Creative AI for marketing teams, from event posters to decks in FLORA

Lightly edited from the recording for readability. Wording is the speakers’ own.

Hi, everyone. Good morning. Welcome to this week's webinar featuring a truly iconic duo, I must say, Michael Mac and Andrew Taco from FLORA's very own marketing team. Here at FLORA, we host webinars and hands-on FLORA labs every single week, and we have many more planned ahead between now and the rest of the year. So do go on and check out our full education calendar on Luma. I will put a link in the chat shortly. All right, over to you guys. Thank you. That was great. I feel like that was the most perfectly eloquent speech I've heard all week, which is phenomenal.

Seamless. Yeah. Welcome. We're going to talk about the creative AI for marketing teams. Olivia gave a great intro, but we can talk a little bit more about ourselves briefly. My name's Taco. I do product marketing here at FLORA. I'm Mac. I'm creative operations lead. So I sit within our marketing creative team, making sure everything's on brand, happens on time, our direction. Yeah. So we run marketing together. Yeah. It's a fun and there's a lot happening every day. And so what's really exciting is I feel like marketing across not only at FLORA, but at so many places, it requires a lot of different skill sets, a juggling a lot of things happening.

So if we go on and get really started with the presentation here, smooth that on over. We really want to talk about how we're using the FLORA MCP at a high level to do a lot of the marketing work we do. So and then afterwards, Mac will walk through how we made event posters, a social series. I'll talk about the power of making decks because, you know, as marketing, we all love decks. And then we would love to do a live build and a Q&A afterwards.

Yes. All right. You can ignore the really nice photos of us that we have here. The nicest photo I have. So what is an MCP and what is the FLORA MCP? I'm sure a lot of you guys have heard of a little something called Claude or ChatGPT. These are very powerful tools that are using, you know, agents to basically type out whatever you want and they can answer. So what the FLORA MCP does is it connects the power of FLORA and the canvas with all of our image models, all of our video models and everything with your ChatGPT with your Claude.

And so what you can do is you could connect it. You can ask it a very simple thing in plain words, just being like, I want X, Y and Z image. And then you could watch it land and build all in one place on the FLORA canvas. So it's really powerful to not just maybe if you want an image, but you want to tweak it further. Let's go the extra mile like we enjoy doing. It's a great creative tool that we use every day. And Mac will jive a little bit more into how we use it.

But here's a quick example on the right. You have a request in Claude that you type out and just play in text. Then it goes onto the canvas and builds it where you can see every iteration. You can give it feedback. And then you have a beautiful finished poster. So I'll pass it over to Mac, who will share his own wizardry as we like to say as he builds this poster. Cool. Yeah. So I feel like as marketers, every day you're getting sort of like these repetitive tasks coming to you from either operations or design, whoever it may be.

And a lot of this, what it looks like at FLORA, a lot of it is like webinar collateral creation, event collateral creation and poster design, all of these things that maybe a designer on our team doesn't have time for, but then we need to create assets for. So that's a lot of this process that I personally use FLORA for, where our design team is super busy. I can go in. We have a set of guidelines that I can create and spin up assets very quickly. So I want to walk you through an example of one super practically that just happened this week.

So this week we had this event called Off the Canvas, which is a creative mixer at the Ripple Room. It was a great event, but we needed to promote it. So how do you do that? How do you do that quickly without, you know, having photography or anything? So what I did is I pulled up the Claude, my Claude through MCP and generated a handful of poster or a handful of assets just around like prompting it about like creating an image of a crowd at a bar.

Pretty much that was my one shot like prompt through Claude MCP and said like surface five different images of this, you know, moody lighting, all of the things that I sort of had in my mind of like what this event looked like. And then Claude spit out a handful of variants on the canvas. So then I decided instead to continue to use Claude to move to the canvas. And from there it shows this one that you see on the right, but I felt that the man in his white blazer was a little bit like it drew the eye a little too much.

So what I did, as you can see, is went from this one image inpainted it, which I'll show you in a moment and just like selected this man's blazer and was like, Hey, can we make it darker? So then I had this image, but it just didn't pop enough for me. And so we at FLORA have a lot of assets that we can call upon. And one of those things, it's a super powerful tool on the canvas. It's called custom actions. So a custom action is pretty much literally like anything that you can speak into existence that manipulates a photo or a generative image in any way, you can prompt Claude through the MCP to create and then do.

So for this one, it was like, I kind of want this sort of doppled pointillism effect that creates a beautiful gradient halftone. So I just typed that into Claude and it shot out a custom action, which gave me this halftone print. I want to quickly jump out of the deck that we're doing just to actually show you that in practicality. So you can really see it. Let's go here. So this is all made on. So you can see this is in actuality, my workflow. So started eventually like finalized this inpainted it.

