CTNF 18/875,100 CTNF 101457 DETAILED ACTION Notice of Pre-AIA or AIA Status 07-03-aia AIA 15-10-aia The present application, filed on or after March 16, 2013, is being examined under the first inventor to file provisions of the AIA. Priority 02-27 AIA Acknowledgment is made of applicant’s claim for foreign priority under 35 U.S.C. 119 (a)-(d). The certified copy has been filed in parent Application No. CN 202211035718.5 , filed on 08/26/2022 . Claim Objections 07-29-01 AIA Claim 11 is objected to because of the following informalities: Claim 11 recites “The method according to Claim 1, wherein the drawing set a material in the target graphic patch”. For examination purposes, the aforementioned limitation is read as “The method according to Claim 1, wherein the drawing a set material in the target graphic patch” . Appropriate correction is required. Claim Rejections - 35 USC § 112 07-30-02 AIA The following is a quotation of 35 U.S.C. 112(b): (b) CONCLUSION.—The specification shall conclude with one or more claims particularly pointing out and distinctly claiming the subject matter which the inventor or a joint inventor regards as the invention. The following is a quotation of 35 U.S.C. 112 (pre-AIA), second paragraph: The specification shall conclude with one or more claims particularly pointing out and distinctly claiming the subject matter which the applicant regards as his invention. 07-34-01 Claims 11, 20 and 21 are rejected under 35 U.S.C. 112(b) or 35 U.S.C. 112 (pre-AIA), second paragraph, as being indefinite for failing to particularly point out and distinctly claim the subject matter which the inventor or a joint inventor (or for applications subject to pre-AIA 35 U.S.C. 112, the applicant), regards as the invention. Claim 11 recites the limitation "the center point in the original image" in lines 4-5. There is insufficient antecedent basis for this limitation in the claim. For examination purposes, “the center point in the original image” is taken to mean “the center point in the target graphic patch”. Claim 20 recites the limitation "the electronic device of Claim 17" in line 1. There is insufficient antecedent basis for this limitation in the claim, as Claim 17 has been canceled. For examination purposes, “the electronic device of Claim 17” is taken to mean “the electronic device of Claim 19”, and Claim 20 is considered to be dependent on Claim 19, following the associated method claim set dependency structure of Claims 1-5. Claim 21 recites the limitation "the electronic device of Claim 18" in line 1. There is insufficient antecedent basis for this limitation in the claim, as independent Claim 18 does not introduce an electronic device. For examination purposes, “the electronic device of Claim 18” is taken to mean “the electronic device of Claim 20”, and Claim 21 is considered to be dependent on Claim 20, following the associated method claim set dependency structure of Claims 1-5. Claim Rejections - 35 USC § 102 07-06 AIA 15-10-15 In the event the determination of the status of the application as subject to AIA 35 U.S.C. 102 and 103 (or as subject to pre-AIA 35 U.S.C. 102 and 103) is incorrect, any correction of the statutory basis (i.e., changing from AIA to pre-AIA) for the rejection will not be considered a new ground of rejection if the prior art relied upon, and the rationale supporting the rejection, would be the same under either status. 07-07-aia AIA 07-07 The following is a quotation of the appropriate paragraphs of 35 U.S.C. 102 that form the basis for the rejections under this section made in this Office action: A person shall be entitled to a patent unless – 07-08-aia AIA (a)(1) the claimed invention was patented, described in a printed publication, or in public use, on sale, or otherwise available to the public before the effective filing date of the claimed invention. 07-12-aia AIA (a)(2) the claimed invention was described in a patent issued under section 151, or in an application for patent published or deemed published under section 122(b), in which the patent or application, as the case may be, names another inventor and was effectively filed before the effective filing date of the claimed invention. 07-15 AIA Claim s 1, 16 and 18 are rejected under 35 U.S.C. 102( a)(1 ) as being anticipated by Tashjian ( US 20220197459 A1 ) . Regarding Claim 16, Tashjian teaches an electronic device ( Paragraph [0180] : “ The present disclosure may be embodied in a system, a method, and/or a computer program product ”) comprising: At least one processor; and a storage apparatus configured to store at least one program; the at least one program, when executed by the at least one processor ( Paragraph [0180] : “ The computer program product may include a computer readable storage medium (or media) having computer readable program instructions thereon for causing a processor to carry out aspects of the present disclosure ”), causes the at least one processor to: Create a plurality of initial graphic patches ( Paragraph [0148] : “ The set of images may be or may be formed from a CAD rendering, as shown in FIGS. 32 and 33. For example, the CAD rendering can be read and the set of images may be extracted from the CAD rendering. After the set of images is formed, the administrator operates the administrator console or panel to enter (e.g., a via a physical or virtual keyboard, a microphone) various parameters (e.g., dimensions, width, length, height, depth, inner diameter, item type, wearing location, insertion point, suitable for right or left ear) ”. Notes: Graphic patches, in the broadest reasonable interpretation, are graphic elements defined over an area. Images are graphic patches within the broadest reasonable interpretation, since they depict graphic elements over an area) ; Performing edge detection on an original image to obtain an edge detection result ( Figure 85 : “ We will be using Holistically-nested edge detection or simply HED ”, where HED is performed on an image of the body where graphic patches will be placed, such as the ear. Refer to Figure 85 ; Paragraph [0170] : “ When the user desires to upload the user's own ear imagery, whether to or via the smart mirror or to the server from the smartphone or the smart mirror or another camera-equipped computing device, as described above, then user can take image/upload image (e.g., raster) or scan the ear on the computing device. The smart mirror or the server reads the morphology of the ear image and applies the virtual regions and the virtual zones thereto such that the image is ready use, as described above ”) ; screening the plurality of initial graphic patches based on the edge detection result to obtain a target graphic patch (drawing on pg. 80 ( Figure 79 ): demonstrates that the edge detection utilized to determine the edge of the object (ear) is utilized to screen what patches are target patches (which earring models are to be put on in virtual try-on, as models differ in size); Paragraph [0146] : “ the server may process the image via various computer vision techniques (e.g., object detection, edge detection, color contrast, depth detection) and identify (e.g., detect, recognize) the current piercings for accurate sizing of the jewelry items to be virtually tried-on or previewed or simulated ”; Paragraph [0159] : “ Likewise, in some situations, there may be a basic placement principle for rings: the inner diameter of the virtual ring, can be the same as the maximum or less than maximum distance between the virtual piercing (e.g., the virtual zone) and edge of the virtual anatomy for that ring style. For example, a ring with a 5 mm inner diameter can sometimes be placed at most, 5 mm from the edge of the virtual anatomy of the virtual ear. Similarly, the angle of the rings may be based on forward facing Maria Tash piercing angle aesthetics plus the rules of body piercing. Also, some virtual rings can be placed in some, many, most, all, or anywhere in the virtual ear taking into consideration the virtual inner diameter. This inner diameter