#Canva text effect

[reallycreative]

Canva Splice Text Effect Tutorial: Create Stunning Visuals!

[g1ngerbeer]

low quality link click doodle dump

[swinging-stars-from-satellites]

one foot in your bedroom

and one foot out the door

[phoenixiancrystallist]

Month 8, day 14

So while 250 frames of animation are rendering during a severe thunderstorm watch, I decided to go back to the dragon design for a shirt I'm planning :D

Honestly I'm liking this a lot better than what I had before.

[dru-reblogs-stuff]

I present, an art:

Mixed media: acrylic, felt & cotton thread on canvas

[iamcourtcrea]

Text animation in Canva Tutorial

[graphic--horde]

How do you make your stamps? :0

Disclaimer: this is an obscenely long explanation, with pictures. Efficiency is stupid

So, for the static ones, I make a 99x56 px file on ibis paint x. Other programs are probably available online but I don't use them.

After that, I either upload an image I want to make into a stamp, or I draw one.

Then, I find a frame I want to use. Ill upload them here but let it be known I stole all of these right from deviantart

Most of them are from Lil-Devil-Melii on deviantart. The rest i have no idea. They're not all 99x56px but you can crop the canvas it's fine

Make sure to erase the edges of the picture , so they're transparent. It's not as cute otherwise

Upload those frames over your image in whatever art program you're using and viola, stamp.

For moving ones, it's a lot harder. Mostly because I refuse to download Photoshop.

There are a couple ways to do this. Some are simple animations, like with flashing text and whatnot. For these, you download the individual animation frames from your art program. Make sure it's transparent.

Then, upload each frame to ezgif.com under the option "GIF maker." You can play around with how fast each frame goes and whatnot but in the end, it'll be a stamp with some rad text that moves. This is easy, and doesn't make me want to shit my pants and cry. If you're new, do this. This is fun. This is good. This does not kill me inside

I made that↓ stamp with this method :)

this next one is how we turn gifs into stamps. This one makes me sad. It involves math and sucks. But we gotta do it. For the vibe

First, grab your gif. I'm using this cow gif because it's awesome

Then, I resize it using ezgif. Literally everything for this will be using ezgif. I am a simple man

At this point you should decide what frame to use. I'm using this one because its the first one I clicked

Figured out what size the inside of the frame is. That's what I resize the gif to, so the edges can be transparent. The inside of this one is 93x50 px, so those are the dimensions I'm making the gif.

Figure it out by putting the frame into ibis paint and realizing the canvas to fit just the inside of the frame, then seeing what the dimensions are. But there could be easier ways

Woah it's so small now

Then, still on ezgif, I go to the "crop" option.

Make sureeee to upload the smaller gif

press the button that says "extend canvas size", and then put the "width" and "height" as the dimensions for your FRAME. This'll put a bit of a transparent border around the gif. For this frame, I did 99px and 56px.

The "left" and "top" boxes show how many pixels the cropping happens from the edges of the canvas. The formula for finding that is

(width of gif / 2) - (difference between gif width and frame width / 2) = left box

For me it's (93 / 2) - (6 / 2) = 43.5

Then you do the same.for the height, which for me ends up being 22 from the top

This is reallyyy touchy and annoying though

Here's my result , with no visible difference

Okay so THEN you go to the "overlay" option, under "effects." And upload your frame. If the cropping was done right, you shouldn't have to move the frame at all and can just download it

Here's my result:

if you don't care about transparency, you can resize your gif to be the same size as the frame, and then put the frame over it. But I'm a slut for transparency

Anyways. I'm sorry if anything was unclear, it's two am. And I hope this was helpful :) these really are fun to make once you get it down

also if anyone has an easier way to make stamps from gifs, please god tell me

[oh-cramity-its-amity]

@illiteratesblog

i eat albums like delicious meals one after the other. and the songs are the courses

[pillowfort-social]

Generative AI Policy (February 9, 2024)

As of February 9, 2024, we are updating our Terms of Service to prohibit the following content:

Images created through the use of generative AI programs such as Stable Diffusion, Midjourney, and Dall-E.

This post explains what that means for you. We know it’s impossible to remove all images created by Generative AI on Pillowfort. The goal of this new policy, however, is to send a clear message that we are against the normalization of commercializing and distributing images created by Generative AI. Pillowfort stands in full support of all creatives who make Pillowfort their home. Disclaimer: The following policy was shaped in collaboration with Pillowfort Staff and international university researchers. We are aware that Artificial Intelligence is a rapidly evolving environment. This policy may require revisions in the future to adapt to the changing landscape of Generative AI. 

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Why is Generative AI Banned on Pillowfort?

Our Terms of Service already prohibits copyright violations, which includes reposting other people’s artwork to Pillowfort without the artist’s permission; and because of how Generative AI draws on a database of images and text that were taken without consent from artists or writers, all Generative AI content can be considered in violation of this rule. We also had an overwhelming response from our user base urging us to take action on prohibiting Generative AI on our platform.  

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How does Pillowfort define Generative AI?

As of February 9, 2024 we define Generative AI as online tools for producing material based on large data collection that is often gathered without consent or notification from the original creators.

Generative AI tools do not require skill on behalf of the user and effectively replace them in the creative process (ie - little direction or decision making taken directly from the user). Tools that assist creativity don't replace the user. This means the user can still improve their skills and refine over time. 

For example: If you ask a Generative AI tool to add a lighthouse to an image, the image of a lighthouse appears in a completed state. Whereas if you used an assistive drawing tool to add a lighthouse to an image, the user decides the tools used to contribute to the creation process and how to apply them. 

Examples of Tools Not Allowed on Pillowfort: Adobe Firefly* Dall-E GPT-4 Jasper Chat Lensa Midjourney Stable Diffusion Synthesia

Example of Tools Still Allowed on Pillowfort: 

AI Assistant Tools (ie: Google Translate, Grammarly) VTuber Tools (ie: Live3D, Restream, VRChat) Digital Audio Editors (ie: Audacity, Garage Band) Poser & Reference Tools (ie: Poser, Blender) Graphic & Image Editors (ie: Canva, Adobe Photoshop*, Procreate, Medibang, automatic filters from phone cameras)

*While Adobe software such as Adobe Photoshop is not considered Generative AI, Adobe Firefly is fully integrated in various Adobe software and falls under our definition of Generative AI. The use of Adobe Photoshop is allowed on Pillowfort. The creation of an image in Adobe Photoshop using Adobe Firefly would be prohibited on Pillowfort. 

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Can I use ethical generators? 

Due to the evolving nature of Generative AI, ethical generators are not an exception.

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Can I still talk about AI? 

Yes! Posts, Comments, and User Communities discussing AI are still allowed on Pillowfort.

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Can I link to or embed websites, articles, or social media posts containing Generative AI? 

Yes. We do ask that you properly tag your post as “AI” and “Artificial Intelligence.”

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Can I advertise the sale of digital or virtual goods containing Generative AI?

No. Offsite Advertising of the sale of goods (digital and physical) containing Generative AI on Pillowfort is prohibited.

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How can I tell if a software I use contains Generative AI?

A general rule of thumb as a first step is you can try testing the software by turning off internet access and seeing if the tool still works. If the software says it needs to be online there’s a chance it’s using Generative AI and needs to be explored further. 

You are also always welcome to contact us at moderation@pillowfort.social if you’re still unsure.

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How will this policy be enforced/detected?

Our Team has decided we are NOT using AI-based automated detection tools due to how often they provide false positives and other issues. We are applying a suite of methods sourced from international universities responding to moderating material potentially sourced from Generative AI instead.

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How do I report content containing Generative AI Material?

If you are concerned about post(s) featuring Generative AI material, please flag the post for our Site Moderation Team to conduct a thorough investigation. As a reminder, Pillowfort’s existing policy regarding callout posts applies here and harassment / brigading / etc will not be tolerated. 

Any questions or clarifications regarding our Generative AI Policy can be sent to moderation@pillowfort.social.

[sidemari]

• SFW Headcanons Collection •

How do you both spend quality time together.