So what that looks like is going from here. You select your tools. So within FLORA's canvas, it's obviously a generative canvas. We aggregate all of the top models, but you also have non AI and physical tools that you can use as well. Inpainting is one of those tools that uses AI to slightly change the photo, but not everything in the photo. So it's not regenerating every single asset with every single pixel in the image. So what I did was like, I selected inpaint went in and you can see here.

I like highlighted this dude's jacket and I said, changed the color to a dark color suit. I did that because originally when I created this custom halftone print, I saw this and was like, oh, this is really catching my eye. Like this is really sticking out. I don't want that to be the case. So I fully like didn't clock that he had like that. This was going to be a visual issue until I made the custom action. Instead of now having to reprompt, regenerate, instead, I just go in inpaint, connect that same custom action.

Boom. Here it is edited. In a much better halftone way. So then I was like, perfect. This is this is my final asset that I want to use for this event. I then prompted image editor, which is one again, one of our internal tools that is enhances, you know, photos through non-generative purposes. So what I did was like came in here, double clicked. You can see this is what the MCP shot out at me through that one prompt. So I said, hey, the title is Off the Canvas.

It's creative mixer. It's at the Ripple Room Wednesday, 6 30. Please include our FLORA logo within my Claude MCP. It knows it has my, you know, FLORA logo downloaded. Anyone can just upload their brand assets to Claude in it. Remember that it knows what font FLORA is font is and it knows what sub font we use. So it has all of that saved as a skill in Claude. And so I don't nest, I don't need to tell it what font to use always and always. And so I'd really recommend when you're doing these sort of manual or like these very like tedious tasks that you need to create a lot of.

Make sure that your Claude has these skills in it so that it can sort of. Dump out content for lack of a better word in a way that's already on brand. And you're not having to do a lot of manual work. So this is what it created. I didn't love like the text hierarchy of this. And so this is when, you know, I, a designer check comes in. So it's like, Hey, I've done this as a marketer. Like maybe I'm not the most confident in like hierarchical text layout.

Send this off to a designer like, you know, in the actual workflow. So like just share this workspace with them and say, Hey, here's the final output. Does this look good? That's one way of doing it. If you are confident and like to kind of know your way around a little bit of design, you can go and edit it yourself. So what I did, this is that she's like, that's okay. What I did is I threw MC. So I just copy and paste this because I didn't want to lose my, the existing edits here.

And I just copy and pasted that same image editor went in and just moved the text around. You know, I, the FLORA logo is down here. I just grabbed it and moved it around. Like it's truly like any other image editing software that you would be super familiar with. And then it's crazy because all of the layers are here. So you can manipulate them as well. We'll get into the power of image editor a little bit later as well, but wanted to just showcase this initially.

So then I'm happy with it. I like the layout. I've adjusted it. I then need to post it on socials. The easy and, you know, every social has a different aspect ratio, which we love. Luma, which is what, like our event where our event goes out of, oh, and part of full actually we used, they all require different aspect ratios. So then what I did through MCP again, through my Claude just said, Hey, now that you have this poster or this image editor final, I have quoted it, take it and make it in a 1:1, 4:5 and 9:16 aspect ratio and it's a lot of it out immediately.

So that's just a super practical use case that you can use in FLORA and you can scale super easily, super efficiently. And it just turns those like mundane tasks of, oh man, I'm going to have to, you know, find time in my designer schedule to make all of these assets. You don't, you no longer have to do that. And sort of marketing can take some of the, more trivial and mundane design tasks away from designers, which makes them a little bit more efficient and then also gives a little bit of creativity to the marketer who, you know, I feel like I'm always feending for a little bit more creativity in my life.

I always see you smiling out of the corner of my eye and I know he's, he's cooking something up, cooking something. Cool. So that's where we're at here. The workflow. So this is just kind of what I described. I wanted to go through it on the canvas instead of here, but you can see just my conversations, screen shot it through Claude, and a lot of iterations happened, here to get the final outputs 1:1, 4:5, 9:16. And then you just saw that. So, the second thing I wanted to showcase was more of like this.

Blue sky thinking, that we love to do here at FLORA of like, okay, what is the best way to create and concept, social assets? And one way I love to do that is through image editor. So I, let's see, it was over a year ago now, hiked through Banff National Park and I took my film camera and I took way too many photos. And I have like a big photo bank of just like inspiration and resources that I love to turn to that are actually my own work.

And so for a lot of our social assets background, wherever it may be, I turn to that. Not everyone has that. But you can also use Cosmos, Pinterest. You can collect, you know, a combination of all of those things. Instagram through Are.na, which is a great resource. If you don't know what we can send it out somehow. Do you guys, Are.na is awesome. So, this is just like sort of social media of asset ideation and conception. So I started with this photo that I took, in Banff National Park.