is the determining measurement that may determine whether the ring can clear the virtual edge of any virtual tissue. Therefore, some, many, most, any, or all of the ring jewelry pieces are measured for inner and outer diameter for proper scaling and entered via the administrator console or panel ”. Notes: edge detection is utilized to determine boundaries for the edges of anatomy, such as the ear. As explained in Paragraph [0159] , these edges are instrumental for both physical and aesthetic placement of differently sized items such as rings) ; drawing a set material in the target graphic patch to obtain an initial effect image ( Paragraph [0129] : “ In particular, once the item is placed or positioned on the virtual ear with the clear background and size, sometimes, the item may still appears to be fake or as two images stapled on each other as such. Therefore, natural look of the item placement can be achieved via adding natural light the shadows to the item and around the item. The shadows may be placed with a presumed source of light and its impact so multiple items positioned on the virtual ear reflect similarly. There can be two types of shadows that are related to the item. The first one is a reflection of a virtual skin tone on the item and second one is the shadow to item on the virtual ear ”; Paragraph [0131] : “ For example, a reflection of the virtual skin may be applied on the metal (or non-metal) surface of the item ”; Paragraph [0130] : “ The shadow may differ for each virtual skin type and colors may be different per virtual skin tone. Each virtual skin tone may have a unique shadow, hue/color, density (opacity), position/placement (top, left, right, and bottom) or other characteristics ”. Notes: The broadest reasonable interpretation of a set material is any established material to be drawn into a graphic patch. Since color and shadowing are drawn into a target graphic patch (image) to produce an initial effect image such as reflection to be fused with the original image, color and shadowing, which are established in relation to skin color (which is established in the original image) are considered set materials) ; and fusing the initial effect image with the original image to obtain a target effect image ( Fig 69 illustrates the fusing of initial effect image (item and modifications) with original image (body part, such as the ear) to form a target effect image (item and modifications fused with the original image into a single image); Paragraph [0163] : “ FIGS. 68-69 show an embodiment of various virtual charms on virtual rings and virtual chain wraps being virtually tried-on according to various principles of this disclosure ”. Notes: the broadest reasonable interpretation of fusing is combination such that the resulting image is visually smooth and not disjointed) . Claim 1, being similar in scope to Claim 16, is rejected under the same rationale. Claim 18, being similar in scope to Claim 16, is rejected under the same rationale. Regarding Claim 9, the method according to Claim 1 is rejected over Tashjian. Tashjian teaches the method according to Claim 1, wherein the drawing a set material in the target graphic patch to obtain an initial effect image comprises: Obtaining at least one set material ( Paragraph [0131] : “ The UI may be programmed to apply reflections, lights, and shadows on the item, from the virtual skin. For example, a reflection of the virtual skin may be applied on the metal (or non-metal) surface of the item ”. Notes: The broadest reasonable interpretation of set material is any material entity visible to the eye (such as color, luster, texture) established for use) ; Establishing a correspondence between the at least one set material and the plurality of target graphic patches ( Paragraph [0129] : “ In particular, once the item is placed or positioned on the virtual ear with the clear background and size, sometimes, the item may still appears to be fake or as two images stapled on each other as such. Therefore, natural look of the item placement can be achieved via adding natural light the shadows to the item and around the item. The shadows may be placed with a presumed source of light and its impact so multiple items positioned on the virtual ear reflect similarly. There can be two types of shadows that are related to the item. The first one is a reflection of a virtual skin tone on the item and second one is the shadow to item on the virtual ear ”. Notes: The broadest reasonable interpretation of a correspondence is any relation between two entities. In a case where an item looks unnatural when placed, the item can be modified with a reflection of skin tone, which is a set material, where there is a correspondence between the item and the set material in that the set material is a depiction of the skin/skin tone reflected on the item) ; and Drawing the at least one set material in a corresponding target graphic patch based on the correspondence to obtain the initial effect image ( Paragraph [0129] : “ In particular, once the item is placed or positioned on the virtual ear with the clear background and size, sometimes, the item may still appears to be fake or as two images stapled on each other as such. Therefore, natural look of the item placement can be achieved via adding natural light the shadows to the item and around the item. The shadows may be placed with a presumed source of light and its impact so multiple items positioned on the virtual ear reflect similarly. There can be two types of shadows that are related to the item. The first one is a reflection of a virtual skin tone on the item and second one is the shadow to item on the virtual ear ”) . Regarding Claim 14, the method according to Claim 1 is rejected over Tashjian. Tashjian teaches the method according to Claim 1, wherein the fusing the initial effect image with the original image to obtain a target effect comprises: Fusing the initial effect image with the original image in a color filtering mode to obtain the target effect image ( Paragraph [0129] : “ In particular, once the item is placed or positioned on the virtual ear with the clear background and size, sometimes, the item may still appears to be fake or as two images stapled on each other as such. Therefore, natural look of the item placement can be achieved via adding natural light the shadows to the item and around the item. The shadows may be placed with a presumed source of light and its impact so multiple items positioned on the virtual ear reflect similarly. There can be two types of shadows that are related to the item. The first one is a reflection of a virtual skin tone on the item and second one is the shadow to item on the virtual ear ”. Notes: The broadest reasonable interpretation of color filtering is adjusting color in the images before and after fusing such that the fused image is cohesive and not out of place. Tashjian teaches this, as it modifies color shadowing to more effectively fuse the images; in particular, it adds light to the shadows in both the item and around the item to prevent the two images to appear as if stapled on one another) Claim Rejections - 35 USC § 103 07-20-aia AIA The following is a quotation of 35 U.S.C. 103 which forms the basis for all obviousness rejections set forth in this Office action: A patent for a claimed invention may not be obtained, notwithstanding that the claimed invention is not identically disclosed as set forth in section 102, if the differences between the claimed invention and the prior art are such that the claimed invention as a whole would have been obvious before the effective filing date of the claimed invention to a person having ordinary skill in the art to which the claimed invention pertains. Patentability shall not be negated by the manner in which the invention was made. 07-23-aia AIA The factual inquiries for establishing a background for determining obviousness under 35 U.S.C. 103 are summarized as follows: 1. Determining the scope and contents of the prior art. 2. Ascertaining the differences between the prior art and the claims at issue. 