i never know what to call these things, but i’m going to show you how to do these 4 different gif effects in photoshop:
you can find the original gifset here. while this tutorial will not have any part about the coloring, and only how to make these different effects, it is really in depth for each and every step (with pictures!). so then hopefully this will be easy to understand even if you’ve never done something like this before. all you’ll really need to know is how to make a gif, and it might be helpful to have an basic understanding of clipping masks. otherwise these aren’t too complicated! this i a really long tutorial so here we go!:
Usually, how do you construct a face from different angles? Like 3/4, profile and front on?
Basically, I just set the position of eyes&middle of the face and then just draw the rest accordingly. Yeah… I suck at explaining so I made a gif with my usual process so you can see:
it kind of became a love triangle at the end lmao
The hairline-eyebrows, eyebrows-nose, nose-chin
distances should be about equal. Ears are between eyes and nose. The rest of the head you can just draw however you want as long as it’s not too big i guess( you can check if it looks off by horizontally flipping the layer, and if it does then just transform it until it looks good from both sides lol). Personally, I like to make the edges of the head a bit more angular because I’m really bad at drawing circles haha.
If you can’t figure out how to draw a certain angle I recommend posemaniacs or just look in the mirror (I have a mirror on my desk just for that purpose haha). The more you draw the better you’ll get so yeah go and draw your otp kissing from every single angle you can think of ‘cause that’s always fun. ヽ( ･∀･)ﾉ
I hope you don’t mind if I answer the ask about hair sometimes next week, cause I get the feeling it’s gonna get long
Can you please tell me what editing you used on that image in the gimp?
Curves layer: X:88 Y:96 and X: 136 Y: 200
Gaussian blur layer: Horizontal & Vertical: 6.0
Then I used a mask layer by right clicking the Gaussian blur layer and selecting “Add layer mask”. Then I selected the layer mask (white box that shows next to the layer preview) and used a black brush to color in what I wanted to be in focus.
Finally I added a new layer and by using the paint bucket tool i filled the layer with a peach colour. Set that layer mode to ‘overlay’ and lowered the opacity to 80%
Your layers should look something like that. I created a new layer for each step by duplicating the previous layer.
It was believed that the temples were directly related to cosmic
patterns, and so a lot of thought went into not just where they were
situated, but the specific timing of each stage of construction.
A course is a continuous horizontal layer of
same/similarly-sized material, one unit high, and usually part of a
wall. The stone courses of Indian temples weren’t joined together by
mortar; instead, the weight pressing down on them from above was what
made them stable. Earth ramps were used to place stones. Sometimes,
the whole building was filled with earth or sand during construction
(it was removed later through doorways).
A sutradhara (chief architect) and superintendent of works
supervised the construction of a temple. However, the temple was
viewed as the combined effort of many people. Temples were often
built through the patronage of powerful kings, and therefore dynastic
labels were used to distinguish particular styles.
Below is the Lingaraj Temple, dedicated to Harihara, and built in the
Orissian variant of the northern Nagara style. It is located in
Bhubaneswar, the capital of the East Indian state of Odisha, and is
one of the oldest temples in that city.
The tower is an excellent example of the Orissian style. It has a
square base, but its form is curvilinear. It is divided into bhumi
(horizontal mouldings). On top is an amalaka, whose form is based on a gourd or melon. The amalaka usually has a kalasha
(ornamental vase or waterpot) on top of it.
Amalaka of Rajarani Temple.
The easiest way to distinguish between the Nagara (northern) and
Dravidian (southern) styles is by looking at their towers. The
Nagara towers are called sikharas, and are curved and
beehive-shaped. Dravidian towers are called vimanas, and are
multi-storeyed & pyramidal.
The word sikhara means “peak/crest”. Indian temples were
symbolic of mountains, which were the sacred place of the gods.
Virupaksha Temple (Dravidian style).
The alankara (decoration) of temples was essential. The Virupaksha Temple was built in the mid-700’s, and was one
of the richest temples of the time, adorned with many Dravidian
motifs. These included tall pilasters (rectangular columns,
usually projecting from walls) dividing the external walls into niches/segments, sculptured niches, and gavakshas
In Indian architecture, pilasters were similar to Greek & Roman
pilasters – shallow pillars/columns, projecting only slightly from
the wall. Indian pilasters had capitals and brackets.
Towers in the Vesara/Chalukyan style (which is a mixture of Nagara &
Dravidian) follow the Dravidian style in that they are stepped or
terraced. However, the talas (storeys) are less “emphatically
expressed” than the Dravidian ones; also, they are often more
Doddabasappa Temple (1100′s).