And I was like, okay, great. It kind of reminds me of something that you would do, like there's sort of a mountaineering aspect of this. So then I went through, our MCP again and just was like, I don't exactly know what I want, but I linked it to a very general like Cosmos page, not even like a specifically curated, images or anything. And I was like, I think the prompt I put into Cosmos was mountaineering. And I was like, Hey, can you just scrub this page, pull out common elements that are like that you see repeated, in a lot of like the images and, pull out like graphic design elements that I can incorporate into, these social assets.

So I'm thinking about it this way because I know that ultimately I'm going to use image editor, which composites all of the layers. So I don't need to worry about, like one shotting, a one image together and trying to get all the elements. I can just sort of piece by piece, put them together, similar to how you would in a Figma in an Adobe, but obviously all of the things I'm trading are generated in FLORA. So, once I sort of was happy with the amount of sort of odd and interesting and unique mountaineering assets that, FLORA generated for me based off of the inspiration it got from Cosmos.

I went in and connected these two, bias. I guess the next thing I did was like, once I had all of these elements, I said to Claude, okay, now just create me five images with a combination of these assets, with sort of some ins some words about like hiking or inspiration around, you know, mountaineering in general. And make me five different, sort of like posters, I said, and it came in and it spit out these outputs. These outputs did not quite look like this from the get go.

So again, I'm going to hop back to the canvas here to kind of show you the iterative process that I went through to, generate these. So you can see that actually my initial image, is here. And then I was like, it actually doesn't have enough symmetry or like enough, visual interest to me to like really punch it. So I just was like, Hey, can you make this? Can you make it a little taller? So made a little taller, then, oh my goodness, sorry. Went in here and here are the five assets that I created.

And each of these, I was like, okay, I want to do something like a little bit outsized. So the first thing I asked it was to split every element into generated layers. So you can see every single layer is here split out. You know, I can take, let's see, let's like the grassy hillside. Let's see. And move it. So like there's, this is one of the layers, because it was divided by rock and it senses it very well. Like, you don't know, there's a tree. So then I was like, okay, I'm actually happy with the foreground, but I want to change the background color.

Then I want to put in text. I was like, all right, let's get outside here. Put in text and then I separated it so that this mountaineering man, which would have come in and appear below it. And all of these are ordered, so that they like composite correctly. And again, you can move this. And so this is very similar to, you know, an Adobe or a Figma, like the way we have these layers. But again, like the extra power is that they're generative. So like, you know, I don't have to pull in all of these references from the outside.

I can generate them from new. So that's an example. But then I was like, okay, I really haven't done that much, generatively. So I want to, okay. The next thing I want to do is instead of just changing the background tone that you can do, by just like sliding a color wheel in FLORA, I want to actually regenerate the background, have clouds in it, like make this more dynamic. So this was a prompt that I went through for the MCP. And I said in, I forget when this one is called, but in the above the clouds poster, change the background to put clouds in.

And then the generated for me. So these are all, super simple. Like this is, this happened relatively fast via the MCP. And again, I could just spin up relatively quickly, all these different iterations. Sorry, I'm just going to hide a few things really quickly, but there we go. Appreciate it. So this is sort of the ending output that I came up with. And then again, everything, if you just double click into it, everything is editable. So it was like, oh, notes from the ridge line. This thing, this topographic map, I wanted to hide a little bit, put in the corner so you can again, slide the town, slide it over.

It's a super powerful tool, for marketers and designers alike. You can get crazy with it. This one, I was like, I just want to mess around, get a little trippy with it. Composite it in a, in a very, it's reconnecting, in a very, like, you know, unique outsized way. And then again, I was like, okay, now I want to actually change the foreground to instead of the, a grassy hillside, I want it to be fully rocky. And then I want to turn to black and white.

So again, this is something that you know, you can't really do in any other software, which is the power of image editor. And just kind of was playing around until I ended up with something I liked. And this was one of my favorites was like, okay, I now like the rocky one. I want to turn it into a snow, snowy hillscape. And then put this concept of like, don't look down. And the guy's like propelling from the sky. And then I just like this graphic orange element really just like playing around.

A lot of the first thing I did was just like sort of prompting MCP to go out and sort of create for me. And then, you know, getting 80% of the way there and then finishing it. The last 20% from my POV. So doesn't end there. Again, my favorite thing about the MCP through Claude is these custom actions. So again, as with this other event design, I love a halftone print. So I used the same custom action to then halftone all of these images into something that like felt a little bit more cohesive.