3. Resolving the level of ordinary skill in the pertinent art. 4. Considering objective evidence present in the application indicating obviousness or nonobviousness. 07-21-aia AIA Claim s 12-13 are rejected under 35 U.S.C. 103 as being unpatentable over Tashjian ( US 20220197459 A1 ) . Regarding Claim 12, the method according to Claim 1 is rejected over Tashjian. Tashjian teaches the method according to Claim 1, wherein the drawing a set material in the target graphic patch to obtain an initial effect image comprises: Obtaining position information of the target graphic patch ( Paragraph [0130] : “ These forms of shadowing can be implemented in various ways. For example, when the image of the item is placed or positioned on the virtual ear, a JavaScript algorithm detects its coordinates as the UI interface is location aware ”) ; Sampling color information from a set color noise diagram ( Paragraph [0129] : “ In particular, once the item is placed or positioned on the virtual ear with the clear background and size, sometimes, the item may still appears to be fake or as two images stapled on each other as such. Therefore, natural look of the item placement can be achieved via adding natural light the shadows to the item and around the item. The shadows may be placed with a presumed source of light and its impact so multiple items positioned on the virtual ear reflect similarly. There can be two types of shadows that are related to the item. The first one is a reflection of a virtual skin tone on the item and second one is the shadow to item on the virtual ear ”. Notes: The broadest reasonable interpretation of a color noise diagram is a collection of color values, in which an image (itself a collection of color values) suffices) ; and Drawing the set material in the target graphic patch based on the color information to obtain the initial effect image ([ Paragraph [0131] : “ For example, a reflection of the virtual skin may be applied on the metal (or non-metal) surface of the item ”; Paragraph [0129] : “ In particular, once the item is placed or positioned on the virtual ear with the clear background and size, sometimes, the item may still appears to be fake or as two images stapled on each other as such. Therefore, natural look of the item placement can be achieved via adding natural light the shadows to the item and around the item. The shadows may be placed with a presumed source of light and its impact so multiple items positioned on the virtual ear reflect similarly. There can be two types of shadows that are related to the item. The first one is a reflection of a virtual skin tone on the item and second one is the shadow to item on the virtual ear ”). Tashjian does not explicitly teach that the sampling of color information from a set color noise diagram is based on the position information of the target graphic patch. However, Tashjian implicitly teaches sampling color information from a set color noise diagram based on the position information of the target graphic patch ( Paragraph [0129] : “ In particular, once the item is placed or positioned on the virtual ear with the clear background and size, sometimes, the item may still appears to be fake or as two images stapled on each other as such. Therefore, natural look of the item placement can be achieved via adding natural light the shadows to the item and around the item. The shadows may be placed with a presumed source of light and its impact so multiple items positioned on the virtual ear reflect similarly. There can be two types of shadows that are related to the item. The first one is a reflection of a virtual skin tone on the item and second one is the shadow to item on the virtual ear ”; Paragraph [0130] : “ These forms of shadowing can be implemented in various ways. For example, when the image of the item is placed or positioned on the virtual ear, a JavaScript algorithm detects its coordinates as the UI interface is location aware ”; Paragraph [0130] : “ The shadow may differ for each virtual skin type and colors may be different per virtual skin tone. Each virtual skin tone may have a unique shadow, hue/color, density (opacity), position/placement (top, left, right, and bottom) or other characteristics ”). Tashjian establishes that shadowing effects, including reflection on an item of skin/skin tone, is dependent on position and placement of the target graphic patch. It is also obvious in the art that reflection of an entity on an item depends on the position of the item, with regards to light and viewing direction. Therefore, it would have been obvious to a person having ordinary skill in the art before the effective filing date of the claimed invention that positioning sampling color information from a set color noise diagram of Tashjian is implicitly based on the position information of the target graphic patch. Regarding Claim 13, the method according to Claim 12 is rejected over Tashjian. Tashjian teaches the method according to Claim 12, wherein the drawing the set material in the target graphic patch based on the color information to obtain the initial effect image comprises: Performing a set color mapping processing on the color information to obtain target color information ( Paragraph [0130] : “ The shadow may differ for each virtual skin type and colors may be different per virtual skin tone. Each virtual skin tone may have a unique shadow, hue/color, density (opacity), position/placement (top, left, right, and bottom) or other characteristics ”; Paragraph [0129] : “ In particular, once the item is placed or positioned on the virtual ear with the clear background and size, sometimes, the item may still appears to be fake or as two images stapled on each other as such. Therefore, natural look of the item placement can be achieved via adding natural light the shadows to the item and around the item. The shadows may be placed with a presumed source of light and its impact so multiple items positioned on the virtual ear reflect similarly. There can be two types of shadows that are related to the item. The first one is a reflection of a virtual skin tone on the item and second one is the shadow to item on the virtual ear ”. Notes: The broadest reasonable interpretation of color mapping is mapping information via color. This is taught by Tashjian, since Tashjian states that different skin tones have different associated properties (unique shadow, hue/color, etc) which are then mapped to the target color information (reflection on the item) when being displayed). Drawing the set material in the target graphic patch based on the target color information to obtain the initial effect image ( Paragraph [0129] : “ In particular, once the item is placed or positioned on the virtual ear with the clear background and size, sometimes, the item may still appears to be fake or as two images stapled on each other as such. Therefore, natural look of the item placement can be achieved via adding natural light the shadows to the item and around the item. The shadows may be placed with a presumed source of light and its impact so multiple items positioned on the virtual ear reflect similarly. There can be two types of shadows that are related to the item. The first one is a reflection of a virtual skin tone on the item and second one is the shadow to item on the virtual ear ”) . 