Characters included: Aphelios, Ezreal, Hwei, Jayce, Jinx, Kayn, Sett, Viktor, Yasuo and Yone [separately] x Fem!Reader

Mari's notes: It's just a silly and cute post. The part of the text involving Sett and Yone was written with me particularly thinking about @nana2amuro <3

Aphelios

Walk under the stars: You both usually take night walks in a quiet place, looking at the stars and talking about dreams and future plans.

"The Moon is beautiful today" You spoke with joy, squeezing his hands affectionately. "It's in the same lunar phase as the night we met."

Aphelios nodded, smiling with his eyes before pulling your body against his, initiating a tender kiss.

Ezreal (Heartsteel)

Making a personalized playlist: Creating a playlist with songs that represent your relationship or special moments you have shared together was your idea not only to express your love but also to show that you appreciate how essential music is to him.

"This song was the first one from Heartsteel" You whispered against his neck as you cuddled. 

"It's the song that was playing that night, remember? At that concert where I saw you in the audience”

"How could I forget the day we met?"

Hwei

Connection with art: Creating something together, whether painting or drawing, is something that connects you not only with art but with each other. You can spend hours searching for the best materials or the most vivid paints for your next canvas without getting bored.

"Do you think these shades of blue match the background of the painting?" You asked Hwei, bringing numerous containers overflowing with paint in your arms. 

"Watch out!" Too late. You tripped and a bit of paint splattered on the canvas, besides staining your clothes.

“I'm sorry, I didn't mean to... I didn't notice that the containers were ajar”

"Hey, it's okay. The painting turned out more artistic this way and... Well, you still look incredibly beautiful even covered in paint” 

Jayce

Movie or series marathon: Choosing a series or movies that both of you love and spending hours watching them with treats, cuddles and kisses is essential to ensure a cozy moment away from everyday worries.

"Ah man, this protagonist is so stupid" He exasperatedly said, turning off the television.

"Jayce, are you really going to get mad at a character? It's just a movie, love”

"I prefer to cuddle with you while we kiss rather than waste time watching this cheesy movie."

"How can I deny you this?" You pulled him in for a kiss. "But you have to promise me that you'll watch the next movie I choose until the end."

Jinx

Self-care moment: Doing skincare with different face masks, moisturizing each other's hair, painting nails with different nail polish shades and trying out new makeup styles on each other is simply one of the funniest things you two can do together.

"Do you like this nail polish color, darling?" Jinx asked you, gently squeezing your shoulders before sitting down next to you.

"It's beautiful, but it's so hard to get a good finish."

"Nah, I'm an expert at this! Extend your hands, princess, your journey of just painting your nails black ends today”

Kayn

Game night: Having fun with simple activities, like board games or even card games, always creates a competitive atmosphere between the two of you, ensuring lots of laughter throughout the matches as well hugs and kisses for the winner.

“Aha, I won! I want my kisses and cuddles immediately”

"You cheated, Kayn! You broke about three rules from the game manual!”

“Silly detail. And does that make me less deserving of my girlfriend's attention?" You rolled your eyes.

"Come here then" You patted your thigh, inviting him to lie on your lap.

Sett

Making a memory album: Collecting photos of you both, keeping souvenirs from trips or even tickets from events to later create a physical album about the most important moments of your journey as a couple was a sweet and effective decision to record your love.

"Sett, look how cute this photo is!" You whispered, showing it to him.

"Oh heavens... That day was funny" His ears twisted in shame. "But I'm still embarrassed"

“Ah, come on! You were sleeping in such an unusual position... Look, you were even hugging a stuffed animal” 

"Hey! Can you stop provoking me?”

"I'll stop, but this photo is definitely going in our album!"

Viktor

Spending the afternoon in a cozy café: On the rare occasions when you manage to get Viktor out of the lab, you take him to cafes. Sitting at a table in a pleasant environment to chat - even if for a few brief hours - enjoying the time together with a good cup of coffee, tea, or cappuccino is invigorating, especially for your workaholic boyfriend.

"Did you like their coffee, Vitya?" He nodded, placing the empty cup on the saucer.

"It's good, but I particularly prefer the coffee you make for me yourself."

His hand reached yours across the table, squeezing it gently before genuinely smiling at you. "Thank you for caring so much about me"

Yasuo

Meditating together: It’s not uncommon for you to join Yasuo in his meditations to relax and share a moment of calm and harmony.

"Yasuo, dear, I was wondering if you would like to go-” Seeing that your boyfriend was in deep meditation, eyes closed and face focused, you blamed yourself for interrupting him. "I'm sorry" you whispered, turning your back to leave.

"Come, meditate with me"

"Are you going to hold my hands while this happens?"

"What wouldn't I do for you, huh?" He sighed, still with his eyes closed, but with a slight smile forming on his lips.

Yone

Writing love letters: You write cute letters or notes to each other, expressing your most intimate feelings and then keep them to read later.

"What is this, love?" You asked, kissing him softly on the lips before showing the small envelope in your hands.

“Ah, that? A letter I wrote about you during a difficult day…”

"Can I read it?"

"Of course, but don't blame me if I sounded too cliché in the text." He ruffled your hair in a delicate manner.

[reallycreative]

Canva Design Tutorial: How to Create and Animate Neon Text | Step-by-Ste...

[leeluvsyoongi]

DIE 4 ME —  | Studyholic! Reader x Underground rapper! Yoongi | 

Synopsis: You’re invited to an underground party, and the invite is sent from an unknown number, you accept the invite, and spend the wildest night of your life with a notorious rapper who goes by the name of  Gloss.

࣪˖ ִ𐙚 | author's note — It's been a minute babes!! I took a long ass hiatus, and now I'm chillin' after finals fucked the shit out of me. I hope ya'll are taking care of yourselves xx (this was kind of a last-minute thing so pls ignore the shitty writing)

⋆.˚ | Mentions of body portions (curvy fem! reader), this is for everyone, I ain mentioning no skin color, hair texture, and none of that “she blushed like a tomato” ahh shit. (I’m an actual whore for yoongi guys)

✧˖° Word count: 3.3k

| Warnings: (sixty-9ing, fingering, blowjob, marijuana, brief mentions of cocaine.)

It's filthy, it's descriptive. For entertainment purposes only.

𓂃⋆.˚

The week after finals often came with an akward rockiness. Getting back to the usual lazy beat of not being shit deep in PowerPoints, and notes, running on four to five hours a night. Nobody to blame but yourself of course; you decided to take six courses this semester, a dumbass move. Not that your studies affected other aspects of your life that much, you didn’t exactly party, and had a small circle of acquaintances, who much like yourself, prioritized their GPA over social life. It wasn’t how you envisioned your college life to be. You’d hoped to attend at least a few parties on occasion or go out drinking with friends. Shit went down, hopes got crushed, and stress piled up. 

You were one of the last people to leave the testing center, your legs hardly holding you up as you dragged yourself along the concrete. You mentally cussed out your decision, your head throbbing with the after-effects of the seventy-five questions. Fumbling for the keys to your apartment, you shove yourself through the door, kicking off your sneakers, and flopping over the couch. A low groan escapes your lips at the sweet relief that engulfs every inch of your body, nestling your face against the fabric pillows. “Fuck.” You palm at your left pocket, fishing out your phone, before scanning through your texts. Sitting up straighter, your brows furrow at the unknown number, your thumb glides over the texts. 

Crashout Party, 4567 Judas Ave.  Saturday, Dec 13th  11pm - 6am Code: 78V9ZX

“The fuck?” You mutter, glaring at the tacky black flyer, clearly rushed on Canva or something. The rational part of you takes it as a dumb joke. Why the fuck did they have a code?  You scoff at the thought of it being some cult shit. Some of you urge yourself to take a nap and recharge, then get up, get dressed, and have a little fun. You tried to shrug off the stupid idea,  maybe at least text one of your friends and see if they got the invite too. 

Jen, did you get this? Image sent Yeah, you goin’? Prolly, you? Yeah, idk tbh.  Alr, I’ll pick you up then. Alr.