And the cool thing about, custom actions is that you have a ton of control again. So like within this, if I zoom in here, like I can change the dot size. I can change the dot angle, degradation, like all this stuff, but some of them don't even know what I'm doing. I'm just like mixing it. Obviously contrasts grain amount, you know, until I am happy with the output, ink spread. And so all of these things that I wouldn't necessarily know as a, as a marketer to, you know, tell Claude, like, oh, I need all of these different elements in custom actions, but it has a really good, you know, it obviously knows a lot more than I do about design.

And so I'm, I'm leaning on it as a marketer without that knowledge, to create this. And then again, here's the output. And then I was like, okay, I want to do the same thing with different colors. And again, you can change the color and all of these. So played around with it. And then do you think I should show the video now? Okay. I know. All right. And then so the last thing I did was I had all of these assets and through, Codex I have connected to After Effects.

I have never used After Effects in my life. But it's connected. So I was like, okay, I might as well see what sort of a sizzle reel would look like if I put it into, After Effects. So I loaded all, like I through the MCP, I was like, Hey, look at my canvas. Look at the outputs. I like selected the final outputs. Can you make a little motion graphic element around not only the thing I just created, but also as marketer, like we need to promote image editor.

Like we need to promote this. So can you also show how it's broken out? And can you create me a little sizzle reel? So it pretty much just like one shot of this prompt, this video. I did have to go in after it was created. I tweaked a little bit of the spacing, a little bit of the sizing. It's still definitely not perfect. Like if I had more expertise in After Effects, which, I don't, but like I could easily sort of hand this off to our motion designer team.

And they could perfect it. But again, this gets you sort of that 80%. Which takes a lot of the burden off of your design team. If you have one. So this was sort of though, let's see if I can play this one down. So there it was. Not a designer, but we're getting, we're getting 80% of the way there. And we can hand it off to our design team. Yeah. So, what I think is really awesome about the MCP, especially FLORA's is, the whole process isn't just about putting this one thing in, like putting in a Pinterest photo and getting like the exact thing out.

That's not how we're using it. That's not how we would best recommend using it. It's all about the process that goes into it. So a lot of the time Mac's videos and what he's making here, I'm like, Ooh, I wish I could make that, but it's, it's a, it's a much longer process. So that's at least how we approach using like Pinterest or Are.na. Yeah. Echoing Taco's thoughts there. It's like, I think if you ask a lot of designers, they use Pinterest and they use Cosmos as a place for inspiration.

And certainly it's in my creative process. I do like, I will go and I'll like type in things and I'll look at imagery. And that's how I get inspiration to then go off and design something pre AI. You know, when I wanted to make something, you know, in my spare time in illustrator or Photoshop, I would still turn to like, I would still, it's the same cycle. It's the same process. Go to Cosmos, look at things that are inspiring to me, go to my own, photo reel, which is what I love to do the most.

I don't always have the best imagery, but like if I can, that's where I turn, go to Instagram, find inspiration there, but then don't pick one thing and be like one to one recreate this. That is again, like not, I don't think how we're recommending it. It also, you know, it's a huge gray area and we just like to tread very, away from that. But that isn't to say that we use these places for a lot of our inspiration. And yeah, so that's what I would say about that.

I think with a lot of other creative MCPs, what we see is it's very one-shotty. You put in a prompt and you get an image or a video. And so it's not, it's, it's not giving you deterministic power and control. And so that's kind of the goal of this is ultimately if you are a designer, a motion graphic artist or whatever, you can go into the exact tools later and manipulate the timing, the layout, the composition, exactly how you like. Cause I know there's a question that we had around, when you went into After Effects, could you move these layers around manually if you want it and you absolutely can.

I think Mac actually went in and like adjusted some keyframes here or there. I think he's telling himself short bit on the After Effects knowledge. But I did it all through. I was like, I don't even know what a keyframe is, but I know that something is a little bit off. Hey, Claude, or actually I did it through, Codex. Like, this is off. Like I, everything I do is in plain English and it, and then, you know, an LLM talks to an LLM, like an LLM is better talking to After Effects than I am, like trying to figure it out.

So that's sort of like my thinking there. And again, like a lot of this work, is plain English done through Claude, getting 80% of it on the canvas, but instead of like hitting a wall and getting a generation back in chat, I'm then like, great, I have this whole workflow that Claude built out for me. All I have to do is go to open up the canvas that I told it to work in and change things around as I want. Or you get 80% of the way there and you say, Hey, designer, can you finish me?

Like, can you finish this for me? Like you're the designer's best friend. If you can get 80% of the way there. Yeah. I know half the time I'm like, I feel like I'm 80% there. Then I'm like, Mac, you know, just give me a one silver. And it helps a lot with just being in this, see something visually so fast. On the, this, how do you split it? Yeah. So like just super practically, how do you split it? You go, you just click on the image.