07-21-aia AIA Claim s 2, 3, 19 and 20 are rejected under 35 U.S.C. 103 as being unpatentable over Tashjian ( US 20220197459 A1 ) in view of Marystone ( How to Add a Border in Photoshop , January, 2022), Rhinoceros Forums ( Mesh Division , 2019) and Creative Bloq ( Control image aspect ratios with CSS3 , 2012) . Regarding Claim 19, the electronic device of Claim 16 is rejected over Tashjian. Tashjian does not teach creating an empty layer based on the original image. However, Marystone teaches creating an empty layer based on the original image ( How to Add a Border Around an Image in Photoshop : “ 6. To add a border, select the Create a New Fill or Adjustment Layer button in the Layers panel and choose Solid Color from the list… 7. In the Color Picker window, choose the color you want the border to be and select the OK button… 8. Finally, in the Layers panel, drag the color fill layer you just created below the image layer. ”; Refer to the images after Step 8, which illustrates how the fill layer is entirely white, and that it is in proportion to the image. Notes: the empty layer is based on the original image because for the layer to act as a border for an original image, it must be larger than the original image, hence being based on the original image. The broadest reasonable interpretation of an empty layer is a visual layer without significant visual information; in the context of an empty layer based on an original image, an empty layer would be a layer that does not depict information commonly found in images). Tashjian and Marystone are considered analogous in the art with respect to the embellishment of images through visual effects. A common motivation in the art is to utilize empty layer to form a visual frame for an image, as is evident in Marystone, improving appeal. Therefore, it would have been obvious to a person having ordinary skill in the art to combine the original image of Tashjian with the creating of an empty layer based on an image of Marystone; Doing so would yield the predictable result of forming a layer that serves as a border for an image. Tashjian as combined does not teach performing mesh division on the empty layer to obtain a plurality of submeshes. However, Rhinoceros Forums teaches performing mesh division on an empty layer to obtain a plurality of submeshes ( Post by Alexandros Kkoufou : “ I would like to ask if there is a way to equally divide a mesh with one or more holes as the rest of the mesh without that busy subdivisions around the holes ”; Answer by Arcade Smith : “ for this you are better off starting with an evenly divided mesh and then splitting or cutting the mesh holes – this way you will only be cutting away at the affected area and only ‘busying’ the affected faces… ”. Notes: since holes can be cut into a mesh, submeshes (as defined by the edges on the mesh in the photos of the post) may similarly derived from a mesh, where the broadest reasonable interpretation of a submesh is a divisional component of a mesh. A submesh may become a separate component, as is indicated by “cutting” mesh holes, which can be similarly performed on submesh areas derived via subdivision of an empty layer”). Tashjian as modified and Rhinoceros Forums are considered analogous in the art with respect to the use of empty layers as visual components. A motivation for subdivision of an empty layer is to define regions of an empty layer for further processing, as is evident in Rhinoceros Forums, where subdivision is utilized to isolate areas of the layer that are of interest, such as for layer modification, or for representing a layer of a certain size in equally sized regions, as is suggested in the answer of Arcade Smith, for simple spatial processing of a layer. Therefore, it would have been obvious to a person having ordinary skill in the art before the effective filing date of the claimed invention to combine the empty layer of Tashjian with the subdivision of an empty layer of Rhinoceros Forums; Doing so would yield the predictable result of spatially processing areas of interest of an empty layer. Tashjian as modified does not teach creating the plurality of initial graphic patches based on the plurality of submeshes. However, Creative Bloq teaches creating initial graphic patches based on a defined space ( Object-fit: object-fit : “ contain; will cause the content (eg the image) to be resized so that it’s fully displayed with its intrinsic aspect ratio preserved, but it will still fit inside the dimensions set for the element ”; Refer to the image below the text excerpt in the reference for a visual representation). While Creative Bloq does explicitly teach creating initial graphic patches based on the plurality of meshes , a person having ordinary skill in the art would appreciate that images (graphic patches) may be dynamically fit to a defined space. As demonstrated by Tashjian as modified, individual submeshes resulting from subdivision of an empty layer may be isolated for additional modification ( Rhinoceros Forums, Answer by Arcade Smith : “ for this you are better off starting with an evenly divided mesh and then splitting or cutting the mesh holes – this way you will only be cutting away at the affected area and only ‘busying’ the affected faces… ”. Notes: Since holes can be cut into a mesh, submeshes (as defined by the edges on the mesh in the photos of the post) may similarly derived from a mesh, where the broadest reasonable interpretation of a submesh is a divisional component of a mesh. A submesh may become a separate component, as is indicated by “cutting” mesh holes, which can be similarly performed on submesh areas derived via subdivision of an empty layer). It would therefore have been obvious to a person having ordinary skill in the art that images (graphic patches) may be created based on a plurality of submeshes , where a plurality of submeshes define regions of an empty layer via edges, where graphic patches are created such that they fit within a submesh of an empty layer; One would be motivated to do so to have a graphic patch (image) fit to a specific size/location as defined by a submesh component of an empty layer. Therefore, it would have been obvious to a person having ordinary skill in the art before the effective filing date of the claimed invention to combine the subdivision of the empty layer to obtain a plurality of submeshes of Tashjian as modified with the creation of a plurality of initial graphic patches based on a defined space of Creative Bloq; Doing so would yield the predictable result of controlling the size and location of the graphic patches on an empty layer. Regarding Claim 20, the electronic device of Claim 19 is rejected over Tashjian as modified. Tashjian as modified teaches the device of Claim 19, wherein the at least one program causes the at least one processor to create the plurality of initial graphic patches based on the plurality of submeshes comprises instructions to: Select a set number of submeshes from the plurality of submeshes as candidate submeshes ( Rhinoceros Forums, answer by Arcade Smith : “ for this you are better off starting with an evenly divided mesh and then splitting or cutting the mesh holes – this way you will only be cutting away at the affected area and only ‘busying’ the affected faces… ”. Notes: Since holes can be cut into a mesh, submeshes (as defined by the edges on the mesh in the photos of the post) may similarly derived from a mesh, where the broadest reasonable interpretation of a submesh is a divisional component of a mesh. A submesh may become a separate component, as is indicated by “cutting” mesh holes, which can be similarly performed on submesh areas derived via subdivision of an empty layer; similarly, this can apply to multiple submesh areas, as is explained in modifying “affected faces”, which are interpreted as candidate submeshes). Create a graphic patch in the candidate submesh ( Creative Bloq, Object-fit: object-fit : “ contain; will cause the content (eg the image) to be resized so that it’s fully displayed with its intrinsic aspect ratio preserved, but it will still fit inside the dimensions set for the element ”; Refer to the image below the text excerpt in the reference for a visual representation. Notes: as established previously, in Claim 19, It would therefore have been obvious to a person having ordinary skill in the art that images (graphic patches) may be created based on a plurality of submeshes, where a plurality of submeshes define regions of an empty layer via edges, where graphic patches are created such that they fit within a submesh of an empty layer; One would be motivated to do