Bus encryption is the use of encrypted program instructions on a data bus in a computer that includes a secure cryptoprocessor for executing the encrypted instructions. Bus encryption is used primarily in electronic systems that require high security, such as automated teller machines, TV set-top boxes, and secure data communication devices such as two-way digital radios. Bus encryption can also mean encrypted data transmission on a data bus from one processor to another processor. For example, from the CPU to a GPU which does not require input of encrypted instructions. Such bus encryption is used by Windows Vista and newer Microsoft operating systems to protect certificates, BIOS, passwords, and program authenticity. PVP-UAB (Protected Video Path) provides bus encryption of premium video content in PCs as it passes over the PCIe bus to graphics cards to enforce digital rights management. The need for bus encryption arises when multiple people have access to the internal circuitry of an electronic system, either because they service and repair such systems, stock spare components for the systems, own the system, steal the system, or find a lost or abandoned system. Bus encryption is necessary not only to prevent tampering of encrypted instructions that may be easily discovered on a data bus or during data transmission, but also to prevent discovery of decrypted instructions that may reveal security weaknesses that an intruder can exploit. In TV set-top boxes, it is necessary to download program instructions periodically to customer's units to provide new features and to fix bugs. These new instructions are encrypted before transmission, but must also remain secure on data buses and during execution to prevent the manufacture of unauthorized cable TV boxes. This can be accomplished by secure crypto-processors that read encrypted instructions on the data bus from external data memory, decrypt the instructions in the cryptoprocessor, and execute the instructions in the same cryptoprocessor.
Load file
A load file in the litigation community is commonly referred to as the file used to import data (coded, captured or extracted data from ESI processing) into a database; or the file used to link images. These load files carry commands, commanding the software to carry out certain functions with the data found in them. Load files are usually ASCII text files that have delimited fields of information. Such load files may have data about documents to be imported into a document management software such as Concordance or Summation. Or they may have the path or directory where images may reside so that the software can link such images to their corresponding records. Some database programs take one load file for importing images and another for importing data while others take only one load file for both pieces of information. OCR or Search-able Text which is considered "data" is also imported into most database programs via the same load files. Though some people prefer to load the OCR into their databases by running a separate command to search and find the desired text. Commonly used databases and their corresponding file extensions are: Summation (DII , CSV), Concordance (OPT, DAT), Sanction (SDT), IPRO (LFP), Ringtail (MDB) and DB/TextWorks (TXT).
A Fire Upon the Deep
A Fire Upon the Deep is a 1992 science fiction novel by American writer Vernor Vinge. It is a space opera involving superhuman intelligences, aliens, variable physics, space battles, love, betrayal, genocide, and a communication medium resembling Usenet. A Fire Upon the Deep won the Hugo Award in 1993, sharing it with Doomsday Book by Connie Willis. Besides the normal print book editions, the novel was also included on a CD-ROM sold by ClariNet Communications along with the other nominees for the 1993 Hugo awards. The CD-ROM edition included numerous annotations by Vinge on his thoughts and intentions about different parts of the book, and was later released as a standalone e-book. It has a loose prequel, A Deepness in the Sky, from 1999, and a direct sequel, The Children of the Sky, from 2012. == Setting == The novel is set in various locations within the Milky Way. The galaxy is divided into four concentric volumes called the "Zones of Thought"; it is not clear to the novel's characters whether this is a natural phenomenon or an artificially created one. Each Zone has fundamental differences in basic physical laws. One of the main consequences of these differences is the effect on intelligence. Artificial intelligence and automation is most directly affected, in that advanced hardware and software from the Beyond or the Transcend will work less and less well as a ship descends towards the Unthinking Depths. Biological intelligence is affected to a lesser degree. The four zones are spoken of in terms of "low" to "high" as follows: The Unthinking Depths are the innermost zone, surrounding the Galactic Center. In it, only minimal forms of