You go into tools, open an image editor, and then it'll create a, you know, a little workspace for you. And then you just go split image into layers and then you can choose between quick split. And then Seedream Layerize. And it's like, you want to regenerate. I, for the purpose of this one, I just quick split it because I didn't want it to have any like potential artifacts about regenerating. So you just hit that. Yeah. The main difference between the two. And if you go to, we like to call it cracked image editor, because we're such a big fan of it.

But, if you go into something and you can either choose quick split, which again, you will basically not have, a background. So if Mac was to move something here, you'll notice that the background behind the shot is just blank now. The power of something like generative split, which right there is called Seedream 5 Layers is that it will fill in the background with something that makes sense. So it's really powerful for, let's say he is moving that tree. But you want to make sure you have like the sky show up behind it.

That's where you would use, that generative split. So it's very powerful. Lots of different options, to do that. And yeah, I think a few more questions around the workflows with. A lot of it is prompting with Claude. And I think, you know, it is dependent on how you want to work with it. I'm like talking to my Claude a lot more, much to my girlfriend's, upset. But I know Mac is like, he likes to go in. He likes to edit it a bit more. And so yeah, I mean, I'm not sure on the question of asking Claude with MCP to add the text, did you add the text for these, posters and images yourself manually?

Or did you talk to Claude for it? I had, I told Claude to create like different texts for each poster and have it be relatively short. And like related to hiking, it just didn't. Like do a great job. It like just put kind of random words, which it often does. And so I just was like, it's so easy for me to go into layer and just retype kind of what I think looks visually interesting and, just makes the image pop a little bit more. So yes, the MCP did generate text, but I think I changed almost all of it.

Just, because I wanted to look a little bit more visually appealing. But again, it takes, that takes 30 seconds to just go in and change the word. Yeah. Yeah. And custom actions are so powerful. Truly you could type any creative effect you might want and it will be able to not only produce it for you, but also give you controls to really tweak the settings depending on what you want. So it's so powerful. Yeah. And custom actions is it's just a node on the FLORA canvas ultimately.

If you're working with Claude or chat, which it will be the exact same experience by the way between Claude and chat, you can just say, Hey, I want this halftone print grain effect. I would love to have more control over it as a custom action and it will just make it for you to tweak within even your chat, your Claude. And then you could then wire it over to image editor. So, it doesn't necessarily have to sit inside of it. It can, but you know, it's really powerful, for the whole workflow.

And then I think the powerful thing again is this is all editable. So they don't have to go in and remake the assets so they can edit it themselves. It's all as layers as keyframes that they can go tweak themselves. Yeah. But I think you bring up a great point, which is like this tension between, like generative AI, like being like, Hey, like I just made this thing for you in the diner. It's like, this is all wrong. Okay. So like the two things I would say there is like the reason I'm able to create things on brand for us is that our design team has included skills into our LLMs that make them at a base, create relatively on brand, collateral.

So that's a huge thing that, like we have spent a lot of time at FLORA, you know, tweaking so that as a non designer, you can go in and, you know, feel like relatively authorized. That being said, like it's very much still a case by case basis. And I have a good relationship with our design team that like they trust me, but very much so like this is not like a singular truth and talk to designers before doing anything because, it's just like in marketing, you know, when an engineer comes and you're like, I have this amazing marketing idea.

It's like, well, stay in your lane. No, but, you know, so it's definitely like a case by case basis. And, you know, we're not trying to like, we're trying to co-work non-co-op. Yeah. I think we're, I'm sure as everyone here is facing, there's just a lot of assets we need every day out. And ideally if we can keep our amazing designers and creatives focused on the really challenging things that we want to be able to solve, that's what we would love to make sure they're looked in on versus a no offense to the wonderful event poster, but I don't think they wanted to spend too much time on making, an event poster for our creative mixers.

So, yeah, it definitely is a, is a case by case basis, but, we're going to get, try and get through the rest of the deck, really quickly here, but promise we'll get through the rest of the questions. And on the topic of decks, the last great thing that, and not only last, but one of the great things that MCP is able to do is to make a FLORA deck, which is actually what you're seeing presented right now, we made it with the FLORA MCP. So what I think is really powerful about, the MCP in general is that, it's just one tool called for your Claude at the end of the day.

You can connect your Claude, your ChatGPT up with Slack, Google Drive, Granola, Linear, all of your different tools that you might use as a product marketer, to manage all of the requests, the product information, the context. And so at the end of the day, this is just one fantastic tool call that you can use to visualize all of the inputs you're getting. So a great example is this exact deck came to us as a brief around, Hey, we would love to talk about how, you guys are using FLORA.

