We post-train open image models on our own data, build the software that runs our kiosks and Studio stations, and operate the GPU servers our models run on.
Two renderers from the Rust image library our team maintains, shown on Vermeer's Girl with a Pearl Earring instead of a visitor's portrait. Its pixel-art step is a port of PixelOE by Shih-Ying Yeh, released under Apache-2.0.
At The Art of the Brick, each generated portrait is rebuilt from 8,175 bricks. Eyes and other thin details are thickened so they survive the downscale, and every brick takes one of 16 colours, never dithered. Moved to Rust in February 2026, the whole step takes under half a second on a desktop CPU, against 1.25–1.79 s before.
A prototype souvenir that pictures a portrait as a drone formation; it plans no flights. A depth model estimates the shape of the face, and the renderer spreads a hexagonal lattice over it in perspective, so nearer points grow and brighten. The render takes about half a second on a desktop CPU, the full pipeline a median of 16–21 s.
The building blocks behind every portrait and every live deployment.
We compose the group portrait first, then refine each face using that person's photo to preserve their likeness.
From confirming who is in the photo to the first portrait on screen: a median of under 5 seconds on production kiosks, measured June–September 2026.
We tailor portrait styles to the venue. Our team tests them across a range of faces and reviews the sample portraits one by one.
Portraits are prepared for printing and digital delivery, with print frames customised to the venue.
Portraits run on GPUs we operate. When demand grows, the platform automatically adds cloud GPUs running the same software and releases them when the queue clears.
We monitor kiosk connections, GPU health and print jobs remotely, with alerts when a print needs attention. Software updates run between visitor sessions.
Six figures from our production systems, each with exactly what it counts.