Mastering Midjourney: How to create consistent, beautiful brand imagery without complex prompts | Jamey Gannon

“One of the things I like about the mood mood board is it's a visual language to explain to Midjourney what you're trying to do. The picture is worth a thousand words. Like, literally a picture to an LLM is worth a thousand words.”

“There's not a ton of, like, documentation from MidJourney on exactly how it works. But as creatives, you can tell like the more kind of consistent a mood board is, let's say it's like five images of like fuzzy three d cats, you're more likely to get an image of like a fuzzy, whatever you prompt. When we're doing more generalized vibe stuff like this, Midjourney can tend to average things out with the mood board. And I find that using SREFs as the mood board instead essentially can give much better results.”

“On the we're getting too much green, there was just such a compelling element in that green eye shadow photo, which was, like, half of the eye was very green. It was clearly the most obvious thing about the photo. And with this image, the most obvious thing about the photo is she's blowing a a bubble of gum. And so what I like is in both of those, you're like, just boot the thing that is so obvious and so overwhelming. And you can either do that by kicking out the image, or you could do that by cropping out, the part of the image that is pulling the rest of the generations down.”

“Another thing to to know what the prompt is, like, saying luxury New York City apartment, instead of saying on the 4th Floor of a high rise in a new post war New York City apartment, you just say luxury. Because, like, everybody knows, and the alum knows, or not alum, the AI knows, luxury is gonna be like a big metal wings like super high up, and where two people live on the top. So that one word, luxury, just gives us everything that we need to know about the scene, which is very fun.”

“I have a list, this is included in my course of, like, all these different cameras. So I have, like, DSLR. I have mirrorless. I have digital. I have film as kind of, like, quick shortcuts, because that's really hard to remember all of them and the aperture and stuff. I barely know what aperture means. So sometimes when I just want to try changing up the vibe or make things more realistic, make them have, like, a more nineties aesthetic, I'll just paste in, like, a camera, that mimics that.”

“Nano Banana, literally is just Photoshop. That's exactly how you should think of it. You're just able to speak to Photoshop, essentially, for most people. So what I have here is this image that I really like, that we generated it, but I wanna upscale it. So I get more texture in her shirt and stuff. And then I want this to be like a real computer.”

“In the past, brand and creative, directors or agencies would, like, give you these photos and be like, cool. Call us and re up when you want more photos. K. And what I love is that you're like, look. I put in all this you're gonna you're gonna value me for all this upfront work that I'm gonna do to define the space, give you these codes, like, really give you reference images. And then now you can go do this for yourself.”

“Firstly, take a break. Always. Like, you're never gonna be able to, like, see properly if you're kind of, like, in it. So, like, sleeping on it or just, like, walking away. And then sometimes they come back and I just, like, doo doo, new s ref, different prompt, like, grab this reference, use this camera, and then it immediately works.”