And I was able to go and say, Hey, take a look at this Granola note of the meeting where we talked about it. Go ahead and look through the conversations I've had with Mac where he sent me some of the assets, some of the screenshots, some of the recordings, and put them into a great deck here. And that's what FLORA decks really is. It's, it's a great place to not only make those visual assets, then to actually present it, which I think is really powerful. And again, just like we were talking about with layer editor and all of these things, you could edit each slide.

You can move the text, you can move the shapes, bring in videos. And it's something that your canvas is able to hold together. So if you make a new asset, you can drag it easily onto your deck. And again, you can all drive it through the FLORA, like someone like myself that loves just typing away with my Claude and my ChatGPT, I'm like, not quite my speed. Let's go ahead and move this a few pixels to the left. And then I quickly changed my mind, but it's really powerful.

And one thing I really want to highlight is that you could put 3d objects inside FLORA decks. So I know there's a lot of people using FLORA for product photography or e-commerce. And one of the hardest parts is, you know, showing maybe a 3d prototype or a render of your product, in presentations and meetings. So what's really cool is you can literally bring a 3d model from your canvas and put it on the deck and you can move it around in the presentation. You can have it auto rotate.

If you notice, I made a little, I want to say ice pick ice axe with a little floral logo on it. I don't think we have this as actual merch to buy, but it is really cool that you can see it, with no exports that needed with no complex kind of, figuring out of like bringing in the asset. So, really powerful ice axe. Merge coming. Yeah. Yeah. No promises, but yes, inbound. I answer a few of the, of the low questions here that are about what is the difference between the custom action and a technique, which is a great question.

Techniques are essentially packaging up a workflow. So let's say max wonderful event poster design here. If you, if you wanted to recreate this halftone print effect and the layout, in composition of everything repeatedly, you can basically select it all and say, like, make it a technique. And that is basically making a reputable workflow. Whereas I would say that a custom action is more about a singular creative effect, maybe that you're applying. And, something that your own creative tool that you're constantly tweaking. What's really cool is you can put a custom action within a technique so you can bundle it up with the whole workflow.

So it's very exciting. Right here. And there's a quick question about the MCP. The MCP is just basically giving your, agent tools, another tool per se. So, your Claude, your ChatGPT would just be able to connect and use FLORA. I know people like to say they have the best creative MCP, but we really do believe that. And it's the proof is in the pudding right here. You cannot do a lot of these things with any other creative MCP out there. It's so extremely powerful and it gives you creative control.

Yeah. All the, like the beauty about our MCP is that everything that it creates is not a static thing. It creates it within a workflow that then you can see here. Like if I didn't like this shirt through a different tool, like I would have had to go back, regenerate, reprompt. And, but I wouldn't have known that until I got here. So then it's like, I'm wasting so much of my time. And it said, it's like, great, I, as soon as I recognize this, I can just branch it off and through the MCP do it again.

Or actually in this case, I didn't use MCP because it was such a clear task for me to do. But I think that's just like one of the powerful things about our canvas is that whenever you prompt the MCP to do something, it always creates it within a workflow, which is really cool. Yeah. And then I think there was a, there was a great question around, you know, what happens if you're someone working and you don't have a ton of graphic design experience? Yeah. I don't know, Mac, if you have any.

Yeah. Yeah. So this is like such a great point. And I think the, there's two answers to this question. One is having the systems in place to know that you don't need a design background to create content within FLORA. So that again, looks like designers, your design team or your brand assets being locked in ChatGPT, in Codex, in Claude Code, in Claude in general. So that when you're prompting through the FLORA canvas, you're ensuring that you're getting assets that are already created on brand. So there's a lot less like artistic and art direction thought that you have to do when this is already encoded internally in your system.

And this is something that we believe super strong at FLORA and we're actually continuing to build tooling, that will make this process easier and easier. So definitely like stay tuned for that. But that is what I would say in general. And then, the other side of things is like, maybe all it takes is like a quick conversation with your designer, to be like, Hey, I need, I need a poster for the, or I need a flyer for this, right? I'm promoting a webinar or we have a meeting coming up with this client and I would need to send them some form of, visual reminder.

That is enough to like put that, you know, record that conversation, put that into Claude through the MCP and see what it spits out. And again, like if you're saving your designer an hour or two by creating even an array of assets for them to choose from, that's better than them having to do this from the start. So I think anytime that you can save there is great. And of course there's always going to be this like check and checks and balances relationship with your design team and your marketing team.

It's just about making that process more streamlined. This is also a collaborative canvas. So you can share this with any, anyone within your team. So you can be like working on this at the same time. You can drop notes in here, the design team can. So it's just, it's very collaborative and it's very easy to, have that handoff process or have that conversation, asynchronously right on the canvas. I have, what else should I say about that? I think, yeah, that's probably, that's probably like the core tenants of like what I believe around if you're like not super strong on graphic design.