“We goin' I guess.” You sigh, dragging your limbs off of the couch, and making your way to the restroom. A couple of hours later, you off of your ass again scrubbing your skin clean and washing the sleep off of your face. You pick and pluck at every bit of hair, making sure you’re all prepped up, just in case you decide to catch some proper dick. It’s funny honestly, the thought of you going out to get drunk, and party, considering you spent your evenings watching sad Thai BLs or munching on mozzarella sticks. The life of a borderline crippled introvert. It wasn’t like you didn’t want to go out there and have a blast, you did. You just weren’t sure if you were cut out for fun. Every inch of you was mundane, hell, you screamed plain. You weren’t built like Adriana Lima or Anok Yai. Sure, you had a small pooch you often poked at, chubby thighs, and a pretty nice ass. You didn’t hate your body.

Gazing at your reflection made you feel good about yourself, after a long time. Your eyebags concealed, your makeup and lashes on fleek. Your hair is styled so it enhances your features, decorating the strands with a lacey white bow. You tentatively ran your hands down your figure, admiring how the black satin dress hugged your curves in all the right places. Lacing up your boots, and grabbing your keys, you made your way out the door. 

“Damn, Okay cute,” Jen remarked, flipping her fingers airily as she gestured to your outfit. A soft smile tugged at your lips as you spun. 

“Preesh.” You chuckled, admiring her black wife-beater, baggy jeans, and grey sweater hooked over her arm. Your eyes flickered down to her silver cross-chain and rings. 

“You bouta drown in pussy tonight huh?” You playfully tounged at your cheek, as she got into the passenger seat. 

“Damn, you make it sound like I have a social life?” She scoffed, clicking her seatbelt in, before running a hand through her cropped brown hair. “Homegirl plans on eating out her GPA, remember?” She chuckled, shaking her head. “But tonight, ion mind getting a little messy.” She lazily grinned, making a display of her blunt nails. “I locked in heavy for finals, between you and me, I deserve to drown in sweet cunt.” 

You raise a brow at her brazen remarks, before staring at the engine. “Whatever you say.” You hum, “Pop in the address for me.” You plop your phone onto her lap, steering onto the main street. Jen adjusts your phone in the cupholder before kicking her feet up the dashboard.

 “Any hookups for you?” She yawns, gazing out the window. “I don’t know, whatever happens, I guess.” You sigh, stopping at a red light. “I mean I shaved and shit, just in case,” You click your tongue, softly chuckling. “I just wanna feel good, you know?” You turn to face her, before bursting out in laughter at her expression. “Dude, what?” “I don’t know, I didn’t think I’d ever hear you say that, y’know?” Her fingers roll over a steel ring, “Like, yeah, I know we all don’t party much and shit, but damn, I wouldn’t be surprised if you were a virgin.” She snorts, a grin tugging at her lips when you roll your eyes. “Okay, Jen. I’m not a virgin.” You scoff, pressing down on the gas before making a sharp turn and parking your car in a dark lot. 

“You got your gun on you?” Your eyes drift around the sketchy alleyway, eyeing the graffiti littered on every wall, and the flipped dumpsters. 

“If they fuck up my car, I swear to god-” You grumble, wrapping your coat tighter around yourself as you step out into the chill air. 

“Of course, I got my gun on me.” She mutters, shrugging on the grey sweater. “Do you not see this place? We’re prolly in the hood.” 

She grabs your hand, before catching a sign over a flight of stairs, leading down. “This is lowkey sketchy huh?” She chuckles, keeping her hand over the holster. “If we die, I pray I get some good dick up there.” You point to the sky, as she bursts out in laughter. “You’re fucking sick.”

“We've been known.” The two of you make your way down the stairs, before standing in front of a heavy door, loud music thrums through the barrier, making you expel a breath you didn’t realize you were holding. A slot opens up, revealing a pair of shades.

 “Code.” A gruff voice sounds, hardly audible through the thrashing boom of the speakers. Jen tugs out her phone from the back pocket. 

“78V9ZX.” She smirks, and the door glides open, revealing a tan-skinned bulky man, dressed in a thick black hoodie. 

“Get the fuck in.” He laughs, reaching out his hand to dap the two of you up. He leans in close before muttering, “

We got coke in the back, a line for 15.” 

Jen grins. “Damn, I see why this place is fucking underground, did everybody get invites?” “Just a few randoms.” He grumbles, before taking his stance at the door. 

Your eyes scan the dim setting, a myriad of blue and red dancing over sweat-slicked bodies. Drunken laughter sounds over the ear-bursting beats. You turn to Jen, but before you can open your mouth, she’s gone. Disappearing with a girl with bright green box braids into the crowd. “Damn, she’s fast.” You mutter, squeezing yourself through the throngs of people, nearly gagging at the sharp smell of whiskey and sweat, finally, you find an empty seat at a bar. The barista, a bubbly woman with the brightest blue eyes asks something you can only assume is what you’d like to drink. You blink, a little dazed. “Water’s fine, thank you.” You respond, with a nod before turning your head to the crowd who explodes with cheers. “FUCK YEAHHHHH AGUST D!!” Some dude roars, pumping his fist. You look confused turning your attention to the high DJ stand. On the screen is the most gorgeous fucking man you’ve ever seen in your life. You take a sip of water, watching a buzzed-blonde guy appear next to the hyped-up figure. 

“TONIGHT, WE GOT GLOSS FLYIN’ FROM SK TO NYC!!” The crowd tears in an ear-piercing surge. You could only assume he was some god figure in the whole underground ordeal. 

“Fucking hell.” You mutter. 

Gloss smirks, nodding modestly. “Ready?” He speaks into the microphone, Only resulting in more shrill cries. “You gotta be louder than that New York.” 

He chuckles, and Lord above does the sound hit you right between your legs. It’s insane how transfixed you are on him. From the way his wavey-ish charocol hair was parted right down the middle, to the heavy silver chains hanging off of his neck. To every fucking syllable that rolled off of his tongue, thick and rich. You swallowed a lump lodged in your throat. The blonde man from earlier took over Mixboard, and suddenly the fastest bars you’ve ever heard in your life sputter out of his lips. People were jumping up and down, vibing with a renewed fervor, and this Gloss motherfucker didn’t even stop for a single breath. His voice was deep and steady molding around words you were pretty damn sure weren’t English. 

The crowd burst into another tempest of cheers, you exhaled, loosening your grip on the glass that threatened to shatter. 

“Holy shit…” You whispered, watching as he made his way down the steps, only to be bombarded by people. He complied, taking a few selfies and sighing at some girl’s arm. You watched him make his way to the bar. Your head turned away as you grabbed your phone, opting to focus on anything else. 

Until he took the seat right next to you. 

You turned to nod at him, a small tight smile on your lips before you got back to scrolling through your apps. The barista smiled at him, before taking note of his order. Four shot glasses of Hennessey. You could feel the heavy weight of his gaze on you, so you finally decided to turn around and face him. “Sorry, just wondering why you’re scrolling back and forth through the apps.” He smiled, it was small, crinkling the corners of his eyes. “What’re you lookin' at my phone for?” You had no idea where that response clawed out of, but goddamn you sounded like a serious asshole.

He softly chuckled and raised a brow before lifting his hands in defense. “Slow it down.” He thanked the barista, before downing a shot like it was straight water. “Just curious.” You set down your phone. “Just cuz.” You take a sip of your water. He noticed. “Don’t drink?” His eyes flickered back up to your own. You crossed your legs tighter. 

“Not when I’m driving.” You shook your head, setting down the empty glass of water. “Smart.” He muttered, looping his fingers into his pocket for a fat roll. “Mind if I smoke?” “Nah.” You shook your head and carefully slipped your fingers into his pocket for another. Who knew what possesed you, to act so boldly in all honesty? 

“Mind if I smoke?” You slowly pushed the stick past your lips. His eyes flickered down to the soft flesh before hooking his fingers under your chin.