so to have a graphic patch (image) fit to a specific size/location as defined by a submesh component of an empty layer) ; and Perform at least one of the following operations on the created graphic patches to obtain the plurality of initial graphic patches: translation, rotation, and scaling ( Tashjian, Paragraph [0006] : “ present a virtual earring (or another virtual item) within the UI while the virtual ear is frontally presented within the UI; and receive a drag-and-drop input within the UI while the virtual ear is frontally presented within the UI and the virtual earring is presented within the UI such that (a) the drag-and-drop input drags the virtual earring over the virtual ear and thereby enables the virtual earring to be virtually tried-on the virtual ear within the UI responsive to the drag-and-drop input, (b) the virtual earring appears to change in rotational angle within the UI depending on where the virtual earring is virtually tried-on the virtual ear within the UI responsive to the drag-and-drop input ”; Tashjian, Paragraph [0128] : “ As explained, in some embodiments, the lowest zoom level can be 1 and highest is 2.5 (although these levels can vary as needed). Each zoom is incremented by 0.1 i.e. by 10% (although these increments can vary as needed). Therefore, the zoom values would be 1.0, 1.1, 1.2, 1.3 . . . , 2.4 & 2.5. Resulting into a total 16 stages. The image of the item is then processed to remove the background and scaled to the proportionate size according to the virtual ear ”). Claim 2, being similar in scope to Claim 19, is rejected under the same rationale. Claim 3, being similar in scope to Claim 20, is rejected under the same rationale . 07-21-aia AIA Claim s 4 and 21 are rejected under 35 U.S.C. 103 as being unpatentable over Tashjian ( US 20220197459 A1 ) in view of Marystone ( How to Add a Border in Photoshop , January, 2022), Rhinoceros Forums ( Mesh Division , 2019) and Creative Bloq ( Control image aspect ratios with CSS3 , 2012), and in further view of Unity ( Mesh Data, Unity, Version 2021.2 (2021)) . Regarding Claim 21, the electronic device of Claim 20 is rejected over Tashjian as modified. Tashjian as modified does not explicitly teach obtaining vertex information of the candidate submeshes. However, Unity teaches obtaining vertex information of the candidate submeshes ( Position : “ In the Mesh class, the simplest way to access this data is Mesh.GetVertices and Mesh.SetVertices ”. Notes: submeshes are a subdivision of a mesh, and subsequently, the vertices of a submesh are within the vertices of a mesh, and obtained by calling for the vertices of a mesh). Tashjian as modified and Unity are considered analogous in the art with regards to the use of a mesh for visual modification of an asset. One would be motivated to obtain the information of vertices of a mesh to form a general frame of reference via the vertex values of a mesh, which define the location of the vertex. Therefore, it would have been obvious to a person having ordinary skill in the art before the effective filing date of the claimed invention to combine the candidate submesh of Tashjian as modified with the act of obtaining vertex information of a mesh of Unity; Doing so would yield the predictable result of obtaining vertex information of a candidate submesh describing the general location of the candidate submesh. Tashjian as modified does not explicitly teach creating the graphic patch based on the vertex information. However, it is obvious in the art that creating a graphic patch based on a candidate submesh where the graphic patch is in the candidate submesh ( Creative Bloq, Object-fit: object-fit : “ contain; will cause the content (eg the image) to be resized so that it’s fully displayed with its intrinsic aspect ratio preserved, but it will still fit inside the dimensions set for the element ”; Refer to the image below the text excerpt in the reference for a visual representation) is necessarily based on the vertex information of the submesh , since the vertex information defines the submesh. Therefore, it would have been obvious to a person having ordinary skill in the art before the effective filing date of the claimed invention that Tashjian as modified implicitly teaches creating graphic patches based on the vertex information of candidate submeshes. Claim 4, being similar in scope to Claim 21, is rejected under the same rationale . 07-21-aia AIA Claim s 5 and 22 are rejected under 35 U.S.C. 103 as being unpatentable over Tashjian ( US 20220197459 A1 ) in view of Adobe Community ( How do I set X and Y coordinates to show the center of an image, rather than the top left? , February, 2022) and Stack Overflow ( Extracted selected pixel values with their coordinates, March , 2022 ) . Regarding Claim 22, the electronic device of Claim 16 is rejected over Tashjian. Tashjian teaches outputting points along an edge detection result ( Figure 86 demonstrates points along the edge being identified). Tashjian does not teach determining a center point of the initial graphic patches. However, Adobe Community teaches determining a center point of the initial graphic patches ( Post by Scotth25528356 : “ For reference, I want these numbers to display where the middle of an image is, rather than the top-left corner ”, where the numbers are reference set of coordinates for an image; Refer to the corresponding image ; Scotth25528356 : “ No I understand that (and I've done it already), but I'm not referring to the entire document, I'm talking about an individual layer. Setting the ruler to the center of the canvas is what gave me the negative values shown in the image, I want the highlighted numbers to say 0, 0. (Which is where the center of layers 1, 2, and 4 are, the top left corners are all in different places, which are irrelevant) ”; Stephen Marsh : “ It is fairly easy to do this via a script, where a dialog window will open and then you hit OK… Similar to this, however, it would be customised for exactly what you wish to see ”; Refer to the image by Stephen Marsh ). Tashjian and Adobe Community are considered analogous in the art with respect to the image display. A common motivation in the art is to adjust the position of images for display, often in relation to other images. One would be motivated to determine and utilize the center point of an image for positioning, as the center point of an image is a defining point representative of an image’s location. Therefore, it would have been obvious to a person having ordinary skill in the art before the effective filing date of the claimed invention to combine the creation and placement of initial graphic patches of Tashjian with the determination of a center point of the initial graphic patches; Doing so would yield the predictable result of allowing the adjustment of graphic patches in relation to central points of the graphic patches. Tashjian as modified does not explicitly teach determining an initial graphic patch whose center point falls into the edge detection result as the target graphic patch. However, Stack Overflow teaches determining pixel coordinates of the edge detection result ( Post by pyaj : “ My goal is to get the coordinates of all pixels with a specified value (ex: maximum and minimum pixel values ”… Solution by pyaj : “ this function extracts longitude and latitudes of list of raster pixel values … Where it retrieves a list of pixel coordinates that match a pixel value (which is taken as input) ”. Notes: as established by pyaj, extracting coordinates of pixels of a certain value is established, hence the coordinates of the edge detection result of Tashjian (which outlines the edge in a distinct color) enables the derivation of pixel coordinates). Tashjian as modified and Stack Overflow are considered analogous in the art with respect to determining pixel coordinates in an image. A common motivation in the art for determining whether a particular point or coordinate is within a list of coordinates, which is utilized to check overlap at edge