Creative that arrives inside your own rules.
One sentence in, and the ad comes back in your voice and your look, filed where you can find it again.
The brief is already written
Every generator starts from nothing. You open the box, and before you can ask for an ad you retype who you are: what you sell, who it is for, the tone, the palette, the claim your lawyer struck out last spring. Tomorrow you do it again, slightly differently, and the two ads do not look like they came from the same company.
Nomi is holding that already. Your positioning, your voice, the claims you are not allowed to make and the way your product is photographed were read off your site and corrected by you once. So the ask is one sentence, and what comes back is inside your rules rather than inside a stock house style.
| The job | A prompt box | Nomi |
|---|---|---|
| What it knows about you | Whatever you paste in this time | Your brand, products and markets, corrected once and kept |
| What one ask costs you | The brief, retyped | A sentence |
| Consistency between two ads | Whatever you remembered to repeat | The same rules reach both |
| Fixing one thing | Rewrite the prompt and pay for the whole picture again | Point at the spot and pay for one edit |
| Another shape or another language | A new prompt, and hope it matches | The same ad, reframed or rewritten, beside the original |
| Where the work ends up | A downloads folder | The Library, the moment the job exists |
Your sentence leads, and your rules fill in behind it
Whatever you typed goes first in what the drawing model reads. Everything Nomi adds underneath fills in what you did not say and never overrules what you did, which is the only arrangement where a short ask and a long one both come back right.
What gets added depends on what you asked for. A tall story or reel keeps the text and the call to action out of the bands the platform covers with its own buttons. A product picture you attached has its shape, packaging, label text, colours and logos copied exactly, while the light, the background and the props in that photograph are left behind. A picture attached only as a reference lends its layout, lighting, mood and styling, and never another brand's logo, packaging or on-image text.
Your look goes last: the general direction, the palette, the photography, the composition preferences, the identity rules and the styles you have forbidden. When a brief is long there is less room for it, which is the right way round.
If an ad comes back generic, the brand is usually thin rather than the sentence. The look fields are most of what a prompt is made of, and an empty one is a gap Nomi is told not to fill with a plausible guess.
What a picture can be asked for, and what belongs to the editor
The typeface, the icon style, the corner radius and where the logo sits are never sent to a drawing model. They mean nothing to one, and asking for them in a prompt is how you get lettering that is almost your typeface and a mark in almost the right corner.
Those belong to the finished picture instead, where a change is a change rather than another roll of the dice. It is the same split a studio makes without thinking about it: the photograph is shot, and the layout is set afterwards.
Say what the ad is for
Brief it the way you would brief a designer. A summer promo for the running shoe, aimed at first-time runners in Germany. Pick the product from the control beside the field so the price and the claims come from the right market.
Read what it proposes
Nomi does not simply spend. A card appears with the idea it is testing, a few words for the angle and the hook, and the prompt in a field you can edit. The button names the price before you press it.
Get the ad
It lands on the canvas beside the conversation and in the Library at the same moment, running or finished or failed. A draw that fails costs nothing.
Take it further
Three variations of the execution, the other shapes you run, the languages you sell in. Each one arrives beside the original rather than replacing it.
Three takes on one ad, or one ad until it is right
Ask for variations and three renders start together. They keep the composition, the product and every word of the copy, and change only the execution: the light, the materials, the way the thing is photographed. Nomi asks before it spends on those, every time, whatever ceiling you have set.
When what you want is another angle, another headline or another offer, that is not a variation, and asking for it in the conversation is what gets it. Each one arrives as a creative of its own, so a campaign is a set of ads rather than a pile of near-misses.
The grid keeps a family together: a small face in the corner of the card carries the count, and pressing it scopes the grid to the original and everything made from it. An edit is the same ad made again, so the newest is what the card shows. A variation, a resize and another market's version are things you keep, so they sit beside the original instead of hiding it.
It is all in the Library the moment it exists
Everything a session makes lands in the Library as soon as the job exists. Sessions are conversations rather than folders, so nothing has to be saved and nothing is stranded in a thread you cannot find again.
Collections are how you file it afterwards: a campaign, a market, a quarter. Search reaches sessions, creatives and collections at once, so the ad you half remember is one field away rather than a scroll through a month.
What it will not pretend
It makes creative. It does not buy the media, and it does not report on what the media did.
Every claim it writes comes out of your own brand rules. A rule you have not written down is one it cannot follow, and it will ask rather than invent one.
A file from somewhere else is an upload. It can go into an ad as a product shot or a reference, and it is not a render Nomi can reopen and change.
One sentence, once the brand is filled in. Everything else is added underneath it, and a longer brief simply leaves less room for the parts you did not specify.
Attach the product and its shape, packaging, label text, colours and logos are copied exactly. What is left behind is the rest of that photograph: the light, the background and the props beside it.
Yes, as a reference. It lends its layout, lighting, mood and styling, and never the other brand's logo, packaging or on-image text.
Nothing is charged. Credits are counted against the picture, and a failed attempt made none.
Yes. A resize keeps the words and changes the frame, and it arrives beside the original rather than replacing it, so the version you approved is still there.
It writes it, out of your brand rules and the product's own market. Every word in the picture has to be one the prompt named, so a surface it was given no words for stays blank rather than getting invented lettering.
The Library, the moment the job exists. Sessions are conversations, not folders, so nothing has to be saved.
That is what the editor is for. Point at the spot, say what should be different, and the correction comes back as a new version beside the one you liked.