 “Think we should smoke somewhere quiet huh?” A smile small crept along his features, and for the first time, you noticed he had a very cat-like nature about him. Your brows slightly quirked, as you held his gaze.

 “So is it Agust D, or Gloss?” You muttered, the blunt hanging loosely between your fingertips. 

“Gloss, Agust D, Suga, but for you…” He leaned in closer, his breath ghosting over your ear. “Yoongi. Just Yoongi.”

 You released a shuddered breath, your fingers tightening on the cigarette like your goddamn lifeline. “[your name], and somewhere quiet, I’m down.” You nod, and you watch as he runs a hand through his hair, downing another glass, before stepping up and taking your hand. 

The two of you weave through the throngs of people before making your way up the steps of the DJ stance and behind a hidden door. The room was dimly lit, with a black leather couch, against the wall, with a coffee table centered in front of it. A large flat-screen TV mounted on the wall, and a poor table to the right.  “Damn, who the hell invested in all that.” You mutter, looking around the small furnished space. “The Owner, of course.” Yoongi chuckles, plopping himself over the couch, before pulling over his lap. “This okay?” He glances up at you, his hands planted firmly on your hips. “Yeah.” You mutter, taking the space in. “I mean, it’s a fucking sketchy place, you get me?” You wave a hand at the entire setting. “I mean, it is underground.” He raises a brow, as if it were the most obvious thing in the world, his hands running over the satin fabric of your dress. “No shit.” You grumble, eyeing him sternly. “I mean, I’m surprised the cops haven’t caught up, you get me?” “People don’t make a show of knowing, you get invited, and you keep your mouth shut.” He hums, a slender finger training down the column of your throat. “If you don’t keep your mouth shut, you get your brains blown off.” A heavy chill runs down your spine at the thought. “And how would they know?” You whisper, snatching the lighter out of his pocket. You spark a flame, inhaling deeply. “Eyes and ears everywhere, yeppuda.” Yoongi tosses his head back, exhaling thick plumes of smoke. “You’re not from here though.” You lean your body back against his chest, getting comfortable. “How the hell would you know?” A rough chuckle escapes deep from his chest. “Who said we don’t have shit like this in Korea?” His cold hand slowly creeps up the soft material, resting on your bare thigh. A chill rolls down your spine. “So you’re an outlaw huh?” You tease, slowly rotating your hips over his growing bulge. A satisfied smile tugging at your lips when a low moan vibrates against the back of your neck. “Underground rappers are outlaws.” His other hand tightens on your hip, rocking himself against the curve of your ass. “We just don’t get caught up in drifts.” You take another gulp of smoke before burning out the blunt. “And how would you feel if I told you I’m studying law?” You turned to face him, angling his jaw upwards. “I like a game of cat and mouse.” He mutters breathlessly, “But you wouldn’t open that pretty mouth, would you?” “Depends how wide.” You whisper, your other hand slowly trailing up his t-shirt, smoothing your palm over the firm lines and dips of his torso. “Show me.” He lazily smiles, running a thumb over your bottom lip. You slowly grin, before leaning into his ear. “How about we both show each other, I’m not gonna lie and say I’m not curious about that tongue technology.” Yoongi doesn’t hesitate, to kiss you. His lips molded firmly into your own, restless on the soft plush of your mouth, as his hands squeeze at your sides, before lading a sharp firm slap to your ass. Your gasp is silenced by the warm feeling of his tongue, running over your bottom lip before ravaging your mouth. Your eyes fall shut until he tears his mouth away, his dark eyes pinning you in place. 

“Take off your dress, and sit on my face, since you wanna see it so bad.” He instructs, watching you undress, down to your undergarments. He softly chuckles, before slipping off his jacket, followed by his baggy shirt, and everything under his thick black belt. Your eyes drink in every inch of him, from his sculpted upper body, to his toned stomach and legs. Your eyes flicker back to his own, and he’s taking in every inch of you. “Fucking gorgeous.” He whispers, getting comfortable on the couch before positioning you exactly where he wants you. 

“Fuck…” you whimper, feeling his thumbs slowly spread you apart. Your hand hangs over his length, before slowly wrapping your fingers around the warm flesh, carefully jerking him, grasping onto his thigh to still yourself. Breathy moans spill past your lips as your stomach quivers with every harsh suck against your puffy button. “Fuck, just like that.” He groans, pressing open-mouthed kisses before running his tongue along your slit. A sharp gasp claws past your throat, your voice muffled around his cock, as his hands slowly kneed at the doughy flesh of your ass, sucking obscenely at your cunt. “Yoongi…” You sigh, lowering your head and pressing reverent kisses over his leaking tip, sucking at the head. A deep groan buzzes against your clit, causing you to jerk forward, your legs trembling at the effect. Yoongi lowly chuckles, running his thumb over the tight ring ass, before prodding his tongue into your hole, curling the muscle to stretch you out further. 

You take him in deeper, your eyes stinging at the burn in your throat. He’s quick to add a finger, twisting the digit before fully pushing it through. You can hardly moan, your throat lodged up with his cock as you desperately rock your hips against his mouth. “Taking it so good, pretty.” He mutters, slipping a second finger into your dripping cunt. “My fingers and cock. Were you made for me or what?” He nibbles lightly on your clit, as you double over his legs, gripping him fiercely, your stomach contracting at the sensation. Your head spins as you take him in deeper, gagging around him.

“Fuck…Fuck!” Yoongi groans, curling his fingers deeper, prodding until you spill over his mouth. You whine, feeling him twitch deep inside your throat as he falls apart. You pull away, swallowing thickly as you gasp for air. “Fuck…” You shudder, feeling his lips around your clit, his fingers slowly pumping, bringing you down from your high. The fog in your head slowly clears up, and you become aware of your surroundings. The thrashing music beats outside the walls, the heavy vibrations that fill the small space from the speakers. 

Yoongi groans, slowly sitting up and gathering you in his arms, before laying back down. Your eyes feel heavy and dry, the weed already settled in. 

“Need some water?” He murmurs against your hair, tracing soft lines over the smooth span of your back, before pressing a few brisk kisses to your mouth.

“Nah, I’m okay.” You whisper, your voice a little hoarse, resting your hair against his chest, listening to the steady rhythm of his heartbeat. “I’m flying back to Daegu tomorrow.” He says, brushing back a few strands of hair off of your face.  “You want a pre-flight fuck or something?” You mutter, smiling. You’re sated, basking in both your after-glow and high.

“As great as that sounds, I was wondering if you’re free. I leave at 8:30 pm, you could show me around, just chill, get to know each other.” He chuckles. You notice how red his eyes look, fuck he’s baked as hell.

“Sound like a plan Gloss.”

[eaudera]

eaudera's detailed tutorial for skin rendering

okay loves i've put together a tutorial in text form detailing my step by step process of shading darker skin + the brushes and techniques I use and why I use them. you will be following along as we shade a piece together, you can find the lineart to the piece here. *turn off your true tone and night shift displays for the most objective viewing.

i wrote a lot on the preview pictures, if you find spelling errors (which you def will) or are unable to read my handwriting, you'll find the typed out version of the writing in the alt text feature.

disclaimer: i'm not an art professor nor am i academically/classically trained in art. a lot of the verbiage and techniques i'm using to teach you all here are from my current self taught and observed understanding of art, light, and anatomy

support me: kofi / ig / twt / commissions

firstly, here are my two staple brushes. you can find the second brush here, i modified it by making it larger.

the lineart brush is very good for easy sketching and simultaneously cleaning up that sketch to produce the final lineart you'll be using in your piece. the diffusion from the erased parts/the diffusion created by lowering the pressure of your pen creates a light graphite effect which i enjoy! give it a shot.

you'll notice quickly that there are lighter strokes throughout this lineart, these are simply acting as rendering guides for me in order to remember certain placements. i erase/draw over these lines a lot.