The entablature is a system of moldings & bands that lies
horizontally on top of the column of a capital. In Indian
architecture, the entablature was called the prastara. It was
cut deeply, to make changes of plane more obvious.
Indian temples were often raised on a adhisthana (high
plinth), bringing the external sculpture up to eye level. This was
done especially for Vesara temples.
Hoysaleswara Temple (Hoysala style, a variant of the Vesara style).
The porches were richly ornamented. Like the Buddhist vedika,
they marked the boundary between the outside world and the sacred
space inside. Dravidian porches tended to have a bold cornice
(ornamental moulding around the wall, just beneath the ceiling),
groups of colonnettes, sculpted beasts, and a rich plinth.
Later Nagara sikharas were often ornamented with smaller
representations of themselves, called urushringas.
Urushringas were lower and narrower than the original sikhara.
The Kandariya Mahadeva Temple has 84!
I'm really sorry if this question has been answered before and I just missed it somehow, but I was wondering: how do you go about making those animated paintings? And which programs do you use for it?
Hello there, first of all no need to be sorry, I like questions :D I got several asks about these animations here and on deviantart, but never really answered them properly. I’m planning to make a more decent step by step, but i have to make a new pic for it, since I’m deleting working layers as i go and don’t have a good material in my old files. But I’ll put what i can here.
I’m using PS6, it offers a window called ‘timeline’ and let’s You organize layers horizontally like in an editing or compositing program, with framerate and play button for preview and all that.
It looks like this:
It’s not the best timeline I’ve seen to be honest, not very intuitive, but it’s cool enough and You have access to PS tools, and that is awesome. It’s more or less the same thing You have in the Layer window but let’s You declare how long You want each layer (frame) to last.
So once I’m done with the background pic I make one additional layer and plan out the animation there, set the distances between phases and the path of movement. This pic here is not the perfect example, since the animation is in a very steady tempo and the element itself does not really animate, it only changes position, so the plan for it is a very simple one too, but You can more or less see what this step is about:
I then organize layers on the timeline and in videogroups (that’s the ‘not very intuitive’ part of this tool, it calls for a separate tutorial), make a small testing element using the plan from above to see if it goes as I want, if the framerate and frame lenght i’ve chosen are ok and if the loop works properly:
if it’s ok I paint the element frame by frame in it’s final look using the same tools as with the background painting to keep the things consistent, I paint the light, shadows and whatever is needed, so in short it’s like making (in this case) twenty something versions of the same layer:
and then I render the final animation via the Save for Web option and that’s basically it:
That’s all I can offer at the moment, but if You (or anyone else interested) have any questions feel free to send them, I will try to include answers in this future proper step-by-step thingie :]
“Cheim & Read is pleased to announce Landline, an exhibition of six new paintings by the Irish-American painter Sean Scully. Begun in 2013, Scully’s Landline series resonates with newfound urgency and freedom. Thick horizontal bands of subtly-layered color provide his compositions with rhythmic pulse, while the interactions between striations of paint bristle with energy. Though reminiscent of the physical landscapes which inspired them, Scully’s canvases are activated by an emotional and intuitive terrain.The retrospective, Follow the Heart: The Art of Sean Scully 1964–2014, curated by Philp Dodd will be on view at the Himalayas Art Museum in Shanghai until January 25. This exhibition will travel to the CAFA Museum in Beijing from March 13–April 23. Scully is the first western abstract artist to have a museum tour in China. Scully also has major upcoming exhibitions at Pinacoteca do Estado in São Paulo from April 11–J uly 11 and at the Palazzo Falier in Venice from May 9–November 22.”
I was prompted to write this article when browsing through the fashion and model tag on tumblr; I found that many of the clothes being modelled were on long, slender tall women and while they are, of course, beautiful, it got me wondering - what would these look like on a shorter more petite frame? I myself am only around 5ft tall and weigh rather little and always, always have trouble looking good in clothes otherwise modelled on taller women. Read on to find out more about styling your wardrobe for a more refined ‘tinkerbell’ appearance!
My interest in the natural world has followed an odd sequence.
At first I was drawn to birds. Then it was the insects the birds were eating, then the plants depended on by the insects.
Now it’s the earth beneath the plants.
Phase II of the Franklin Trail behind Carpinteria is now open, and today Linda and I took Rory on a hike to check it out. There was lots of cool stuff to see; a higher vantage point to view the valley, trees with colorful poison oak beneath them, a big sycamore with bear claw marks leading up its trunk.