And then techniques. So this is another, this is what I was meaning to say. As I just showed, like packaging that into a technique, you could have your design team do that and like create a bunch of different, asset things for you and then create a technique and package it. So then all of their, they've done it. Like they have designed this instead of, instead of you. And then you can just take that technique, run it through a new input, like just all you're doing with the technique is putting in a different input and getting it and getting a different output through that workflow that's been created by the designer, the package by the designer.

So that's another place where techniques are huge, that your design team can build and then the marketing team can run at scale. Yeah. I would say I am not a, I'm not a graphic designer by trade. I like doing video work. But since starting to work at FLORA, another great thing that's helped me build up the chops a little bit on my own. It's just going to those Pinterest, Cosmos Are.na. These platforms that show great work. And then the other thing I would say is, it's not just about, trying and continually practicing and making things, but it's making sure you're being mindful about how you consume the creative work.

That's something I've been a lot more interested in is looking at something and saying, wow, that's beautiful. But how did they set it up? What is the composition? Everything else? I think we had a question around motion design, and how does it look in After Effects? I actually dragged a screen recording on the canvas really quickly of what it, looks like in After Effects. I don't know if it'll play, but, this is a screen recording of it roughly and maybe it's a little choppy, but, it is literally broken out into a composition that you can then open up, see individual assets.

So if, you know, since we want to set up your After Effects composition and timeline properly, it will order it well. It will make sure that the key frames, the positions, everything are set correctly. And I know for me, I'm a, I'm a DaVinci Resolve guy personally. I don't want to start a fight here, but, I know for me, I have a very particular way. I like to video edit and do motion. And so that's something I tell my Claude actually, I say, Hey, this is how I prefer the pacing, the timing.

This is how I prefer the structure. And so you could tell it all of that. And it will be very organized to exactly what you're looking for. Again, super powerful. Can you output a FLORA layered composition into Photoshop and or any editing software? I actually don't know if you can maintain a layering structure. We have a direct connection with photos. No, we actually don't. I believe you can using your Claude and the MCP tools to do it. I'm not sure exactly how I'm pretty sure you can.

So let me, let me double check on that. And if it's not something that's quite up to par, I'm sure we can absolutely get our product team to get it up to par. Yeah. But we've definitely have seen that people have been able to split out the layers and then bring it over to work internally at least. And then I would say the other thing is, since four, this is just a tool call at the end of the day. You could start with something like Figma if you really wanted to.

I know sometimes I'll, because I learned Figma a long time ago, I'll do some basic composition layout in Figma first and then tell my Claude to take that in as a base thing. So yeah, a lot of different tools you can. That's a, that's a great point. And actually one of the things I don't think we're going to have time for the live build, but one thing I wanted to show you was that you can actually, a lot of the workflow that I do, when I don't need to use layer editor to create a specifically generated asset, I will like create whatever I need to do in FLORA.

And then I'll say through the MCP, I'll say like, great, now take that final image, put it into Figma and do the text there because also Figma because it's talking through our cameras. I'm crazy. It knows who the, who the model is in this. Because it's talking because it's using, you know, Claude or whatever you have, and it has those skills in it. The same is true through the MCP to Figma. So it talks to my FLORA, gets the image, then it brings it into Figma and it uses those same, skills to understand the font layout.

Everything that it would do in Figma, it can also, or in FLORA, it can also do in Figma. And I then, I think, if you're, if you're comfortable and familiar and you have Figma, if you're, if you, that's how you want to do text layout, do that. Like it's probably a simpler and more straightforward process and save the image editor in FLORA for more like outsized generative work. Yeah. Yeah. And I know sometimes I think there's a question on like what model do you use the MCP to keep costs down?

I think it for us on Claude, I've really enjoyed it when I have to make sure I'm not using too much usage because I know we're all, we all want that usage. I think Sonnet is great. It's really powerful. You definitely did not need to go on fable or opus within Claude. Sonnet is more than enough. And on ChatGPT side, Astra on medium is also is amazing. So I would say that for a lot of the work, you do not need to go to extra high effort or the state of the art large language model.

You really do not need that. And again, we would really say that going through these iterations, you don't need to have the best model available. It's all about having your own vision in mind, iterating with it. And I think we had a question on adding text within FLORA and hooking up brand fonts on your assets. You can upload your brand fonts into FLORA or you can also upload it directly into Claude for it to use. So both work. We have our brand fonts added into FLORA.

We did so simple. You just drag and drop it in pretty much. So you can absolutely use your brand fonts in FLORA. And then there's a question we have around prompting inside FLORA or Claude. I think it depends on the person. I enjoyed prompting within Claude. Yeah. But for example, for custom action, maybe you'll do it in FLORA. No, I really don't. Like I do everything through Claude as well. There's no again, like I think the theme here is like there's no one right way to do this.