i initially learned to shade skin on a completely grey background with very slight orange undertones, and for a while this was very helpful in providing the most objective view of the base colors you're using (objective as in free of being effected by colors of different values). as you might know, using a white background for dark skin will seemingly darken the value and dim the vibrancy of your base colors, and using a black background will do the opposite. if you're using a darker skin tone, you want your canvas shade to be of a value that is proportional to your skin tone to avoid the same problems created by colors with too light or dark of a value. now if you're using a screened device to draw, you have the extra burden of screen reflections/wavering color output on different screens, so you're never really sure if the exact color you're using will be consistent across the board. priming your canvas with neutral colors will help with that. whereas priming with more vibrant colors will slightly change the undertone of your skintone (especially if you're using a low opacity brush), but it makes for a funner canvas and more creativity with your color palette imo. if you're a beginner i recommend you stay below the wavy line to avoid too light of a canvas shade.

for these same reasons i avoid keeping my lineart jet black. when you lay down the base colors under a black lineart it can look very unfavorable.

here are some skin tone variants that i tend to use the most, peep how i never wander off too far to the left of the spectrum where the reds are. i definitely favor red-oranges as compared to green-oranges for my skin tones, however, because i stay primarily on the left side of the color spectrum for my rendering, red can quickly become too much too fast. so i make sure to use a skin tone that can work very well with green-orange shadows. for this specific piece i will use the third shade (#2d1606).

heres where the gouache brush comes in handy. i use it very loosely to "prime" the canvas almost. if you've ever done oil painting you'll realize very few artists draw directly onto a completely white canvas, though i've already primed my canvas essentially by changing the background color, i loosely shade over it with the skin tone color using the gouache brush. i find this gives me a better grasp on the composition of the piece due to increased harmony between the canvas and the skin color. it also looks really cool to me and resembles a real canvas almost.

as stated before, priming your canvas with neutral colors (grey) can help give you a more consistent view of your base colors, when you get the hang of understanding the colors you most often use (i.e, how they interact with other colors), you can start using more vibrant and fun colors to color your canvas with! the gouache brush changes opacity depending on the pressure exerted by the pen, if you zoom in you'll notice patchy areas where the canvas color bleeds through the layer more prominently than it does in other areas. for some people this might throw off the consistency of the shadows, but you should be fine as long as you're using a consistently opaque brush (which we will be doing)

i know i recommended beginners use a grey canvas like i did, but since this tutorial is using my techniques i figured i'd also teach you guys how to use variantly opaque brushes to your advantage. we will be drawing on the pink canvas from here on out.

a reference is so helpful, i still rely on references to guide my shadows/lights. i'm past the point of relying on references for exact coordinates for rendering or lineart, but they are still incredibly helpful. in most references of darker skintones you come across, color dropping directly from the picture will give you very grey colors! we want to prioritize vibrancy in this case, so attempt to formulate your own colors or colordrop and increase the vibrancy :)! keep in mind i'm now using the lineart brush to shade. the diffuse/soft corners of this brush allows fewer pixels to be scattered wherever you lessen the pressure, this is perfect for color dropping medium colors to blend two colors together. you'll see how i blend colors later on.

as mentioned previously, red can become too much too fast- so i avoid monochrome rendering as much as possible by using shadows of different undertones. my most frequent combination is using a red-orange skin tone and then using a green-orange shadow.

the value spectrum will be your best friend in mixing values and undertones, i use it all the time to formulate the best less saturated darker shadow that is proportional (not too dark, not too grey) to my skintone value. if the shadow is too green simply increase the magenta, if you're looking for a "reflective" shadow, increase the blue.

when i begin shading, i always slide the curser to a truer orange color on the spectrum and increase the saturation (slide towards the right) while i decrease the brightness (slide down). heres how it looks when i'm jumping between shadows and highlights while trying to keep my colors proportional (but not identical) to whats happening in the reference ^. i most often times will rely on the value tool, however.

you will notice that a lot of darker skin tones have patches of orange vibrancy, these areas are most common on the nose and cheeks. this is only a detail to pay attention to if you're going for more of a realism rendering style :)

now onto how i prefer to bridge/blend colors together by utilizing the blend tool.

i do not like simply blurring colors in order to blend colors together, it can lead to overblending which can make your portrait look heavily gaussian blurred (think 2010 deviantart art... yea that). the brilliant thing about procreate is you can utilize brushes really efficiently, which include changing the brushes you use for blending. so in reality, artists who use the blending tool on its own can still have portraits that don't look it! there also exists plenty of brushes that have properties allowing it to blend into its surrounding colors are you draw. but in my case, the above photo is 99% of the times how i will bridge two colors together. doing this allows me to keep pretty consistent brushstrokes across the whole portrait, which i enjoy. it also gives me better control of the shapes i use in my rendering, an aspect that is pretty easy to lose when you're using the blending tool directly and solely.

in case the blending process is a bit hard too see, heres that same process recreated with different more visible colors:

now once you've placed your shadows where they generally tend to be (according to the reference photo), let's make those shapes a bit more specific and pick up on smaller details to make your rendering look more complete.

your base colors will never be as dark or as light as you need them to be when you begin rendering, making sure you have a decent contrast between your lightsource highlights and the shadows is key to capturing the essence of a light being cast on your character. it's much easier to keep building upon your shadows before rendering the highlights, i laid down the highlights only to create a guide/help me map my shadows better. do not darken the entirety of the areas affected by shadow, you'll find that shadows are rarely ever the same value, it's a gradual process affected by things like position, height, etc. so make sure the darkest of your shadow colors are preserved only in areas where the shadows are the or should be the darkest.

you'll notice i labeled some areas as "detail", adding very specific shadow placements is a detail. in the reference, the model has a pretty prominent brow bone, creating a shadow over where his eyelid creases just above his lash line, paying attention to feature details like this help enhance the rendering and its realism.

now that i've mapped my shadows i'm going to move onto to rendering my highlights and the region of the face where the lightsource is most prominent.

i described shadows as a gradual process earlier, this is because of the lightsource. light tends to spread when its further from the affected surface, creating a larger area affected by the light. of course, this varies depending on how intense and how close/far the light source is. in this case, the light is being casted above him further to the other side of his face, but again, remember that the face is not 2d and more prominent areas are affected more by light. it's due to this that there still exists a, albeit very minimal, shadow beneath his cheekbone. i exaggerate the shadow here for stylistic purposes, but it also helps in keeping me uphold that contrast between the highlight and shadow once again. so i refrain from blending the light into this area like i did in other areas.

midtones are the areas most unaffected by the light source, they're neither shadows nor highlights. and because light spreads, it is brighter in certain areas and darker in others. it is most easiest to blend the darker ends of the highights into the midtones of your portrait. you can emulate this by once again using your blend tool. blend the outer areas of the light and colordrop this color and use it as the darker light more proportional to the midtones. note that before i add even lighter shades to the areas where light is most concentrated, i blend what highlight placements i currently have there.

we're going to switch gears now and focus on the reflective shadow occurring on the darker half of his face.

this shadow is a reflection from the lighter background the model is up against, the light being casted above him is allowing for some bounce back from his surroundings, leading to very faint light visible in areas primarily affected by shadows. hence why i'm referring to these colors as "reflective shadows".

in this case, the reflective shadows are blue, or appear to our eyes as blue. on darker skin, "true" blues (blue-purple) are not often times present. what is present rather, is a very grey tone with cool undertones/a grey tone on the blue side of the spectrum, which creates a blue that is much more proportional to the value of the skintone than a true blue. in this case i used a deeper grey on the pink color spectrum, which is more purple. this was intentional, and was done in order to create some sort of color harmony between the contrasted deep oranges im using for the bordering shadows and the blue-grey i'm attempting to emulate.

while i utilize this blue-grey, out've a purely stylistic choice, i still introduce true blues to my rendering. in fact i love using blue/purple reflective shadows in my art, it creates a stunning and colorful render. in this case, i used the blue-grey as a stepping stool to introduce that trueer blue more naturally. you'll see this happening in the second picture above, where i used a slightly more vibrant and slightly more brighter blue, and used it on areas where this reflection was more prominent (and therefore brighter).