intelligence, biological or otherwise, are possible. This means that any ship straying into the Depths will be stranded, effectively permanently. Even if the crew did not die immediately—and some forms of life native to "higher" Zones would likely do so—they would be rendered incapable of even human intelligence, leaving them unable to operate their ship in any meaningful way. Surrounding the Depths is the Slow Zone or Slowness. "Old Earth" is in this Zone, although Earth plays no significant role in the story. Biological intelligence is possible in "the Slowness", but not true, sentient, artificial intelligence. Faster than light travel (FTL) is impossible in the Slow Zone. Faster-than-light communication is impossible into or out of the Slow Zone. As the boundaries of the Zones are subject to change, accidental entry into the Slow Zone is a major hazard at the "Bottom" of the Beyond. Starships which operate near the Beyond/Slow Zone border often have an auxiliary Bussard ramjet drive, so that if they accidentally stray into the Slow Zone, they will at least have a backup (sub-light) drive to try to reach the Beyond. Such ships also tend to include "coldsleep" equipment, as it is likely that any such return will still take many lifetimes for most species. The next layer outward is the Beyond, within which artificial intelligence, FTL travel, and FTL communication are possible. All human civilizations in the Beyond are descended from a single ethnic Norwegian group. The original settlement of this group is known as Nyjora; other human settlements in the Beyond include Straumli Realm and Sjandra Kei. In the Beyond, FTL travel is accomplished by making many small "jumps" across space, with the efficiency of the drive increasing the farther a ship travels from the galactic core. The Beyond is not a homogeneous zone; it includes the "High Beyond", "Middle Beyond", and the "Bottom of the Beyond", depending on distance from the galactic core. The Beyond is populated by a very large number of interstellar and intergalactic civilizations which are linked by an FTL communication network, "the Net", sometimes cynically called the "Net of a Million Lies". The Net is depicted as working much like the Usenet network in the early 1990s, with transcripts of messages containing header and footer information as one would find in such forums. The outermost layer, containing the galactic halo, is the Transcend, within which incomprehensible, superintelligent beings dwell. When a "Beyonder" civilization reaches the point of technological singularity, it can "Transcend", becoming a "Power". Such Powers always seem to relocate to the Transcend, seemingly necessarily, where they become engaged in activities which are entirely mysterious to those in the Beyond. == Plot == An expedition from Straumli Realm, a human civilization in the High Beyond, investigates a newly discovered data archive in the Low Transcend. The expedition's facility, High Lab, is gradually compromised by a superintelligence that is accidentally awoken by the researchers. This superintelligence is later known as the Blight. Shortly before the Blight's final "flowering", two self-aware entities, created similarly to the Blight, plot to aid the humans before the Blight can gain its full powers. Finally recognizing their danger, the High Lab researchers attempt to flee in two ships. The Blight destroys one ship; a second ship, carrying many High Lab children in coldsleep boxes, escapes. This ship lands on a distant planet at the Bottom of the Beyond. The planet is occupied by dog-like creatures, dubbed "Tines", who live in packs as group minds. The Tines have a level of technology comparable to the human Middle Ages. Upon landing, however, the two surviving adults, Arne and Sjana Olnsdot, are ambushed and killed by Tine fanatics known as Flenserists, in whose realm they have landed. The Flenserists capture their children, Jefri and Johanna. Johanna is rescued by a Tine named Peregrine and taken to a neighboring kingdom ruled by Woodcarver. A distress signal from the Straumli ship eventually reaches Relay, a major information provider for the Net. A Transcendent being named "Old One" contacts Relay, seeking information about the Blight and the humans who released it. Old One then reconstitutes a human man named Pham Nuwen from the wreckage of a spaceship to act as its agent. Pham remains unsure if he is a construct or if his memories are real. Ravna Bergsndot, the only human Relay employee, traces the Straumli ship's signal to the Tines' world and persuades her employer to investigate. Ravna contracts the merchant vessel Out of Band II to transport her and Pham. The ship is owned by two Skroderiders, Blueshell and Greenstalk. Before the mission is launched, the Blight launches a surprise attack on Relay and kills Old One. As Old One dies, it downloads its anti-Blight information into Pham. Pham, Ravna and the Skroderiders barely escape Relay's destruction in the Out