points, and often applied for checking overlap between components in a display or set of images. Therefore, since Tashjian as modified teaches determining a center point of the initial graphic patches ( Adobe Community, Post by Scotth25528356 : “ For reference, I want these numbers to display where the middle of an image is, rather than the top-left corner ”, where the numbers are reference set of coordinates for an image; Refer to the corresponding image ; Adobe Community, Scotth25528356 : “ No I understand that (and I've done it already), but I'm not referring to the entire document, I'm talking about an individual layer. Setting the ruler to the center of the canvas is what gave me the negative values shown in the image, I want the highlighted numbers to say 0, 0. (Which is where the center of layers 1, 2, and 4 are, the top left corners are all in different places, which are irrelevant) ”; Adobe Community, Stephen Marsh : “ It is fairly easy to do this via a script, where a dialog window will open and then you hit OK… Similar to this, however, it would be customised for exactly what you wish to see ”; Refer to the image by Stephen Marsh ), where the center point of an image (initial graphic patch) is often utilized as a representation of the image location, it would have been obvious to a person having ordinary skill in the art to check if the center point of an image (initial graphic patch) falls into an edge detection result via a set of points derived via the method of Stack Overflow, identifying a target graphic patch ; This motivation is taught by Tashjian ( Tashjian, [0158] : “ One of such scenarios occurs when there may be ear anatomy overlapping the virtual earring. As such, the UI may be programmed to account for such overlap based on a virtual region being defined ”). Therefore, it would have been obvious to a person having ordinary skill in the art to combine the determination of a center point of the initial graphic patches of Tashjian as modified with the determination of points in an edge detection result of Stack Overflow, and subsequently check whether the center point falls within the points in an edge detection result; Doing so would yield the predictable result of checking on the alignment positioning of graphic patches in relation to an edge detection result in an original image. Claim 5, being similar in scope to Claim 22, is rejected under the same rationale . 07-21-aia AIA Claim 6 is rejected under 35 U.S.C. 103 as being unpatentable over Tashjian ( US 20220197459 A1 ) in view of Stack Overflow ( Extracted selected pixel values with their coordinates, March, 2022 ) . Regarding Claim 6, the method according to Claim 1 is rejected over Tashjian. Tashjian teaches the method according to Claim 1, wherein the screening the plurality of initial graphic patches based on the edge detection result to obtain a target graphic patch comprises: Obtaining pixel points included in the initial graphic patches as graphic patch pixel points ( Tashjian, Paragraph [0127] : “ The formula used to determine the item scale is: Size in pixels=Size in mm*3.8*Current Zoom Level ”. Notes: pixel points are inherent to images; hence initial graphic patches (images) with pixel points are necessarily graphic patch pixel points) ; Tashjian does not explicitly teach determining an initial graphic patch whose graphic patch pixel point falls into the edge detection result as the target graphic patch. However, Stack Overflow teaches determining pixel coordinates of the edge detection result ( Stack Overflow, Post by pyaj : “ My goal is to get the coordinates of all pixels with a specified value (ex: maximum and minimum pixel values ”… Stack Overflow, Solution by pyaj : “ this function extracts longitude and latitudes of list of raster pixel values … Where it retrieves a list of pixel coordinates that match a pixel value (which is taken as input) ”. Notes: as established by pyaj, extracting coordinates of pixels of a certain value is established, hence the coordinates of the edge detection result of Tashjian (which outlines the edge in a distinct color) enables the derivation of pixel coordinates)) Tashjian and Stack Overflow are considered analogous in the art with respect to determining pixel coordinates in an image. A common motivation in the art for determining whether a particular point or coordinate is within a list of coordinates, which is utilized to check overlap at edge points, and often applied for checking overlap between components in a display or set of images. It therefore would have been obvious to a person having ordinary skill in the art to check if the pixel point of an image (initial graphic patch) falls into an edge detection result via a set of points derived via the method of Stack Overflow, identifying a target graphic patch ; This motivation is taught by Tashjian ( Tashjian, [0158] : “ One of such scenarios occurs when there may be ear anatomy overlapping the virtual earring. As such, the UI may be programmed to account for such overlap based on a virtual region being defined ”). Therefore, it would have been obvious to a person having ordinary skill in the art to combine the obtaining of pixel points included in the initial graphic patches as graphic patch pixel points of Tashjian with the determination of points in an edge detection result of Stack Overflow, and subsequently check whether the center point falls within the points in an edge detection result; Doing so would yield the predictable result of checking on the alignment positioning of graphic patches in relation to an edge detection result in an original image . 07-21-aia AIA Claim 10 is rejected under 35 U.S.C. 103 as being unpatentable over Tashjian ( US 20220197459 A1 ) in view of Stack Exchange Blender ( How to colour entire object based on its height, 2019 ) . Regarding Claim 10, the method according to Claim 1 is rejected over Tashjian. Tashjian teaches the method according to Claim 1, wherein the drawing a set material in the target graphic patch to obtain an initial effect image comprises: Determining size information of the target graphic patch ( Paragraph [0128] : “ The image of the item is then processed to remove the background and scaled to the proportionate size according to the virtual ear ”) ; and Drawing the set material in the target graphic patch to obtain the initial effect image ( Paragraph [0129] : “ In particular, once the item is placed or positioned on the virtual ear with the clear background and size, sometimes, the item may still appears to be fake or as two images stapled on each other as such. Therefore, natural look of the item placement can be achieved via adding natural light the shadows to the item and around the item. The shadows may be placed with a presumed source of light and its impact so multiple items positioned on the virtual ear reflect similarly. There can be two types of shadows that are related to the item. The first one is a reflection of a virtual skin tone on the item and second one is the shadow to item on the virtual ear . Notes: as noted previously, the broadest reasonable interpretation of a set material is any material entity visible to the eye (such as color, luster, texture) established for use) . Tashjian does not teach obtaining, based on the size information, a set material corresponding to the target graphic patch. However, Stack Exchange Blender teaches obtaining, based on the size information, a set material corresponding to the target graphic patch ( Post by LukeS : “ I have a bunch eg 5,000 extruded objects (think columns) each of different height. All off these exist as a single object, ie they are grouped together rather than individual layer objects. I want to apply a colour ramp so that each of the individual columns are coloured based on their height value, rather than the entire group .”; Answer by Martynas Ziemys : “ Object's texture space goes from 0 to one in every direction on every axis from the origin of the object to the end of its bounding box in that axis, however