you'll notice how the shadows that border on these reflective colors are less saturated and darker than the shadows on his chin. introduce a darker and less saturated (more green) shadow to that area on his cheek and the darkest shadow of this photo, the sunken area near his nose bridge and inner eye corner. i emphasize this line in the lineart so you can follow this shadow more accurately:

this is also a detail in my opinion and can make your portrait more realistic if you include.

we're going to pivot to his neck area before continuing. you'll find the area of his neck with the most light is also the least vibrant, i laid down a grey base color to emphasize this detail in the portrait. afterwards i added key details. i wanted to stay at least somewhat true to the color dynamics occurring in the reference hence why i used the grey, but i'm not a very big fan of using blatant grey directly on the skin, so i made it more blue.

moving forward, the outer eye and the nose can be some of the most "detail focused" areas of the face when it comes to rendering. due to their more "bulbous" anatomy, light tends to curve around them in more complex ways than the flatter parameters of the face.

when it comes to the many creases that surround the eye, the skin folding over itself creates a very thin shadow from between the folds. the key to rendering this crease is to concentrate the blending to a very small scale, do not overblend the area because the hill created by the crease very easily captures light, creating an area where the shadow and highlight meet in very close proximity. slight blending is needed for this area, you can deepen the shadows in both horizontal corners of the eye for more accuracy. the midsection of the total eye area (eyeball and socket) tends to capture the most light, remember this is due to how bulbous rounder shapes tend to capture light from whichever direction its coming from.

this is of course the case for the nose as well. highlights are typically placed as a dot on the outermost part of the nose by artists, but highlights also spread on either side of the tip of the nose. the nose tends to collect a lot of oil, creating a sort of sheen on the upper parts of the nostril. when rendering a portrait where the position of the head is more cast to the side, the highlight of the nose changes from the bulb of the nose, to the upper nostril. in this case, the highlight spreads, causing a "half tone", or the remnants of the light on the bulb of the nose. this is the easiest place to blend highlights and shadows together. now for the shadow detailing on the nose, i'm actually drawing on top of the lineart on a separate layer. which i'll go into detail about in the next part. you want to focus the shadow on where your lineart is, the outermost part of the nose.

now were going to really detail your portrait by introducing a new layer, the detail layer! this isn't technically apart of the skin rendering, so i'm gonna keep it very brief. this is the layer you're going to render the lips, eyeballs, and eyebrows. more specifically, the purpose of this layer is to reduce the reliance on lineart. in terms of order, it goes above the lineart layer. we're going to soften and even erase the lineart in certain aspects. i use bolder/thicker lines when creating my lineart, but this can become a nuisance/hinderance when rendering.

starting out with the lips:

people w brown skin tend to have two toned lips, with the top lip resembling the same skin tone as the face and the bottom lip being redder/pinker and lighter than the upper lip. in my case, i prefer a more vibrant red for the bottom lip. once i lay down these base colors, i begin shading on the second layer.

i personally enjoy the look of a poutier lip shape, this includes emphasizing the middles of the lips as opposed to the ends. i've highlighted the shapes that this lip shape often entails. the small circles on the corner of the lip line are just pockets that occur when the mouth is closed and become emphasized by the fat around the mouth. the parameters of the lip lines do not often meet these round corners, theres often times a "double lip line", that exists around these areas. i love including that in the art, its very easy to emphasize by simply drawing a highlight from the corner of the lips along the curvature of the bottom lip towards the middle.

shadow mapping on the lips tend to go: highlight, shadow, highlight, shadow. the top lip going inward creates a highlight on the most outward part: the top of the lip. and the bottom lip curving outward thus creates a shadow on the bottom of the lip.

when it comes to the eyeball, i don't draw the white parts as solid white, nor do i make them too bright most of the time. they're most often times an orange grey, i also dont spread this color out if you can notice the uncolored white part of the eye. i do this intentionally to keep some of the shadows that are naturally present on the eye. very specifically right where the upper eyelid sits on the eyeball, it tends to create a small shadow that follows the curvature of the eye. this shadow is crucial, if you can see the first and second picture do not have this shadow, making the iris look more exposed and the eye appears to be held wider.

when it comes to the iris, i do very little. if i'm drawing a dark colored eye i will cover the entire iris brown, before darkening it with an almost black color. i leave the brown sides of the iris exposed to aid in bridging the values between the whiter parts of the eye and the very dark iris. this blended ring also appears on all eyes in real life. lastly, dark eyes tend to show light reflections much easier than lighter eyes. these reflections can be any color in art, in this case i kept it blue-green. i bend these reflections around where the pupil would most likely be depending on the drawing.

next, the eyebrow. i find it tedious to draw individual eyebrow strands when it comes to rendering, i actually prefer to blend the parameters of the eyebrows to create cohesiveness. sparse and fine eyebrow hairs are penetrated by light and shadows more than what you'd find on the scalp. it's harder to see light on someones scalp due to the bulk of hair crowding the scalp, whereas as its easier to see such light on the eyebrow. to introduce this concept to my art, i will initially draw the entire shape of the brow. then when rendering, i erase the parameters, leaving the darkest part of the brow. then i blend. the lower brow bone will be blended the least, whereas the area of the eyebrow connected to the T zone will be the most blended thanks to the shadow following the nose bridge. the far end of the brow by the hairline tends to be the lightest given the light source.

and lastly, i loosely draw a white border around the portrait for stylistic purposes. then i combine the layers (group together your layers, then duplicate and compress the duplicate group so that you still retain your individual layers) to edit. i typically add noise and play with the curve setting. and heres the finished image:

i hope you enjoyed!!

[anyataylorjoys]

Someone asked me how I created the fade transition in this gifset which I’ll try to explain in the most comprehensive way that I can. If you've never done something like this before, I suggest reading through the full tutorial before attempting it so you know what you'll need to plan for.

To follow, you should have:

basic knowledge of how to make gifs in photoshop

some familiarity with the concept of how keyframes work

patience

Difficulty level: Moderate/advanced

Prep + overview

First and foremost, make the two gifs you'll be using. Both will need to have about the same amount of frames.

For ref the gif in my example is 540x540.

I recommend around 60-70 frames max total for a big gif, which can be pushing it if both are in color, then I would aim for 50-60. My gif has a total of 74 frames which I finessed using lossy and this will be explained in Part 4.

⚠️ IMPORTANT: when overlaying two or more gifs and when using key frames, you MUST set your frame delay to 0.03 fps for each gif, which can be changed to 0.05 fps or anything else that you want after converting the combined canvas back into frames. But both gifs have to be set to 0.03 before you convert them to timeline to avoid duplicated frames that don't match up, resulting in an unpleasantly choppy finish.

Part 1: Getting Started

Drag one of your gifs onto the other so they're both on the same canvas.

The gif that your canvas is fading FROM (Gif 1) should be on top of the gif it is fading INTO (Gif 2).

And here's a visual of the order in which your layers should appear by the end of this tutorial, so you know what you're working toward achieving:

Part 2: Creating the grid

Go to: View > Guides > New guide layout

I chose 5 columns and 5 rows to get the result of 25 squares.

The more rows and columns you choose, the more work you'll have to do, and the faster your squares will have to fade out so keep that in mind. I wouldn't recommend any more than 25 squares for this type of transition.

To save time, duplicate the line you've created 3 more times, or as many times as needed (key shortcut: CMD +J) and move each one to align with the guides both horizontally and vertically. You won't need to recreate the lines on the edges of the canvas, only the ones that will show.

After you complete this step, you will no longer need the guides so you can go back in and clear them.

Follow the same duplicating process for the squares with the rectangle tool using the lines you've created.

Align the squares inside the grid lines. The squares should not overlap the lines but fit precisely inside them.

This might take a few tries for each because although to the eye, the squares look all exactly the same size, you'll notice that if you try to use the same duplicated square for every single one without alterations, many of them will be a few pixels off and you'll have to transform the paths to fit.

To do this go to edit > transform path and hold down the command key with the control key as you move one edge to fill the space.

Once you're done, put all the squares in their separate group, which needs to be sandwiched between Gif 1 and Gif 2.

