# Midnight Orchid: build a moonlit conservatory with VectorPaint MCP Language: en Canonical: [Midnight Orchid: build a moonlit conservatory with VectorPaint MCP]() 中文：[中文 HTML]() English: [English HTML]() Published: 2026-10-26T10:03:00+08:00 Modified: 2026-10-26T10:03:00+08:00 Author: Bison Six pale pink orchids surround a glass conservatory at night, with a moon, stars and reflections in deep blue-green. Create editable paths, gradients and text through VectorPaint MCP, keep the original and export a native 1200×900 px PNG, with a real-canvas creation video. English translation of the [Chinese original](), translated on 2026-10-26. Original publication dates, attribution, code and version notes are retained. [Video]() [English steps]() [中文步骤]() [Poster]() AI uses VectorPaint MCP to build the night, stars, moon, water, glass conservatory, brass frame, foliage, six orchids and editable text, then saves, exports and reopens the original for inspection. The real app UI is retained, followed by the native PNG. Recorded in a Chinese-language simulator with a local MCP-enabled VectorPaint build. AI creates editable vector objects through MCP in 14 stages. Chronological cuts remove waiting and retain the full app UI at 1×. No audio; Chinese and English subtitles are available. Saving, closing and reopening were verified across separate requests. The last 3 seconds show the native PNG as a still. MCP availability in the Store build is unconfirmed. Watch by chapter 1. [00:00 Create from the gallery]() 2. [00:03 Indigo night, stars and moon]() 3. [00:13 Distant plants, water and conservatory glass]() 4. [00:23 Brass ribs, doors and steps]() 5. [00:38 Conservatory plants and foreground foliage]() 6. [01:01 Palm fans]() 7. [01:17 Six midnight orchids]() 8. [01:36 Lilies and luminous pollen]() 9. [01:48 Editable title and lettering]() 10. [01:59 Undo, redo, save and export]() 11. [02:17 Close and reopen the native document]() 12. [02:37 Native PNG still]() The six pale pink orchids appear first, followed by the glass conservatory behind them. Fine gold lines support the dome; the moon in the upper right resembles a small astronomical chart, and the entrance steps open towards the water. Leaves fill the sides, leaving the centre to glass, reflections and a narrow doorway. “Midnight Orchid” was created in the app through **VectorPaint MCP**. MCP (Model Context Protocol) connects the AI client to the app’s drawing tools. The canvas measures **1200 × 900 pt**; the PNG shown here was exported natively by the app at **1200 × 900 px**. The editable original has **14 layers**, retaining **916 paths and six text objects**. **Creation disclosure: AI used MCP to call VectorPaint’s drawing tools and create native paths, shapes, gradients and text. No externally generated AI image was imported as the artwork. The petals, glass and leaves remain in the editable original.** The video shows creation on the real canvas. The breakdown below follows the picture’s structure. This recording comes from a simulator. The creation script used a Python stdio connector to reach the app’s authenticated HTTP MCP interface. The current documentation’s local connection option is described separately below. ![Native VectorPaint export of Midnight Orchid: a finely framed gold-and-glass conservatory beside water in a deep blue-green night, with six pale pink orchids and large green leaves on both sides, a full moon and stars above, and broken reflections and water lilies in the foreground]() ## Reserve three areas before adding detail Place the conservatory in the centre, with its dome slightly to the right and a lower glass wing on either side. Align the main entrance with the foreground steps, then extend the pool towards the bottom edge. This axis gives the roof curves and water reflections a shared reference. Leave the upper left for the title and the upper right for the moon. The orchids sit in the lower half. Foreground leaves can be dense while the central entrance stays clear; the lighter cream-and-pink flowers stand out against the dark greens. Canvas dimensions and export pixels are recorded separately here. The former describe the space used for path coordinates and object sizes; the latter describe the shared image. Their numerical values happen to match in this export, but their units differ. ## Use 14 layers for depth and purpose The background, water, architecture and foreground plants are kept on separate layers. To change a pane or a flower later, start with its layer rather than searching the entire picture. | Layers | Contents | What they establish | | --- | --- | --- | | 01 | Indigo atmosphere | A dark blue-to-green base and soft light | | 02–03 | Stars, moon and star charts | Open space above the building | | 04 | Distant plant silhouettes | Separation between architecture and background | | 05 | Water and broken reflections | Light beneath the steps and conservatory | | 06–08 | Glass, gold frame, doorway and steps | Architecture built from broad surfaces to fine lines | | 09 | Plants behind the glass | Scale and a sense of life inside | | 10–11 | Waterside leaves and palm fans | A foreground along both sides | | 12 | Six midnight orchids | The main warm-coloured focal points | | 13 | Water lilies and luminous pollen | Small details near the water | | 14 | Lettering and finishing lines | A botanical-atlas page layout | The stack moves from distant to near elements, with foliage and flowers kept apart. Trying another flower palette can then focus on petals without selecting green leaves throughout the scene. The actual run began with `tools/list`, `vectorpaint_state` and `vectorpaint_fonts` to read the tools, document and available fonts. It then used `vectorpaint_create_document` for a new project, followed by `vectorpaint_layer` and `vectorpaint_create_objects` to build the layers and their objects. State reads, object selection and fit-to-canvas view adjustments were interleaved with creation to check each stage. ## Use colour stops for night and transparency for glow A rectangle covering the canvas carries a four-stop linear gradient: `#070E23`, `#122A40`, `#163D48` and `#071B2A`. Its axis runs downwards with a slight tilt, bringing more blue-green into the middle of the picture. Separate ellipses provide soft light. Their radial gradients become more transparent towards the edges, ending at zero opacity. Colour and transparency create the glow without a complicated outline. The moon itself runs from cream to grey-green, with pale circular markings, fine