How to remove a background here
Drag in up to twelve images at once, or choose them from a file picker. Pick a model — the detailed one is better on objects and interiors but needs WebGPU and a larger one-time download; the fast one is a fifth of the size and runs anywhere, and is strongest on people. Then press the button once and the whole batch is processed in order, with progress for each image so you can see what is actually happening.
Each finished cutout appears on a checkerboard so you can see where the transparency actually falls, with a toggle to flip back to the original and compare. Download them one at a time, or take the whole set as a single zip. None of that requires an account, and there is no watermark on anything.
What these models do well, and where they fail
Background removal models predict, for every pixel, how much of the subject is there. They are genuinely good when there is one clear subject with an edge you could trace: a piece of furniture, a bottle, a shoe, a person standing against a wall, a plant on a plain floor. On that kind of image the result is usually better than you would cut by hand in the same amount of time.
They struggle in predictable places. Flyaway hair and fur produce a hard edge where the real one is soft and wispy. Anything semi-transparent — glass, water, smoke, a net curtain, a veil — comes out either fully solid or fully gone, because a binary-ish matte cannot express "70% there". Motion blur, low contrast between subject and background, and images with several equally prominent objects all reduce accuracy, and the model may quietly pick the wrong subject entirely. Check every cutout before you build something on top of it; when one comes out badly, a tighter crop around the subject is the single most effective fix.
Why nothing is uploaded
The usual architecture for a free background remover is: your image goes to a server, a GPU there runs the model, an image comes back. It works, and it means a third party holds your picture for at least as long as the request takes — with whatever retention, logging and training policy they have chosen this quarter. For an interiors project, an unreleased product, or a photograph of someone who did not agree to be in a vendor's logs, that is a real consideration rather than a theoretical one.
Here the model itself is what travels. It downloads once from the model host, your browser caches it, and every image after that is processed locally — on the second run there is no network request at all. Two consequences worth knowing: the first cutout is slower than a server-based tool because of that download, and after it, the tool works with the network off entirely.
Making a mood board that is actually useful
A pile of attractive images is not a mood board; it is a mood. The boards that change what gets made have an argument in them — a stated direction at the top, images chosen because they answer it, and a note under each one saying what it is contributing. "Warm, worn, cheap to build" is a direction. "Nice kitchens" is a search query. Write the direction before you collect anything, and be willing to reject images you like because they are pulling somewhere else.
Size is signal: whatever is biggest on the board reads as the main reference whether you meant that or not, so put the anchor image first and large, and let the rest support it. Group things that agree with each other and leave a real gap between groups, because a board that is evenly tiled edge to edge tells the viewer nothing about which parts matter. Add a couple of anti-references — this, but explicitly not that — since knowing what a board is ruling out is usually more useful than another example of what it likes.
Then finish it. Add a line at the bottom that says what you are going to do because of the board, and revisit it after the first draft of the real thing. A mood board that is never returned to was decoration; one that gets argued with, pruned and re-ordered is doing its job.
When to cut out, and when to leave the background alone
Cut out when you are comparing objects. Silhouettes, proportions, colours and materials only compare cleanly when each item is free of its own setting — five sofas from five different showrooms are impossible to judge until the showrooms are gone. Cutouts also let you overlap and cluster things tightly, which is how a board starts to read as one composition rather than a grid of separate photographs.
Leave the background when the context is the point. A room, a shop front, a street, a lighting setup, a way of composing a photograph — for those the environment carries the reference, and cutting it out throws away the very thing you saved the image for. Full-bleed images also make good anchors: one large uncut photograph setting the overall tone, with cutouts arranged around it, usually reads better than a board made entirely of floating objects.
Sourcing images responsibly
One thing worth being plain about: removing a background does not give you any rights to the image. A cutout is a derivative of someone else's photograph, and a product shot lifted from a retailer or a photograph found through image search remains theirs after the background is gone. For a private board used to think with, that is normally fine under ordinary reference use. For anything that gets published, presented to a client as your own work, or built into something you sell, it is not — and "I edited it" does not change that.
The practical route is to note where each image came from as you collect it — a link under the tile takes seconds and saves an hour later — and to source from places whose licence you have actually read: stock libraries you have a licence for, photographs you took yourself, supplier images used with permission, or public-domain and permissively licensed collections. Photographs of identifiable people carry a separate question about their consent that no licence answers for you.
From cutouts to a canvas
Cutouts in a downloads folder are not a board yet. "Start the mood board" hands a labelled layout to OmniCanvas — a direction card, one tile per cutout, and a closing prompt asking what you will do because of it — and creates the note before it asks you to sign in. Drag the PNGs you downloaded onto the tiles and the board is arranged on an infinite canvas you can keep adding to.
The images themselves stay on your device and are not part of that hand-off, which is deliberate: the whole point of processing locally would be undone by quietly shipping the results somewhere to build a layout. The canvas is a place for them to live, not a copy of them being taken.