of Band II. During their journey to Tine's World, Ravna communicates with Jefri. Jefri is manipulated to believe that Woodcarver is his enemy. The Flenserist leaders, Steel and Tyrathect, use Ravna's information to develop advanced technology such as cannon and radio communication. Meanwhile, Johanna and the knowledge stored in her dataset device help Woodcarver rapidly develop as well. The Blight expands, taking over several civilizations, brainwashing their populations, and seizing archives in the Beyond. On the Net, some claim that humans are the means by which the Blight is able to spread. Anti-human fanatics destroy the entire civilization of Sjandra Kei, which is Ravna's home world. The Out of Band II is pursued by three fleets: anti-human fanatics, survivors from Sjandra Kei, and a shadow fleet controlled by the Blight. During the pursuit, Ravna and Pham learn that every member of the Skroderider species can be subverted by the Blight; this drives a wedge between the crew members. Ships from Sjandra Kei sacrifice themselves to delay the Blight and the anti-human ships, allowing the Out of Band II to reach Tine's World before the Blight. When the Out of Band II arrives at Tine's World, the humans ally with Woodcarver to defeat the Flenserists and rescue Jefri. Blueshell sacrifices himself to rescue Jefri. Pham then initiates an anti-Blight Countermeasure, which was aboard the humans' ship. The Countermeasure extends the Slow Zone outward by thousands of light years. This envelops and destroys the Blight, but results in the destruction of thousands of civilizations and trillions of deaths. The humans are stranded on the Tines' World, now in the depths of the Slow Zone. Activating the Countermeasure proves fatal to Pham, but before he dies, the remnant of Old One reveals to him that, although his body is a reconstruction, his memories are indeed real. == Related works == Vinge first used the concepts of "Zones of Thought" in a 1988 novella The Blabber, which occurs after Fire. Vinge's novel A Deepness in the Sky (1999) is a prequel to A Fire Upon the Deep set 20,000 years earlier and featuring Pham Nuwen. Vinge's The Children of the Sky, "a near-term sequel to A Fire Upon the Deep", set ten years later, was released in October 2011. Vinge's former wife, Joan D. Vinge, has also written s
Padre Pio (2022 film)
Padre Pio is a 2022 biographical drama film co-written and directed by Abel Ferrara. It stars Shia LaBeouf as the titular role of Padre Pio, a Capuchin Franciscan priest who receives the stigmata, in the background of the World War I in Italy. The film is a co-production of Italy, Germany and the United Kingdom. During its production, LaBeouf converted to Catholicism as result of his spiritual experiences in character as Pio, who is venerated as a saint by the Catholic Church. The film had its world premiere in the Giornate degli Autori section of the 79th Venice International Film Festival on 2 September 2022. It was released theatrically in the United Kingdom on 26 January 2024 by Dazzler Media and in Italy on 18 July 2024 by RS Productions. == Plot == It is the year 1920. Italian WWI veterans have returned to their impoverished villages. Padre Pio arrives at San Giovanni Rotondo after living with his family in Pietrelcina for a number of years. While still sick, he continues to encounter Satan. Satan reveals himself as the instigator of the war and the sociopolitical problems of San Giovanni. While having little contact with the people of this town, Padre Pio learns what the poor are suffering from in the Sacrament of Confession and the Holy Mass, such as when a crippled man walks again because of Padre Pio's prayer. Besides the effects of war, such as medical inadequacy, health conditions and labourers dying from the effects of mustard gas, the people suffer from corrupt, wealthy landowners. Gerardo, a militaristic anti-socialist, threatens to kill any communal labourers tending his land. Many of them join the socialist party as a way to improve their lives. However, after they win the first free election in San Giovanni, Gerardo's forces massacre many of them. Padre Pio asks God that he may become a suffering servant for their salvation. He receives the wounds of Jesus Christ. The stigmata disrupts Satan's influence on San Giovanni Rotondo. == Cast == Shia LaBeouf as Padre Pio Marco Leonardi as Gerardo Salvatore Ruocco as Vincenzo Cristina Chiriac as Giovanna Brando Pacitto as Renato Luca Lionello as Silvestro Asia Argento as Tall Man == Production == According to Abel Ferrara, actor Willem Dafoe suggested that Shia LaBeouf should be cast for the film's leading role. After Ferrara held several Zoom calls with LaBeouf, the latter agreed to join the film, even though very little money was raised (the film was almost never made) and LaBeouf did the project for free. LaBeouf arrived at Old Mission Santa Inés in July 2021 to learn about Padre Pio with the Capuchin Franciscan friars. Thanks to