Générateur de Pochoir Photo

Transformez une photo en pochoir de peinture aérosol multicouche. Chaque couche est une feuille de découpe séparée, avec des languettes-ponts ajoutées automatiquement pour que les îlots ne tombent pas — entièrement dans votre navigateur.

CouchesLargeur de sortiemm

Largeur du pontmmEspacement des pontsmm

Découper les zones claires au lieu des foncéesDessiner le contour du panneauAjouter des repères d'alignement

Chaque couche découpe une plage tonale plus large que la précédente. Découpez-les et vaporisez-les dans l'ordre, en utilisant les repères d'alignement partagés.

L'aperçu et le traitement restent dans votre navigateur. Connectez-vous et utilisez 1 crédit pour télécharger ou copier un résultat ; rien n'est envoyé.

Glissez-déposez, ou cliquez pour choisir un JPG, PNG ou WEBP

How it helps

Splits a photo into 2-5 cumulative tone layers, each its own cut sheet.

Automatically bridges isolated material islands so they don't fall out when cut.

Shared registration marks on every layer for lining them up when spraying.

Export DXF or SVG per layer for laser or vinyl cutting. Each output uses 1 credit; processing is browser-local and nothing is uploaded.

Best practices

- High-contrast photos with clear light/dark separation work best.

- Start with 3 layers; more layers add tonal detail but also more fragile cut lines.

- Use the invert option if your subject is light on a dark background.

- Cut and spray layers in order (lightest cut area first is typical), aligning by the registration marks each time.

Limitations

- Bridges are placed automatically by spacing, not hand-tuned per shape — very thin or complex islands may need a wider bridge width.

- Very high-contrast, high-detail photos can produce fragile stencils; simplify the photo first if pieces look too delicate.

- This treats every enclosed hole the same way; it doesn't distinguish artistically important vs. incidental islands.

FAQ

How does bridging work without breaking the shape?

For every isolated island (kept material fully surrounded by cut area), the tool casts a ray outward from points around its edge until it exits the cut region, then paints that strip back to material directly in the mask before re-tracing — so the fix happens in raster space, which sidesteps needing to synchronize gaps across two separate contours.

Why multiple layers?

A single silhouette loses all tonal detail. Cutting several layers, each covering a wider tone range, lets you spray progressively lighter or darker paint through each one and build up a photorealistic image.

What if a bridge looks wrong on a tiny detail?

Increase the bridge spacing or width, or reduce the layer count — fewer, larger islands are easier to bridge cleanly.

What materials work?

Manila stencil paper, chipboard, and mylar sheets for hand cutting; thin plywood, cardboard, or vinyl for laser/knife cutters.

Is anything uploaded?

No. The photo is processed entirely in your browser. Sign-in is required only when you download or copy an output, which uses 1 credit.