Right click Gif 1 and choose "create clipping mask" from the drop down to mask it to the squares group. This step is super important.

After this point, I also took the opacity of the line groups down to about 40% so the lines wouldn't be so bold. Doing this revealed some squares that needed fixing so even if you aren't going dim the lines, I recommend clicking off the visibility of the lines for a moment to make sure everything is covered properly.

Part 3A: Prep For Key framing

I wanted my squares to fade out in a random-like fashion and if you want the same effect, you will have to decide which squares you want to fade out first, or reversely, which parts of Gif 2 you want to be revealed first.

In order to see what's going on underneath, I made Gif 1 invisible and turned down the opacity of the squares group.

If you want text underneath to be revealed when the squares fade away, I would add that now, and place the text group above Gif 2, but under the squares group.

Make a mental note that where your text is placed and the order in which it will be revealed is also something you will have to plan for.

With the move tool, click on the first square you want to fade out. Every time you click on a square, it will reveal itself in your layers.

I chose A3 to be the first square to fade and I'm gonna move this one to the very top of all the other square layers.

So if I click on D2 next, that layer would need to be moved under the A3 layer and so on. You'll go back and forth between doing this and adding key frames to each one. As you go along, it's crucial that you put them in order from top to bottom and highly suggested that you rename the layers (numerically for example) which will make it easier to see where you've left off as your dragging the layers into place.

Part 3B: Adding the Keyframes

This is where we enter the gates of hell things become tedious.

Open up the squares group in the timeline panel so you can see all the clips.

Here is my example of the general pattern that's followed and its corresponding layers of what you want to achieve when you're finished:

So let’s try it!

Expand the control time magnification all the way to the right so you can see every frame per second.

As shown in Part 3A, select your first chosen square.

Where you place the time-indicator on the panel will indicate the placement of the keyframe. Click on the clock next to opacity to place your first keyframe.

Move the time-indicator over 3 frames and place the next key frame.

Things to consider before moving forward:

Where you place your very first keyframe will be detrimental. If you're using a lot of squares like I did, you may have to start the transition sooner than preferred.

If you're doing 25 squares, the key frames will have to be more condensed which means more overlapping because more frames are required to finish the transition, verses if you're only using a 9-squared grid. See Part 4 for more detailed examples of this.

The opacity will remain at 100% for every initial key frame, and the second one will be at 0%.

Instead of creating two keyframes like this and changing the opacities for every single clip, you can copy the keyframes and paste them onto the other clips by click-dragging your mouse over both of them and they'll both turn yellow. Then right click one of the keyframes and hit copy.

Now drop down to your next clip, move your time-indicator if necessary to the spot where the first keyframe will start and click the clock to create one. Then right click it and hit "paste".

Tip: When you have both keyframes selected, you can also move them side to side by click-dragging one of them while both are highlighted.

Your full repetitive process in steps will go as follows:

click on square of choice on the canvas

drag that square layer to the top under the last renamed

in timeline panel: drop down to next clip, move time-indicator tick to your chosen spot for the next keyframe

create new keyframe

right click new keyframe & paste copied keyframes

repeat until you've done this with every square in the group

Now you can change the opacity of your squares layer group back to 100% and turn on the visibility of Gif 1. Then hit play to see the magic happen.

PART 4: Finished examples

Example 1

the transition starts too soon Cause: initial keyframe was placed at frame 0

the squares fade away too quickly Cause: overlapping keyframes, seen below. (this may be the ideal way to go with more squares, but for only 9, it's too fast)

Example 2

more frame time for first gif

transition wraps up at a good point Cause: in this instance, the first keyframe was placed 9 frames in, and the keyframes are not overlapping. The sequential pair starts where the last pair ended, creating a slower fade of each square.

Part 5: Final Tips and Saving

You can dl my save action here which will convert everything back into frames, change the frame rate to 0.05 and open the export window so you can see the size of the gif immediately.

If it's over 10gb, one way to finesse this is by use of lossy. By definition, lossy “compresses by removing background data” and therefore quality can be lost when pushed too far. But for most gifs, I have not noticed a deterioration in quality at all when saving with lossy until you start getting into 15-20 or higher, then it will start eating away at your gif so keep it minimal.

If you've done this and your gif is losing a noticeable amount of quality and you still haven’t gotten it below 10gb, you will have no choice but to start deleting frames.

When it comes to transitions like this one, sometimes you can't spare a single frame and if this is the case, you will have to return to the timeline state in your history and condense the key frames to fade out quicker so you can shorten the gif. You should always save a history point before converting so you have a bookmark to go back to in case this happens.

That's pretty much it, free to shoot me an ask on here or on @jugheadjones with any questions.

[robin-buckely]

hello! I love your edits and I wanted to know, for the "Steve Robin and Nancy" Gif you posted.. How would I go about doing something like that? More specificly, the bottom two where it says "Height Difference" and where it labels them as "Princess, Jock and Loser"

Thank you! Sorry this took a while to answer. I finally had time to sit down and write this. Link to original post.

Quick notes: I'm using Photoshop 2021 on Mac and working in video timeline. Must have basic gifmaking skills and know how to use layer masks. This is primarily a gif layout and text tutorial.

Fonts used in first gif:

Pea Wolfe Tracks — link here

King & Queen — link here

Fonts used in second gif:

Kiera — link here

Post — link here

Ellianarelle's Path — link here

Heina's hurry — link here

I used a light leaks/film texture, ripped paper textures, folded paper textures, and transparent pngs (arrows + post-it notes + smiley face).

We'll start with this gif.

Make your gif! The gif here is 540x600px. I color and sharpen it to my liking. Go to image > canvas size > change height from 600 to 770px. I left the anchor in the middle, though it doesn't really matter.

I drag and drop my folded paper texture and change the layer order so it's under my gif. Then I change the blending mode on my gif to Screen so the texture shows through the gif, but I keep the texture at 100% Opacity and Fill.

Now I move my gif around and add my ripped paper textures. I wanted to give it a sort of poster-like feel to it, so I made more room on the bottom for my main text and ended up with something like this. Blending mode is set to Lighten for the ripped paper textures.

I then use layer masks to hide what I don't want shown and add my light leaks/film texture. Blending mode on light leaks/film texture set to Pin Light, Opacity: 50%, Fill: 70%.

I use Levels and Brightness/Contrast adjustment layers to darken the gif up a bit more, then I add a patterned paper texture. Blending mode for patterned paper texture set to Lighten, Opacity: 100%, Fill: 75%. Result:

Now on to the text!

I'm going to be honest here, a lot of this was clicking around until I settled on something I liked. There's three layers to create this text effect. The font used here is King & Queen.

For the first text layer, the font color is set to black (#000000), font size: 87 pt, leading: 80 pt, tracking: 25.

Layer styles used here are stroke and drop shadow.

Text Layer 1

Stroke settings:

Size: 1px

Position: Outside

Blend Mode: Hard Light

Opacity: 40%

Overprint: unchecked

Fill Type: Color

Color: #5911ed

Drop Shadow settings:

Blend Mode: Difference

Color: #2d5ba8

Opacity: 85%

Angle: 70°

Use Global Light: checked

Distance: 7px

Spread: 0%

Size: 6px

Contour: Cone - Inverted

Anti-aliased: unchecked

Noise: 0%

Layer Knocks Out Drop Shadow: checked

Blending mode for text layer set to Overlay, Opacity: 100%, Fill: 85%.

Warp text settings:

Style: Wave

Horizontal: checked

Bend: +60%

Horizontal Distortion: +10%

Vertical Distortion: 0%

With all those settings applied, the first text layer looks like this:

Duplicate the layer, clear all layer styles, and change the color for the second text layer to white (#ffffff). All other text settings (including warp settings) should stay the same. The only layer style then applied to this text layer is stroke.

Text Layer 2

Stroke settings:

Size: 1px

Position: Outside

Blend Mode: Difference

Opacity: 100%

Overprint: unchecked

Fill Type: Color

Color: #d48f16

Blending mode for the second text layer is set to Difference, Opacity: 90%, Fill: 100%. Nudge the second text layer a bit so the first text layer is a little more visible or move to your liking.