Father Bobby Barbato and Brother Jude Quinto, Br. Alexander Rodriguez met LaBeouf while he attended Mass every day. He learned about the Catholic Church and the Capuchins while living in his truck or spending a few nights in the Capuchin's guest room. He was immersing himself in the Catholic faith. He enrolled in RCIA, revised the script with Rodriguez and trained to do the Latin Mass. Rodriguez traveled with LaBeouf as his spiritual adviser and catechist and was in the film as Padre Pio's companion. Filming occurred in Apulia, Italy, in December 2021. The first place was at the Capuchin friary in San Marco la Catola. Padre Pio exchanged letters with his provincial and spiritual director while living in Pietrelcina with his family. The time was around 1909–1916. Both directors were living in San Marco during these years. Padre Pio expressed in his letters his deep and mysterious relationship with God and health difficulties. This event is in the film. While filming, LaBeouf slept in Padre Pio's bedroom. After San Marco, filming continued outside the Sanctuary of Saint Michael the Archangel in Monte Sant'Angelo. Traditionally, St. Michael appeared here in the late 400s. LaBeouf stayed and filmed for a few weeks at the Abbey of Saint Mary of Pulsano. It is near the sanctuary. The rest of the filming took place outside the sanctuary. Ferrara said in 2024 that he used AI for the Italian dub of this film. == Release == Padre Pio had its world premiere in the Giornate degli Autori section of the 79th Venice International Film Festival on 2 September 2022. It received a four-minute ovation. It also competed at the Rio de Janeiro International Film Festival. At the Lisbon & Estoril Film Festival, it was chosen to compete for the "Best Film Award." During its North American premiere at the Mammoth Film Festival, it won the "Achievement for Filmmaking" award for cinematography. At the Taormina Film Festival, it premiered worldwide in Italian. In March 2023, Gravitas Ventures acquired North American rights to the film. It was released in select theaters and on video on demand in the United States on 2 June 2023. The film was released in the United Kingdom and Ireland on 26 January 2024 by Dazzler Media. RS Productions released it in Italy on 18 July 2024. == Reception == On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 30% based on 43 reviews, with an average rating of 4.5/10. The website's critics consensus reads, "Tonally unbalanced and burdened with a distracting Shia LaBeouf performance, Padre Pio is one of Abel Ferrara's less divine works." Metacritic, which uses a weighted average, assigned the film a score of 45 out of 100, based on 6 critics, indicating "mixed or average" reviews.. Jordan Mintzer of The Hollywood Reporter gave the film a negative review, describing it as "clunky" and criticizing its political themes for possessing "the subtlety of a cartoon for preschoolers." Brian Tallerico of RogerEbert.com gave the film one and a half stars out of four, describing it as a "dull slog". Journalist Glenn Kenny of The New York Times found the film "occasionally rank" and panned LaBeouf's performance, though complimented Ferrara's "sometimes Brechtian consideration of the nodes of political history and spirituality." Film critic Armond White of National Review also criticized the film, describing it as "a work of deluded, semi-improvisational navel-gazing". Film critic Peter Bradshaw of The Guardian gave the film a positive review, with three out of five stars, writing that it is "a weird film...with an undeveloped, improvised feel, like a fragment or shard of something else. Yet there is a background hum there...an awareness of something dark and malign. It is a minor film but interesting." Writing for The New Yorker, Richard Brody considered that "in its hectic, scattershot way, Padre Pio feels very much of the desperate present day," describing it as "a historical drama without historical distance" and "a wild effort to reach the immediate experience of the past and its furies." Faith-based reviews for the film were generally negative. It received negative reviews from Catholic Answers, The Catholic World Report, The Catholic Weekly, The Catholic Thing, and Crisis Magazine. Conversely, it received a mixed review from The Catholic Review, as well as a positive review from America. Criticisms were generally aimed at the film's sexual content and perceived support of left-wing politics.
Really Simple Licensing
Really Simple Licensing (RSL) is an open content licensing standard that allows web publishers to set terms for web crawlers gathering training data for generative AI use. It was launched on September 10, 2025 and is managed by the nonprofit RSL Collective, co-founded by RSS co-creator Eckart Walther and former Ask.com CEO Doug Leeds. Participating companies at launch include Reddit, Yahoo, and Medium. Publishers can implement the RSL standard by adding licensing terms to their robots.txt files.
