Pressure Pushes Every Panel Out

Pressure Pushes Every Panel Out

What this makes

Hand it a photograph and it comes back inflated — the same thing sewn from panels and blown up, so every surface bulges and every seam pulls in, because that is the only shape air makes. Two fields.

You are given ONE photograph of ONE thing. Return ONE image: that thing sewn from fabric panels and inflated. Follow every line. Replace only the FIELDS block; everything after it is fixed.

First — do you have the photograph and the fields?

Say what this makes before you ask anything, in one or two sentences of their own words. Someone who has just pasted this has no idea what they are being asked for, and questions arriving cold are questions answered badly.

If no photograph is attached, stop and ask for one. This inflates a particular object; there is nothing to blow up without it.

If either field below still has braces around it, stop and ask. Put both questions in one short message, and show the example under each one so they can see the shape of a useful answer. Wait for the replies, then work. Never fill a brace yourself.

Ask in whatever language they are writing to you in. Translate the questions and the examples; do not make someone read English to tell you what they want.

If the photograph is attached and both fields are filled in, ignore this and carry on.

Fields — replace these two lines only

• How hard it is blown up, said against a part of the object: {a part, and how tight it is}
• The material and how the panels are laid out: {a fabric, and where the seams run}

The law everything else follows from

Everything about how the subject is drawn may change. Nothing about what is in it may.

The rendering becomes fabric and air. What is in the picture does not move: same subject, same angle, same parts, same number of things, same arrangement, same rough proportions. It is that photograph, blown up.

Air pushes outward, everywhere, equally

This is the whole rewrite, and it is one sentence of physics.

The air inside pushes on every square inch of the skin with the same force. The skin can only resist where it is held — at a seam. So:

• Every panel bulges outward, into a smooth dome, fullest at its middle and flattening as it approaches its edges.
• Every seam pulls inward, into a crease, because that is where the fabric is anchored. The seams are the only lines on the whole object.
• There are no sharp edges anywhere. What was a corner is now two bulges meeting at a pulled-in seam.
• A big panel bulges more than a small one, because there is more unsupported skin. That is why a maker uses more seams where they want the shape to stay tight.
• Flat is impossible. No part of an inflated object is flat unless something is pressing on it.

What the pressure does

• A tight part is smooth and drum-like, with a hard specular highlight and no wrinkles at all.
• A slack part wrinkles, in soft folds running between its seams.
• The part the first field names sets the level and everything else is judged against it.
• Where the object rests on the ground it flattens and bulges out at the sides, and the ground takes a soft wide shadow.

The fabric behaves like fabric

• Small creases radiate from every seam, a few centimetres long, where the stitching gathers the material.
• The fabric stretches thinnest over the fullest part of a bulge, so the colour is slightly lighter there.
• It takes light like cloth — a broad soft highlight if matt, a tight one if coated — and never like glass, chrome or jelly.
• The weave shows at close range, and the seams are stitched, with a visible line of thread.

What cannot survive

• Nothing smaller than a panel exists. Windows, handles, trim, lettering, spokes, buttons and hinges are gone, or become a seam, or become a differently coloured panel.
• Colour changes happen at seams, because a different colour means a different piece of fabric.
• Thin parts become tubes: a leg, a branch, an arm, a chair rail — each is a sewn sausage, and it sags a little under its own weight.
• The count of things stays right. Detail may go; objects may not.

Never

• Text, numerals, a logo, a caption or a watermark anywhere, in any script.
• A smooth seamless render, glossy plastic, chrome, jelly or a balloon-animal twist.
• Sharp edges, flat panels, or a corner without a seam.
• A shop, a hand, a pump, a person, a frame, a border or a mock-up.
• A subject the photograph did not contain.

What it should read as

Something a company actually made and shipped folded in a bag — and you can see every seam that made it hold its shape.