But the most interesting thing for me was the geology along the trail. The large image above shows (I think) the transition between the Sespe Formation (on the left), with reddish sandstone and conglomerate, and the Coldwater Formation’s lighter-colored sandstone on the right.
The boundary dates to about 40 million years ago. The younger rock is on the left, the older on the right. The layers were laid down in the vicinity of present-day San Diego; since then a big chunk of land has rotated clockwise, bringing the rocks to their present location in south Santa Barbara County. In the last 2.5 million years they’ve been tilted, such that what originally were horizontal layers are now angled up at a 60-degree angle.
The Coldwater sandstone was laid down at the bottom of a shallow coastal sea. Toward the end of that process, as the world’s climate transitioned from being very much warmer than today to being as cool or cooler than today, sea levels fell dramatically, and the rocks in that photo went from being underwater to being part of a low-lying coastal plain. Periodic river flooding produced the rounded pebbles embedded in the reddish Sespe conglomerate.
It’s cool to be able to read that history in the rocks. I’m just a baby at geology, but I’m looking forward to learning more.
1 cup chocolate-hazelnut spread, heated until loosened considerably
1 ½ cups whipped cream
Dark chocolate curls or shavings
26-28 fresh raspberries (about 1 ½ pints)
Preheat oven to 350°F. Grease an 8-inch round baking pan. Line the bottom of the pan with a round of parchment paper.
In a heat-proof bowl (preferably stainless) beat together whole eggs, egg yolks, sugar and salt, using an electric hand mixer at high speed. Place bowl over pan of simmering water and continue beating with the electric mixer until the mixture is warm. Remove bowl from water. Continue to beat until mixture is cooled and increased in volume This will take 5-7 minutes, and the batter should be thick and leave a trail when the beaters are lifted from the bowl.
Sift together cake flour, cornstarch and cocoa. Sift dry ingredients over the beaten egg mixture, gently folding with a rubber spatula. Pour batter in prepared pan.
Bake for 30 minutes or until cake springs back when touched with finger. Cool in pan on wire rack for 10 minutes. Loosen edge with knife and invert cake onto a rack. Carefully remove paper. Place another rack on cake and invert again. Cool completely.
Combine sugar and water in saucepan over medium heat. Heat to a boil. Remove from heat and let cool. Stir in liqueur.
Let raspberries thaw in the bags. Combine raspberries (along with whatever juice/ liquid is in the bags) and sugar in a saucepan. Heat to a boil and simmer 10 minutes. Strain mixture through a fine-mesh sieve into bowl. You should have about 2 cups of raspberry pulp and juice combined. Cool to room temperature.
Combine liqueur and gelatin in heatproof cup and let stand 5 minutes. Heat in microwave for 10 seconds or until gelatin turns to liquid. You can also melt it in a saucepan on the stove top if you don’t have a microwave.
Whisk into raspberry purée.
Beat heavy cream in bowl until stiff peaks form, using electric mixer at high speed. Fold raspberry mixture into whipped cream.
Level cake with a serrated knife then cut genoise horizontally into two equal layers. Place one 8-inch layer, centered, in the bottom of the 9-inch spring form pan, cut side up. Brush with half of raspberry syrup. Spread with ½ cup of the chocolate-hazelnut spread.
Pour half of the raspberry Bavarian cream over and around the sides of the cake. Lightly drop the pan on the counter top one or two times to ensure the cream settles into the empty ring around the genoise. Top with other cake layer. Brush with remaining syrup. Spread the remaining ½ cup chocolate-hazelnut spread over the genoise. Cover with remaining raspberry Bavarian cream. Drop on counter top as before. The cream should completely fill the 9-inch pan with a little left over. Level the top with a large off-set spatula. Cover and refrigerate until mixture sets, at least 2 hours.
Run a small knife between dessert and pan. Remove spring form collar. Spread 1 cup whipped cream on side of dessert. Pipe a decorative border of whipped cream around the edge of the cake with the remaining cream, using a small star decorator tip (if desired). Press chocolate curls or shavings into sides of the cake. Arrange raspberries in a concentric circle around the top edge of the cake. Sprinkle center with chocolate curls.
Leave the paint job to no one (even yourself) and stack wood on your walls.
I liked Northeast Spyhouse Coffee’s rustic modern interior reclaimed wood walls the moment I saw them. The neat, smooth wooden horizontal layers of wood stretched across the coffee shop and seemed to have created an illusion of extra room space. Wood is a great wall accent and gives off a calm earthy tone that can go with any style.