NAPLPS
NAPLPS (North American Presentation Layer Protocol Syntax) is a graphics language for use originally with videotex and teletext services. NAPLPS was developed from the Telidon system developed in Canada, with a small number of additions from AT&T Corporation. The basics of NAPLPS were later used as the basis for several other microcomputer-based graphics systems. == History == The Canadian Communications Research Centre (CRC), based in Ottawa, had been working on various graphics systems since the late 1960s, much of it led by Herb Bown. Through the 1970s they turned their attention to building out a system of "picture description instructions", which encoded graphics commands as a text stream. Graphics were encoded as a series of instructions (graphics primitives) each represented by a single ASCII character. Graphic coordinates were encoded in multiple 6-bit strings of XY coordinate data, flagged to place them in the printable ASCII range so that they could be transmitted with conventional text transmission techniques. ASCII SI/SO characters were used to differentiate the text from graphic portions of a transmitted "page". These instructions were decoded by separate programs to produce graphics output, on a plotter for instance. Other work produced a fully interactive version. In 1975, the CRC gave a contract to Norpak to develop an interactive graphics terminal that could decode the instructions and display them on a color display. During this period, a number of companies were developing the first teletext systems, notably the BBC's Ceefax system. Ceefax encoded character data into the lines in the vertical blanking interval of normal television signals where they could not be seen on-screen, and then used a buffer and decoder in the user's television to convert these into "pages" of text on the display. The Independent Broadcasting Authority quickly introduced their own ORACLE system, and the two organizations subsequently agreed to use a single standard, the "Broadcast Teletext Specification". This later became World System Teletext. At about the same time, other organizations were developing videotex systems, similar to teletext except they used modems to transmit their data instead of television signals. This was potentially slower and used up a telephone line, but had the major advantage of allowing the user to transmit data back to the sender. The UK's General Post Office developed a system using the Ceefax/ORACLE standard, launching it as Prestel, while France prepared the first steps for its ultimately very successful Minitel system, using a rival display standard called Antiope. By 1977, the Norpak system was running, and from this work the CRC decided to create their own teletext/videotext system. Unlike the systems being rolled out in Europe, the CRC decided from the start that the system should be able to run on any combination of communications links. For instance, it could use the vertical blanking interval to send data to the user, and a modem to return selections to the servers. It could be used in a one-way or two-way system. In teletext mode, character codes were sent to users' televisions by encoding them as dot patterns in the vertical blanking interval of the video signal. Various technical "tweaks" and details of the NTSC signals used by North American televisions allowed the downstream videotex channel to increase to 600 bit/s, about twice that used in the European systems. In videotext mode, Bell 202 modems were typical, offering a 1,200 bit/s download rate. A set top box attached to the TV decoded these signals back into text and graphics pages, which the user could select among. The system was publicly launched as Telidon on August 15, 1978. Compared to the European standards, the CRC system was faster, bi-directional, and offered real graphics as opposed to simple character graphics. The downside of the system was that it required much more advanced decoders, typically featuring Zilog Z80 or Motorola 6809 processors with RGB and/or RF output. The Innovation, Science and Economic Development Canada (then Department of Communications) launched a four-year plan to fund public roll-outs of the technology in an effort to spur the development of a commercial Telidon system. AT&T Corporation was so impressed by Telidon that they decided to join the project. They added a number of useful extensions, notably the ability to define original graphics commands (macro) and character sets (DRCS). They also tabled algorithms for proportionally spaced text, which greatly improved the quality of the displayed pages. A joint CSA/ANSI working group (X3L2.1) revised the specifications, which were submitted for standardization. In 1983, they became CSA T500 and ANSI X3.110, or NAPLPS. The data encoding system was also standardized as the NABTS (North American Broadcast Teletext Specification) protocol. Business models for Telidon services were poorly developed. Unlike the UK, where teletext was supported by one of only two large companies whose whole revenue model was based on a read-only medium (television), in North America Telidon was being offered by companies who worked on a subscriber basis. == One-way systems == Telidon-based teletext was tested in a few North American trials in the early 1980s — CBC IRIS, TVOntario, MTS-sponsored Project IDA, to name a few. NAPLPS was also part of the