also says fixed here. If we double click end color here. We get a primitive node for the end color. This is also magenta. And now we go there and say. We always want to connect the first node with our first input here. And did I do that right? Yes, I have. A bit confusing. In any case, connect the second node with the second color. And with that we have stored our colors. So now let's run it again. We have now got the thing here. Here you can also see very well that the sampler is already oriented. Here you can actually see it pretty well. This line here is that here. This line here is that here. This line here, he has converted it into this window. Down here we get the blue again. Here comes the red through. He converted the blue into her top and so on. So the gradients already have a strong influence on it. Make another one here. Let it run. Now we have the more decent one. But here we also see that it is oriented in color. That is very good after that. And we have stored the colors. That means we can now also say. We want here at the point. Once. What do we take? Take Fuchsia once. And Indigo once. So very typical colors that you otherwise always take in everyday life. And we can see that our colors have adapted. And also the whole style of the picture. Accordingly, something fits. And what you can still do now. I think that's very good too. So I'm going now the steps from control to. We just let ComfyUI decide what kind of pictures we want. Because we have the Primitive Node. It is fixed. You can just put it on randomize. Then let the whole thing turn freely. Now we have the decision. And even if he picks out pretty similar things right now. I'm just waiting. This is absolutely crazy. Color combination here. From cyan to red or something. Make another one. Yes, here too. Mixed gray and yellow. I don't know if those are colors that otherwise make sense to you. But you see. It's just completely randomized. And with this setup here you can already get pretty cool pictures out. Depending on which prompt you make. We don't change the prompts at this point. But you can already see what comes out. And if that's too weird or something. And you. Such things. Yes, now think. Okay, I'm going to do this. I'm going to do this. Such things. Yes, now think okay. Does that work with the neon lighting? Maybe. Yes. Maybe a little more subtle. I can still give you the tip. We'll take another color gradient. Graphics pattern color gradient. Which one of these? I'll put it up here. So. Just turn everything off here. Did I get everything? Yes. We know him. He will now generate a black image. Because we have everything here on custom. We also store here once. No, I don't store the width and the height now. 512x682. That's what we're doing now. I don't want to go up unnecessarily here. I just want to show you another alternative. And we say here now. We want to go from black to white. So. And horizontal. Then the whole thing looks like this. I have another prompt here. We'll take this one. I copy it out. Control a, control v. I only have here now. Close up portrait of a beautiful woman at night. Clothes and dressed. The rest comes from my loaded file. We can also use these gradients. To just. To adjust the lighting of an image. And for that I have now. Nothing more than us here. To create a black and white gradient. If we pull it down here now. In principle, we can also save everything here. But it doesn't hurt if we let it run. So and now let's run it. We now have a very strong white part up here. If we adjust the whole setting here a bit. We ignore this node here. We don't need it right now. Let's focus on this now. We can say here. We want to push the whole thing a little further to the right. The further we push it to the right. By the way, that was too far, I think. Let's take a quick look. I hope we get something nice here. But you can also see that the picture here. This normal black and white gradient. Used for this. To make this transition here too. I just have to check again. What exactly is changing here? Ah, I wanted something like that. I wanted to have that. The linear transition a little high. If we push that a little further to the right. I think you can already see the point. I want to go out. We just play with the lighting of the picture here. We now push that a little more to the left. We now have the dark part here. So small on the left side. I would say a third somehow dark. Then it goes a little over. And we have a third bright. And you can clearly see here. That we also adjust the photographic lighting. I would like to do the whole thing again. A little further to the right. But I suspect that he will not render anything on the left. And then. Ah, he does it. He does that, does that actually go further to the right? No, it goes further to the left. That means we probably have to move it a little like that. Yes exactly. So we can force a little half faces. But also something like that. So half faces come out very often with something like that. I've already seen that. But you see what I mean. We only get lighting from the lighter part. And the black part is also in the dark here. If we even go down a bit with the Denoise here. It will orient itself a little more strongly. And we actually get pretty cool night shots. As I think. Okay, that's definitely too blatant. 07 is generally too low now. Denoise value. Also a very cool picture. 07 is too low. Let's take 075. Let's see if that fits better. That fits better. Although it is still very dark. But we can now start here again. To play a little with the values. Now we push the whole thing back a little to the left. Now we have half a portrait again. One more. But that's also very cool. Very stylistic. Dark lighting. Of course on the left half of her face. Of course right of us. This is her left half of her face. And vertical. I haven't had that good of an experience now. Thank you. Thank you ComfyUI. This is what I have actually often forced in my tests. Or I tried to force that we get lighting from below. Most of the time the result is unfortunately that we have the faces below. Do you know the people in Zoom meetings or Teams meetings or something? The later the meeting, the more they slide down with their face in the camera. Or the laptop monitor with the camera in it. It works so slowly backwards. And it comes to the ceiling lamp or the fan in the view. You have to imagine something like that. The first picture has now worked. We can already see that it has been rendered a little further down. That's why Vertical is a bit of a stroke of luck. Although that didn't get bad either. Is that the direction? No, that was the wrong one. But that turned out to be pretty cool too. You can already do something with it. I think Horizontal is a bit better because of the lighting. Actually, we can also say here that we want to have white here and black here. That we turn the whole thing around. It gets very bright, of course. Oh, now we have to turn them around here too. Let's take a quick look. No, I want to have a little more black here. That would be too much, right? It works. I'm not touching it right now. To be honest, I've never tried it that way. That's why I'm getting a little confused with the values here. But if that's the goal, to create something like that. Then I think you can deal with the results very quickly. So let's leave it that way. But we can also say that we want white in the aqua. Aqua from the aqua. That's aqua. Cool effect. In any case. I think you can see what is possible with Gradients BZW Patterns. Good. How do I do this now? I still have to save from the workflow. I'll put that up here. And disconnect the part. And for that we take our image from the switch any up here. Then we have our absolute randomize apparatus down here again. That's cool. Here we can clearly see the influence of the pattern on the image generation. We are a little lower with 0.05 Denoise than at the beginning of the video. But the more space you give to the pattern. Yes. Cool thing I think. You can create really, really good pictures with it. What is that? Here we see what the second sampler is good for. Create really, really cool pictures. And then I wish you a lot of fun with it. Of course, I still have a few video ideas swirling around in my head. I just have to see when I can record them. But don't worry. I have a lot going on in my private life. That's why I make videos. How it fits into the plan in time. I'll save the workflow now. And of course I'll put it up for you. In the description below. You can download it yourself. Play with it yourself. Or you just make it up. We didn't make a mistake or anything. It all works perfectly fine. Have fun remaking. I wish you something. Until the next video. Take care and bye.