Generated texture space matches the scale of global world space. If the origins of all objects are at their bottoms, their heights can be calculated by dividing the Z value of the object's texture space by the Z value of Generated texture space. The values can then be compressed to the desired range by dividing them by the height of the highest object. A Color Ramp node then can be used to remap the height values to colors ”; Refer to image . Notes: based on the size of each column, a corresponding set material (color) is obtained). Tashjian and Stack Exchange Blender are considered analogous in the art with respect to modification of graphic patches (images/portions of an image). A common motivation in the art is to have different colors or materials correspond with objects of different sizes, such as in object detection, or for distinguishing objects of different scale, as is evident in Stack Exchange Blender. Therefore, it would have been obvious to a person having ordinary skill in the art before the effective filing date of the claimed invention to combine the determination of size information of the target graphic patch and drawing of the set material in the target graphic patch to obtain the initial effect image of Tashjian with the obtaining of a set material corresponding to the target graphic patch based on size information of Stack Exchange Blender; Doing so would yield the predictable result of distinguishing between items of different size via a set material . 07-21-aia AIA Claim 11 is rejected under 35 U.S.C. 103 as being unpatentable over Tashjian ( US 20220197459 A1 ) in view of Adobe Community ( How do I set X and Y coordinates to show the center of an image, rather than the top left? , February, 2022) and Superuser ( How to know pixel values precisely? , 2012) Regarding Claim 11, the method according to Claim 1 is rejected over Tashjian. Tashjian teaches the method according to Claim 1, wherein the drawing a set material in the target graphic patch to obtain an initial effect image comprises: Obtaining a set material corresponding to the target graphic patch ( Paragraph [0131] : “ For example, a reflection of the virtual skin may be applied on the metal (or non-metal) surface of the item ”) ; and Drawing the set material in the target graphic patch to obtain the initial effect image ( Paragraph [0129] : “ In particular, once the item is placed or positioned on the virtual ear with the clear background and size, sometimes, the item may still appears to be fake or as two images stapled on each other as such. Therefore, natural look of the item placement can be achieved via adding natural light the shadows to the item and around the item ”). Tashjian does not teach obtaining a center point of the target graphic patch. However, Adobe Community teaches determining a center point of the initial graphic patches ( Post by Scotth25528356 : “ For reference, I want these numbers to display where the middle of an image is, rather than the top-left corner ”, where the numbers are reference set of coordinates for an image; Refer to the corresponding image ; Scotth25528356 : “ No I understand that (and I've done it already), but I'm not referring to the entire document, I'm talking about an individual layer. Setting the ruler to the center of the canvas is what gave me the negative values shown in the image, I want the highlighted numbers to say 0, 0. (Which is where the center of layers 1, 2, and 4 are, the top left corners are all in different places, which are irrelevant) ”; Stephen Marsh : “ It is fairly easy to do this via a script, where a dialog window will open and then you hit OK… Similar to this, however, it would be customised for exactly what you wish to see ”; Refer to the image by Stephen Marsh ). Tashjian and Adobe Community are considered analogous in the art with respect to the image display. A common motivation in the art is to adjust the position of images for display, often in relation to other images. One would be motivated to determine and utilize the center point of an image for positioning, as the center point of an image is a defining point representative of an image’s location. Therefore, it would have been obvious to a person having ordinary skill in the art before the effective filing date of the claimed invention to combine the creation and placement of initial graphic patches of Tashjian with the determination of a center point of the initial graphic patches; Doing so would yield the predictable result of allowing the adjustment of graphic patches in relation to central points of the graphic patches. Tashjian as modified does not teach obtaining a pixel value of a pixel point that corresponds to the center point in the graphic patch. However, Superuser teaches obtaining a pixel value of a pixel point ( Post by Suzan Cioc : “ How to know one single pixel RGB and transparency values precisely in Photoshop? ”; Answer by Mr.Wizard : “ Set the Eyedropper tool to Point Sample, and Sample All Layers… Then set the Info panel to show RGB on one side and Opacity on the other: (this is done by clicking the icon in each section to open a menu) ”; Refer to image examples by Mr.Wizard, which illustrate that pixel values are shown along with corresponding pixel coordinates). Tashjian as modified and Superuser are considered analogous in the art with respect to working with pixel coordinates of images (graphic patch). Since any pixel value of any pixel point may be obtained via the method of Superuser, the center point pixel values may also be obtained. The center point is a defining point of an image, and therefore, it would be obvious to a person having ordinary skill in the art to obtain information, including pixel values, regarding the center point of the image, especially with regards to representing an image via its center point. Therefore, it would have been obvious to a person having ordinary skill in the art to combine the obtaining of a center point of the target graphic patch of Tashjian as modified with the obtaining of a pixel value at the center point through the method of Superuser; Doing so would yield the predictable result of obtaining of a pixel value of the center point, generally representative of a graphic patch. Tashjian as modified does not explicitly teach obtaining a set material corresponding to the target graphic patch based on the pixel value. However, Tashjian as modified teaches obtaining a set material corresponding to the target graphic patch ( Tashjian, Paragraph [0131] : “ For example, a reflection of the virtual skin may be applied on the metal (or non-metal) surface of the item ”; Tashjian, Paragraph [0129] : “ In particular, once the item is placed or positioned on the virtual ear with the clear background and size, sometimes, the item may still appears to be fake or as two images stapled on each other as such. Therefore, natural look of the item placement can be achieved via adding natural light the shadows to the item and around the item. The shadows may be placed with a presumed source of light and its impact so multiple items positioned on the virtual ear reflect similarly. There can be two types of shadows that are related to the item. The first one is a reflection of a virtual skin tone on the item and second one is the shadow to item on the virtual ear ”. Notes: The broadest reasonable interpretation of a correspondence is any relation between two entities. In a case where an item looks unnatural when placed, the item can be modified with a reflection of skin tone, which is a set material, where there is a correspondence between the item and the set material in that the set material is a depiction of the skin/skin tone reflected on the item). While Tashjian as modified does not explicitly teach obtaining a set material corresponding to the target graphic patch based on a pixel value of the center point of the target graphic patch, it is well known in the art that the material/color of an item influences the reflectance of light on its surface. Identifying a