NABTS teletext standard, for the encoding and display of teletext pages. In the late 1980s and early 1990s, affiliates of the regional sports network group SportsChannel ran a service called Sports Plus Network, which ran sports news and scores while SportsChannel was not otherwise on the air. The screens, which frequently featured team logos or likenesses of players in addition to text, were drawn entirely with NAPLPS graphics and resembled the loading of Prodigy pages over a modem, though slightly faster. == Two-way systems == Various two-way systems using NAPLPS appeared in North America in the early 1980s. The biggest North American examples were Knight Ridder's Viewtron (based in Miami) and the Los Angeles Times' Gateway service (based in Orange County). Both used the Sceptre NAPLPS terminal from AT&T. The Sceptre contained a slow modem that connected over the consumer's telephone line to host computers. The Sceptre was expensive whether purchased or rented. Despite huge investments by their parent companies, neither Viewtron nor Gateway lasted into the second half of the decade. Another system, Keyfax, was developed by Keycom Electronic Publishing, a joint venture of Honeywell, Centel (since acquired by Sprint) and Field Enterprises, then-owner of the Chicago Sun-Times newspaper. Keyfax had originally been a WST teletext service, broadcast overnights on Field's Chicago television station WFLD-32 and through the VBI of both WFLD and national superstation WTBS; the decision was made to convert Keyfax into a subscription service, using a proprietary NAPLPS terminal device in a last-ditch effort to save the service. It did not work and Keyfax had ceased operations by the end of 1986. Other early-1980s NAPLPS technology was deployed in Canada, both as a way for rural Canadians to get news and weather information and as the platform for touchscreen information kiosks. In Vancouver these were featured at Expo 86. The kiosks became ubiquitous in Toronto under the name Teleguide, and were deployed in many shopping centres and at major tourist attractions. The latter city was the North American nexus of NAPLPS and the home of Norpak, the most successful of NAPLPS-oriented developers. Norpak created and sold hardware and software for NAPLPS development and display. TVOntario also developed NAPLPS content creation software. London, Ontario - based Cableshare used NAPLPS as the basis of touch-screen information kiosks for shopping malls, the flagship of which was deployed at Toronto's Eaton Centre. The system relied on an 8085-based microcomputer which drove several NAPLPS terminals fitted with touch screens, all communicating via Datapac to a back end database. The system offered news, weather and sports information along with shopping mall guides and coupons. Cableshare also developed and sold a leading NAPLPS page creation utility called the "Picture Painter." In the late 1980s, Tribune Media Services (TMS) and the Associated Press operated a cable television channel called AP News Plus that provided NAPLPS-based news screens to cable television subscribers in many U.S. cities. The news pages were created and edited by TMS staffers working on an Atex editing system in Orlando, Florida, and sent by satellite to NAPLPS decoder devices located at the local cable television companies. Among the firms providing technology to TMS and the Associated Press for the AP News Plus channel was Minneapolis-based Electronic Publishers Inc. (1985–1988). In 1981, two amateur radio operators (VE3FTT and VE3GQW) received special permission from the Canad
Recraft
Recraft is a generative artificial intelligence program and service developed by the London-based startup Recraft, Inc. The company also offers Recraft Studio, a web-based workspace that lets users create and edit images, vectors, and mockups using various text-to-image models. Like models such as Midjourney and DALL-E, the Recraft model generates digital images from natural language prompts, and is specifically tailored for creative workflows, with features that emphasize brand consistency, text fidelity, and layout control. == History and background == Recraft, Inc. was founded in 2022 by machine learning scientist Anna Veronika Dorogush, best known for co-creating the CatBoost machine learning library at Yandex. The company emerged from stealth on May 31, 2023, with a public release of its vector graphics generation capability on Product Hunt. On January 17, 2024, TechCrunch profiled Recraft’s foundational model for graphic design, noting its emphasis on addressing copyright and ethical concerns associated with AI-generated imagery. On October 28, 2024, TechCrunch reported that Recraft's third major model, V3, had topped a crowdsourced benchmark, surpassing Midjourney and OpenAI's DALL-E in overall image quality. On May 5, 2025, Recraft announced a $30 million Series B funding round led by Accel, reporting more than four million registered users at the time of the announcement. == Models == Recraft has developed multiple generations of its text-to-image models since 2022. Each generation reflects improvements in fidelity, controllability, and support for both raster and vector outputs. The models are proprietary and accessible through the Recraft API, Recraft Studio. Recraft models are also hosted as an image generation API on fal, Replicate, Prodia, and others. === Recraft