Here are several pictures of wood walls for inspiration. One bedroom expanded its wall by adding wood to the ceiling. The vertical wood placement extends room height and space. One bathroom looks like it installed a wooden vanity. One living room’s dark wall offsets light wood flooring. The geometric-stacked wood style on walls is unique and adds depth and volume to a room. We highly recommend you build a wall of reclaimed, salvage, and/or barn wood for the most authenticity.
Summary: Kurt is tense, Blaine is learning how to fix that
Warnings: performative masturbation and blindfolds, but mostly married feeeeeels
Thanks: this is largely unbetaed, though @chiasmuslovesme was there for the first half and @stultiloquentia made me try not to baseball commentate. still, all confusion and awkwardness is mine.
The restaurant is beautiful, decorated in pale horizontal lines and layered stone. Blaine doesn’t take time to look around. Instead he watches Kurt as his quick hands drift from tabletop to chopsticks to water glass. Light catches on Kurt’s wedding ring and on his taut, lovely face.
They’re having an unscheduled dinner date. They can barely afford it but it’s been a bad week, especially for Kurt. They have tomorrow off. Blaine wants to make the whole world slow down.
“I don’t know how Carmen Tibideaux offered him a position,” Kurt says. His voice is sharp. It echoes a little in the almost empty room and he lowers it to go on. “Sometimes I doubt her judgement. This guy has the charm of a wet chihuahua. And his technique is seriously flawed. You should have heard his glissando. I suspect he learned it from some hack on YouTube.” He runs a finger tightly around the rim of his glass then down through the condensation on its cooling sides, traces an expanding circle through the moisture on the table.
Blaine watches. He tries not to think about the many things those hands can do. Even tense, his husband is captivating. He heats Blaine’s blood and makes him long to touch. “I’m sorry,” Blaine says.
Kurt sighs into his miso. “I can’t afford to carry dead weight through the Winter assessments. Not with the worry about dad, and the mess at Spotlight, and our lease, and another round of auditions. It’s too much.” He distractedly pours soy sauce into a bowl then pulls his coaster closer and folds the corners over.
Blaine reaches out instinctively to cover Kurt’s hand and settle him. “Maybe he’s having a bad few days,” he says carefully. “He might have found it intimidating, working with The Kurt Hummel, NYADA superstar. I know I would have, if I was your scene partner.“ He lifts his eyelashes and meets Kurt’s gaze. He’s still holding Kurt’s hand. He could be laying it on too thick.
Kurt’s lips twitch slightly and he flushes. He knows exactly what Blaine is doing but that doesn’t mean he’s going to stop him. His voice softens. “This would not be a problem if you were my scene partner, Blaine Anderson.”
“NEW GROWTH/STRATUM MODEL, 2009 New Growth: Stratum Model reflects a merging of the natural and the built environment. Designed to operate at once as landscape and architecture, the schematic of stacked planes seen from a bird’s eye view toggles between topography map and building in plan. There is an illusion from this vantage point that the form has been compressed into a single plane. But viewed in elevation or perspective these horizontal levels decompress and expand to suggest accessible spaces. As in previous work I am interested in the notion of how a scale model with an unspoken ratio might operate. That is, the model might represent at once a microscopic landscape made large to allow human scale spelunking and an imagined sprawling cityscape shrunken to miniature size. The notion of growth refers both to the way that biological models have informed the design of the individual forms in the sculpture and the way in which the edges of these stacked planes create a kind of provisional boundary. It is a model for a built environment where edges converse with the particulars of a natural site - rivers, extreme changes in elevation, encroaching marshland. Urban growthcan be developed from the top down with leveling, grid planning and other kinds of imposed schematics. But such growth also occurs from the inside out, directed in a manner more akin to cellular organization in response to environment. New Growth: Stratum Model was created for Suyama Space in Seattle, Washington, an alternative space for experimental sculptural projects created by curator Beth Sellers with the support of architect George Suyama, and located in the architectural firm of Suyama Peterson Deguchi.
Stratum A horizontal layer of material, especially one of several parallel layers arranged one on top of another. Geology. A bed or layer of sedimentary rock having approximately the same composition throughout. Any of the regions of the atmosphere, such as the troposphere, that occur as layers. Biology. A layer of tissue: the epithelial stratum. A level of society composed of people with similar social, cultural, or economic status. One of a number of layers, levels, or divisions in an organized system: a complex poem with many strata of meaning.”