pixel value of the target graphic patch allows for determining how or if light is reflected on an item. As noted previously, the pixel value of the target graphic patch can be the pixel value corresponding with a center point of the target graphic patch, where one would be motivated to do so with the center point of the target graphic patch to derive a pixel value generally representative of the entire target graphic patch. It would have been obvious to a person having ordinary skill in the art to obtain a set material corresponding to the target graphic patch based on the pixel value of a center point of the target graphic patch of the target graphic patch , especially with regards to the reflectance of light, as is indicated by Tashjian ( Tashjian, Paragraph [0131] : “ For example, a reflection of the virtual skin may be applied on the metal (or non-metal) surface of the item ”). Therefore, it would have been obvious to a person having ordinary skill in the art before the effective filing date of the claimed invention to combine the obtaining of a pixel value of a pixel point corresponding to the center point in the target graphic patch of Tashjian as modified with the common knowledge that different colors and materials affect the reflectance of light, and subsequently, the set material corresponding to the target graphic patch; Doing so would yield the predictable result of the target graphic having an appropriate set material, such as reflected skin tone, drawn in . Allowable Subject Matter 12-151-08 AIA 07-43 12-51-08 Claim s 7-8 are objected to as being dependent upon a rejected base claim, but would be allowable if rewritten in independent form including all of the limitations of the base claim and any intervening claims. Claims 7-8 are deemed to be allowable subject matter dependent on rejected dependent Claim 6, and ultimately dependent on rejected independent claim 1. While determining whether pixel points of an initial graphic patch fall into an edge detection result is established in the art, there is no prior art that explicitly demonstrates thresholding the amount of pixel points of an initial graphic patch that fall into an edge detection result, in either a flat or proportional manner. Regarding obtaining a number of graphic patch pixel points of the initial graphic patch that fall into the edge detection result, Tashjian in combination with any of the secondary references used in the Rejections does not teach such a determination. However, the concept of determining overlapping pixel points between two sets of pixel points is established in the art. Stack Exchange B ( Find the percent overlap between two different images , July, 2022) teaches determining a percentage of overlap between two images. However, the overlap is not explicitly in terms of pixels, and not in terms of a flat threshold of a number of graphic patch pixel points exceeding a first set threshold; Additionally, when considering the existing context of pixel points of an initial graphic patch falling within an edge detection result, the combination of references would not be obvious to a person having ordinary skill in the art. Regarding obtaining a proportion of a number of graphic patch pixel points of the initial graphic patch that fall into the edge detection result to a total number of graphic patch pixel points of the initial graphic patch, Tashjian in combination with any of the secondary references used in the Rejections does not teach such a determination. However, the concept of determining overlapping pixel points between two sets of pixel points is established in the art. Stack Exchange B ( Find the percent overlap between two different images , July, 2022) teaches determining a percentage of overlap between two images. However, the overlap is not explicitly in terms of pixels; Additionally, when considering the existing context of pixel points of an initial graphic patch falling within an edge detection result, the combination of references would not be obvious to a person having ordinary skill in the art. Considering that there is not a strong case of obviousness in the combination of existing prior art that describes the limitations of the claimed invention as described in Claims 7-8, Claims 7-8 are considered allowable subject matter, and are objected to based on dependency on dependent Claim 6 and independent Claim 1. Claims 7-8, upon being rewritten into independent Claim 1 along with base Claim 6, which Claims 7-8 depend upon, would be considered allowable. Conclusion Any inquiry concerning this communication or earlier communications from the examiner should be directed to RAYMOND CHUN LAM LI whose telephone number is (571)272-5124. The examiner can normally be reached M-F 8:30-5. Examiner interviews are available via telephone, in-person, and video conferencing using a USPTO supplied web-based collaboration tool. To schedule an interview, applicant is encouraged to use the USPTO Automated Interview Request (AIR) at http://www.uspto.gov/interviewpractice. If attempts to reach the examiner by telephone are unsuccessful, the examiner’s supervisor, Kent Chang can be reached at 571-272-7667. The fax phone number for the organization where this application or proceeding is assigned is 571-273-8300. Information regarding the status of published or unpublished applications may be obtained from Patent Center. Unpublished application information in Patent Center is available to registered users. To file and manage patent submissions in Patent Center, visit: https://patentcenter.uspto.gov. Visit https://www.uspto.gov/patents/apply/patent-center for more information about Patent Center and https://www.uspto.gov/patents/docx for information about filing in DOCX format. For additional questions, contact the Electronic Business Center (EBC) at 866-217-9197 (toll-free). If you would like assistance from a USPTO Customer Service Representative, call 800-786-9199 (IN USA OR CANADA) or 571-272-1000. /RAYMOND CHUN LAM LI/Examiner, Art Unit 2614 /KENT W CHANG/Supervisory Patent Examiner, Art Unit 2614 Application/Control Number: 18/875,100 Page 2 Art Unit: 2614 Application/Control Number: 18/875,100 Page 4 Art Unit: 2614 Application/Control Number: 18/875,100 Page 5 Art Unit: 2614 Application/Control Number: 18/875,100 Page 6 Art Unit: 2614 Application/Control Number: 18/875,100 Page 7 Art Unit: 2614 Application/Control Number: 18/875,100 Page 8 Art Unit: 2614 Application/Control Number: 18/875,100 Page 9 Art Unit: 2614 Application/Control Number: 18/875,100 Page 10 Art Unit: 2614 Application/Control Number: 18/875,100 Page 11 Art Unit: 2614 Application/Control Number: 18/875,100 Page 12 Art Unit: 2614 Application/Control Number: 18/875,100 Page 13 Art Unit: 2614 Application/Control Number: 18/875,100 Page 14 Art Unit: 2614 Application/Control Number: 18/875,100 Page 15 Art Unit: 2614 Application/Control Number: 18/875,100 Page 16 Art Unit: 2614 Application/Control Number: 18/875,100 Page 17 Art Unit: 2614 Application/Control Number: 18/875,100 Page 18 Art Unit: 2614 Application/Control Number: 18/875,100 Page 19 Art Unit: 2614 Application/Control Number: 18/875,100 Page 20 Art Unit: 2614 Application/Control Number: 18/875,100 Page 21 Art Unit: 2614 Application/Control Number: 18/875,100 Page 22 Art Unit: 2614 Application/Control Number: 18/875,100 Page 23 Art Unit: 2614 Application/Control Number: 18/875,100 Page 24 Art Unit: 2614 Application/Control Number: 18/875,100 Page 25 Art Unit: 2614 Application/Control Number: 18/875,100 Page 26 Art Unit: 2614 Application/Control Number: 18/875,100 Page 27 Art Unit: 2614 Application/Control Number: 18/875,100 Page 28 Art Unit: 2614 Application/Control Number: 18/875,100 Page 29 Art Unit: 2614 Application/Control Number: 18/875,100 Page 30 Art Unit: 2614 Application/Control Number: 18/875,100 Page 31 Art Unit: 2614 Application/Control Number: 18/875,100 Page 32 Art Unit: 2614 Application/Control Number: 18/875,100 Page 33 Art Unit: 2614
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