rings and short ticks layered over it. Stars vary in size and opacity, with a few four-point highlights. Constellation lines sit to either side of the building, leaving the dome free of another competing structure. ## Build broad glass surfaces before the frame The main conservatory outline is a closed path. It rises from the lower left of the dome, passes through the top and curves down the right before closing across the base. Bézier handles shape the roof; straight lower edges provide a clear foundation for the doors, windows and platform. Blue-green linear gradients make the glass lighter towards the upper left and darker towards the lower right. Each low wing keeps its own glass surface. A transparent radial gradient adds a little warm light around the central doorway. Gold ridges, vertical ribs and curved crossbars go over the completed glass. Most of these fine lines are open paths with no fill. The doorway, steps and platform are arranged separately. When adjusting the dome, change the broad outline first, then check where the ribs meet the roof and base. ## Separate each orchid into petals, centre and stem The six orchids vary in height and scale on both sides of the picture. Each starts with a curved open path for its stem, followed by six closed petal paths around the centre. Every petal retains its own control handles, fill and stroke. The linear gradient follows the petal’s direction, moving from muted rose `#BC817F` through pale peach `#F2C5A7` to cream `#E5D9AF`. A fine light stroke keeps the edge legible against the dark foliage, while softer internal lines add detail near the centre. For a first attempt, complete one flower’s broad silhouette and check it at a reduced view before adding its centre, dots and veins. Vary the flowers’ scale and direction. A taller flower on the left, one beside the right-hand palm fan and smaller blooms near the water help lead the eye back towards the conservatory. ## Let leaf direction and gaps in the water do the work The left foliage uses long closed paths arranged along stems, with individual gradients and veins. On the right, palm blades spread from a shared base. The direction of their tips matters more to the silhouette than the number of blades. Establish the whole plant’s reach before adding fine internal lines. The pool is a trapezoid opening towards the foreground, filled with a darker blue-green gradient. Short horizontal lines vary in length, opacity and spacing. Broken angled lines suggest reflections of the conservatory and steps. The reflection does not reproduce every architectural element; the gaps between marks keep it feeling like water. Water lilies and scattered highlights come last. They sit along the lower edge and between the flower clusters, guiding the eye while leaving the entrance clear. ## Keep the lettering editable too “MIDNIGHT ORCHID” in the upper left remains a text object. So do the subtitle, footer, date and Roman numeral by the entrance. They share a finishing layer separate from the plants and architecture, so changing a title does not require touching petal paths. The fine gold border, corner details and bottom rule give the picture the feel of a botanical-atlas page. Check the finished layout at a smaller scale: the six flowers first, then the entrance, then the small text and border where foreground elements might overlap them. ## Save the original, then check the export For your own workflow, save the editable `.VectorPaint` original before exporting a PNG for sharing. Keep an SVG as well when exchanging paths matters. This delivery includes all three formats; the image on this page is the app’s actual **1200 × 900 px PNG export**. This run used `vectorpaint_save`, then `vectorpaint_export` for PNG, SVG and the native original, with `vectorpaint_export_read` to retrieve the files. After saving and closing, the immediate reopen request received a busy response and the script stopped as designed. A later independent continuation reopened the original and checked that geometry, styles and text persisted, with no unsaved changes remaining. When following along, reopen with `vectorpaint_open_document`, then read `vectorpaint_state` and inspect a preview. If the app is busy, finish the current edit or close its panel before explicitly starting the next operation and checking its result. An exported image alone does not confirm that saving and reopening the original have both finished. After reopening, inspect a few useful details: petals should still be selectable with editable gradients, glass and frame should remain separate, text should retain its contents, and both canvas and export dimensions should be correct. The PNG is for viewing and sharing; the original is for continuing the work. ## Try VectorPaint MCP with a smaller version of this scene MCP’s value here is turning a scene plan into objects that remain editable in the app. Start with a description such as “a central glass conservatory, six orchids at the sides, and water in front”, then build the background, architecture, foliage and flowers layer by layer. After each part, read the current document state and inspect the canvas before adding detail. Before connecting, confirm that you have an **MCP-enabled VectorPaint build** and can actually see **Settings → AI Control**. Availability of this entry point in the current App Store package has not been confirmed. The public documentation describes a local connection for the VectorPaint iPad version running on the same Apple silicon Mac: 1. Open **Settings → AI Control** and enable the local connection. 2. Select Codex or VS Code, copy the client configuration, and merge it into that client’s personal MCP configuration on the same Mac. 3. Reload MCP in the client. Connections are read-only by default; allow artwork changes in VectorPaint when you are ready for AI drawing. 4. Close the AI Control panel, keep the app running and ask the client to read the tools and document state. This option uses local HTTP. Keep the configuration’s connection credentials in personal local files. It differs from the Python stdio connector used for this recording; see the [connection instructions]() for requirements. For more tools, see the [VectorPaint MCP public source]() and [capabilities reference](). The [VectorPaint introduction]() covers the app’s drawing and export uses. For a first exercise, keep just one conservatory, one leaf and one flower. Work through creation, editing, saving, reopening and export before expanding to the full scene.