Like a lot of different tools can get you the same way. But I much prefer starting with Claude talking to FLORA because I do think that LLM to LLM conversation is better than like me and FLORA for whatever reason. And everyone can, you know, has their different opinion on that. But that's just how we work. Yeah, there's again with Claude or ChatGPT and plugging the FLORA MCP and ultimately it is just giving your Claude and ChatGPT, which I said a million times, just the word ChatGPT tonight.

But it's giving in a really powerful creative tool. I would say if you sent Claude off to do something and you weren't using like the FLORA MCP, it'd be like doing work with one hand tied behind its back because it just doesn't have the same tools that we're able to give it when it comes to image generation or just piecing things together. So really powerful. And I know we had some questions about people wanting to show their work a little bit of a before and after to see how it works with you know, their later in custom action.

So feel free to email either of us Mac or Taco for reference and happy to take a look at them, including if people are curious about, you know, the deck quick creation of 3D elements. Again, and this deck that 3D element that we showed all done through the FLORA MCP. I just typed I want to ice pick axe. I wanted to be FLORA branded. What would it look like? And it built the workflow for me on this canvas. So it's really powerful. I think we have a few more minutes left.

Anyone has any last minute questions, but if not, we have a few more little fun things that Mac experimented with the show. Yeah. So I just figured I don't know, I'm like obsessed with custom action. So I made beyond, you know, there's automated these automated processes that you can take. It's like, OK, what if, you know, you needed to market something a little bit crazier or like a product? And you wanted to sort of hand product team and sign team something that just like has a little bit of like marketing's POV in it.

So I just created like this spec project around the creative process. It's super open ended. It's not really practical in terms of like the output. Like it's not marketing anything specifically. But I think it's helpful to see on a canvas to show one like how iterative the process of creation is, how much you can do with it. And then also elements of like where I am taking direct reference from something and turning it into something else. So like I really wanted to start with like FLORA, obviously our branding is very botanical.

It's very floral. And so I wanted to start with sort of images that felt on brand. So I again, through the MCP said like, hey, can you make me a handful of images and it through a little bit of trial and error, like I ended up getting to these images. And I and this is great. And this is totally where you could stop. But then I'm like, great, I want to push this further, but I want to push this further with control. So through the MCP, let's let's go crazy on custom actions.

Let's like put it through a glass distortion filter and see where we get. This one was mediocre because it like didn't quite get the glass ripping correctly and I just didn't have the time to correct it. But as you can see, like it kind of messes with like how much it repeats. So again, this is a perfect example of, OK, you can play with it to get it somewhere close, but also you can easily just go and edit it on canvas or you can reprompt the MCP to say, hey, you didn't you didn't do this quite right.

More custom actions. I was like, OK, liquid distortion. What does that look like? And this is a good example of like I mess with all of this and then it still had the essence of this photo, which to me feels a little bit glossy. So it was great. I want to add a grain to this. So I went back into the MCP and said, hey, can you add me a grain filter? And so that's now you see, like there's just grain in the image. And that's to me like super helpful.

And just again, you can get those final tweaks in here. Ultimately, like I just was like, OK, I want to create a bunch of different imagery here through this. So like all of that in the process, I was like, OK, here's an actual. So this is a direct. We don't always recommend doing this. But this was like first back work. So I was like, it's fine. It's not literally not going anywhere. This is a direct reference from Cosmos that I really enjoyed. But I obviously didn't want to use it.

So I was like, OK, can you show me a different iterations of the stacked glass in a vase? I also didn't like this. So I went back and was like, I actually like the shape of this glass. Now knowing the shape of this, can you pull in reference to this and then stack them? So then it did this and like along the way, which often happens with generative AI, it's sort of like take something that maybe it was like a little part of the image and makes it very apparent.

So like all of this glasses end up having like smoke in them. I was like, OK, that's not exactly what I want. But I actually I like the composition of this. I'm going to now reprompt it to hello. Just to remove the smoke. And there it is. So again, like. This is not super like practical in the sense of like there's nothing you can use here from a product standpoint, but I just wanted to show how the workflow works through MCP, but also then taking it once you get it and iterating it on the canvas.

And then I also then was like, let's add flowers to it and then let's add grain. Same thing. Let's do a specific custom action grain effect. Anyway, we love the flowers and we love the grain. But yeah, that's that's how we're using the FLORA MCP. This is only a light scratch on the surface. There's so much you can do with it. We're very excited to keep showcasing more ways to use it. But yes, it's just so powerful. Yeah, and that is all we have time for today, you guys.

Thanks everybody for being here. Like I said at the beginning, what an iconic duo I think we will have more of you of you on our webinars in the future. I'm getting lots of heart reacts, as I say this, so I think everybody agrees.