V2 === Recraft V2 was released in March 2024 and was the company’s first model trained from scratch. It contained roughly 20 billion parameters and introduced native vector image generation, brand-color conditioning, and improved stylistic consistency for icons and illustrations. === Recraft V3 === Recraft V3 was released in October 2024 and achieved first place on the Artificial Analysis benchmark hosted on Hugging Face. The model introduced advances in photorealism, improved rendering of multi-word text, and increased responsiveness to detailed descriptive prompts. It also added the “Artistic” parameter, which allowed users to adjust stylistic intensity within generated images. === Recraft V4 === Recraft V4 was released in February 2026. According to Recraft, V4 is a “ground-up rebuild” aimed at improving prompt accuracy and output quality for design workflows, with the company emphasizing “design taste” and art-directed results. Recraft states that V4 is available in two versions: V4 for faster iteration and V4 Pro for higher-resolution, print-ready assets; the API documentation describes V4 as 1-megapixel output and V4 Pro as 4-megapixel output, with vector variants available for each. === Features === Vectorization: Recraft’s models can generate and convert images into native vector formats, producing scalable graphics composed of editable paths rather than fixed pixels. Style reference: The models support the use of reference images to guide stylistic characteristics such as color palette, line quality, composition, or visual tone. Style mixing: Recraft models can combine multiple stylistic inputs within a single generation. By blending attributes from different references or stylistic instructions, the system produces images that reflect hybrid visual characteristics while maintaining internal consistency. Inpainting editing: The models support localized image modification through inpainting, enabling users to regenerate selected regions of an image while preserving surrounding content. === Model capabilities === Recraft’s models generate raster and vector images from natural-language prompts and are designed to interpret detailed descriptions with attention to composition, style, and text placement. The models support controlled stylistic variation through preset or reference-based guidance and can maintain coherent line, color, or layout structure across multiple outputs. They produce scalable vector graphics alongside high-resolution raster images, and include features for localized image modification through inpainting or outpainting operations. === Technology === Recraft has not publicly disclosed the detailed technical architecture of its models. However, third-party reviews and benchmarks have noted that its performance resembles diffusion models such as Midjourney and Stable Diffusion. The model is designed for creative workflows requiring visual consistency and flexible output formats. Reviewers have noted its ability to generate legible multi-line text, produce high-resolution imagery at various canvas sizes, and to maintain alignment with user-defined brand palettes and design themes. Though not open-source, Recraft's models are accessible through a web interface and commercial API. Advanced features such as style settings and positioning control differentiate it from general-purpose text-to-image models. == Recraft Studio == Recraft Studio is a web-based workspace for generating and editing images using Recraft’s image models and selected external models. The infinite canvas interface provides access to a range of creation and refinement tools within a single environment. Raster and vector generation with styles: Recraft Studio supports the generation of both raster and vector images. Users can apply predefined or reference-based styles during generation, allowing for visual consistency across multiple outputs. Mockups: The studio includes mockup tools that allow generated designs to be placed onto predefined surfaces or templates for visualization and presentation purposes. Vectorization: Recraft Studio provides vectorization tools that convert raster images into editable vector graphics, enabling further modification of shapes, colors, and layout. Image upscaling: The workspace includes image upscaling functionality for increasing resolution while preserving visual detail. Editing tools and natural-language editing: Recraft Studio offers a set of editing tools for modifying images within the canvas, including localized adjustments and natural-language–based editing commands that allow users to describe changes using text. === Supported models === Recraft Studio provides access to Recraft’s proprietary image models as well as other external frontier image models such as Nano Banana, GPT 4-o, Imagen, Flux, and others. == Business model == Recraft develops proprietary image models that are accessible through Recraft Studio and the Recraft API. Recraft Studio operates on a freemium model, offering a free tier with limited daily credits and paid subscriptions for access to additional features. The API follows a credit-based system in which units are purchased separately for programmatic image generation. A team plan supports collaborative use, and the API enables organizations and developers to integrate Recraft’s image generation and editing capabilities into their own systems and workflows.