With both those layers active, it looks like this:

Duplicate the second text layer, clear layer styles, and change the color of this third text layer to a dark grey (#1a1919). Again, all other text (and warp) settings should stay the same.

Layer styles applied to this layer are stroke and gradient overlay.

Text Layer 3

Stroke settings:

Size: 1px

Position: Outside

Blend Mode: Difference

Opacity: 100%

Overprint: unchecked

Fill Type: Color

Color: #d48f16

Gradient Overlay settings:

Blend Mode: Difference

Dither: unchecked

Opacity: 100%

Gradient: #cd3f00 > #ffdb5d

Reverse: unchecked

Style: Reflected

Align with Layer: checked

Angle: 90°

Scale: 100%

Blending mode for the third text layer set to Exclusion, Opacity: 100%, Fill: 100%. I also moved the third text layer around, down and to the right a few pixels to give it that 3-D Word Art effect.

With all three text layers active:

Next are the arrows.

Take your transparent pngs and place them to your liking. Blending mode for these is set to Difference, Opacity: 100%, Fill: 100%.

Command + click on an arrow thumbnail to select all the pixels in that layer. This is why the image must be transparent!

With that selection made and on a new blank layer, right click the selection and click on stroke. Settings for that are width: 2px, color: white, location: center. Move that a couple of pixels over.

Do this for all arrows for a total of 6 layers for arrows. I group them together to keep my workspace clean, then I duplicate my arrows group with no further changes made to the second group to get what you see in the final gif.

Next is the smaller text. It's three separate text layers for each word, so I can move each of them around to my liking.

Font used is Pea Wolfe Tracks, font color: white (#ffffff), font size: 24 pt, leading: 6 pt, tracking: 25. Bold and italic options checked. I set the blending mode to Difference, Opacity: 100%, Fill: 100%.

And that's it! That concludes the tutorial for this gif!

Now on to this gif.

We'll start with the background gif. There are three separate gifs. You could make them one gif, but I wanted the option to order them differently if I needed to.

All gifs in the background are the size of the canvas: 540x770px. Color and sharpen to your liking, but keep them all black and white. To get the blurry effect go to filter > blur > guassian blur. Set radius to 7.0 pixels. Add this to all three gifs.

Then I add two folded paper textures. Blending mode for one set to Lighten, Opacity: 60%, Fill: 100%. The other set to Screen, Opacity: 70%, Fill: 90%.

I found this tutorial a while back for a halftone effect. They include links to the halftone pattern used here as well as textures and gradient maps not used here.

I'm only using the halftone pattern here.

Pattern fill settings:

Angle: 66°

Scale: 8%

Link with Layer: checked

I also added a gradient overlay layer style to the halftone pattern which gives the gifs the color you see above.

Gradient Overlay settings:

Blend Mode: Overlay

Dither: unchecked

Opacity: 100%

Gradient: #0059ac > #a33600 > #e6b801

Reverse: unchecked

Style: Linear

Align with Layer: checked

Angle: -100°

Scale: 100%

Now on to the square shapes with rounded corners. In the interest of keeping this tutorial short(er), I found this tutorial on youtube that explains how to make squares with rounded corners.

I set my stroke size to 6px, stroke color to white (#ffffff), and fill to no color. I don't use the stroke layer style to make the borders of the shape like in the video! I'm only linking the video to show how to curve corners with square shapes.

Note: Be sure you know how big or small you want these to be and how they're going to fit on your canvas in order to make all the shapes and edit them. It can be tedious to change the settings.

Duplicate and resize to your liking.

In this instance, I wanted to make three squares total, so I had to duplicate twice and resize until I had something I liked.

Settings for the shapes used here are:

Innermost shape: W: 200px, H: 280px, corners: 50px

Middle shape: W: 220px, H: 300px, corners: 60px

Outer shape: W: 240px, H: 320px, corners: 70px

Once I have the size I want for all three shapes, I group them together to make a set and duplicate that group twice, then adjust each set on the canvas for my layout.

What the sets look like all together:

Colors used: orange #e47100, blue #0062d1, yellow #ecac00

To add color to the shapes, either change the color of the shape itself or use layer styles. I used layer styles.

Note: I didn't add the colors until the end after I knew what gifs went where and what color scheme I wanted, but I don't want to add more images than I need to here.

To keep this short, I found this tutorial on youtube that explains how to wrap text around a shape. However, I wanted the text to align on the outside where the white line is and not the green line (left image):

So I created another shape just inside the innermost square and used that as a path for my text (right image). Adjust the text to your liking until you have your text where you want it. Refer to the video tutorial if you need help moving the text along the path!

You don't need the shape path once you have your text where you want it, so use the layer visibility tool to hide it. You can hide your other shapes too so you can work with your text.

Do not delete your shape path!

I duplicate it once I start working with my "jock" text since all the sets are the same size. The "loser" text has to be worked a little differently, but we'll get to that later.

For the princess, jock, and loser text, there are two text layers to create the overall effect. For both layers, font used is Kiera, font color set to white (#ffffff), font size: 60 pt, blending mode set to Normal.

I added a gradient overlay layer style to the first text layer which I'll call the base layer. Opacity for this layer is 100%, Fill: 100%.

Base Layer

Gradient Overlay settings:

Blend Mode: Normal

Dither: unchecked

Opacity: 100%

Gradient: #f0b002 > #e7f0fd

Reverse: checked

Style: Diamond

Align with Layer: checked

Angle: 90°

Scale: 100%

The second text layer is your stroke and drop shadow layer. For this layer, opacity is set to 100%, Fill: 0%.

Stroke and Drop Shadow Layer

Stroke settings:

Size: 2px

Position: Outside

Blend Mode: Linear Light

Opacity: 100%

Overprint: unchecked

Fill Type: Color

Color: #0064cb

Drop Shadow settings:

Blend Mode: Difference

Color: #fb7c00

Opacity: 100%

Angle: 30°

Use Global Light: checked

Distance: 5px

Spread: 0%

Size: 0px

Contour: Linear

Anti-aliased: unchecked

Noise: 0%

Layer Knocks Out Drop Shadow: checked

End result looks like this:

When I make my shapes visible again (minus the one I used as a path), I get this:

The shapes are clearly in the way of the text, whether they're above my shapes layer or under it. I use layer masks to hide what I want, so the text is legible. It looks cleaner this way and I wanted the text to be a part of the shape itself. I do that for each rounded square.

Now on to my smaller gifs. I like to crop, resize, sharpen, and color separately because my laptop and Photoshop would kill me if I tried to do it all on one canvas. I use the size of the middle shape for my gifs (220x300px), so I can have a little wiggle room when adjusting. I then use a layer mask to hide the parts of the gif that are outside of the shape.

A quick way to do this is to command + click on the thumbnail of the innermost square. With that selection made, I got to my gif layer and add a layer mask. Sometimes you need to invert it. Use command + i with the layer mask selected (not the gif) to invert the layer mask.

I repeat this process with my Steve and Robin gifs. I have to go back and forth with all the layer masks to hide parts of the gif/shapes I don't want for each set. It's kind of a long process, but not all that difficult. I label and group my layers together as I work to keep things clean and it helps me keep track of what I edited and what needs to be edited when it comes to things like this.

The picture below shows where I hid the bottom right corner of Nancy as well as the shapes that make up her set using layer masks. I also did this with the Steve and Robin sets, hiding the bottom left corner of Steve.

Similar text settings used for jock. The gradient overlay layer style for this base layer is different than that of princess because of the positioning of the text. Again, same as princess, two text layers are used here. Blending mode, opacity, and fill for both are the same as the princess text layers as mentioned before.

Base Layer

Gradient Overlay settings:

Blend Mode: Normal

Dither: unchecked

Opacity: 100%

Gradient: #007aec > move bottom middle dot to 80% > #e7f0fd

Reverse: checked

Style: Diamond

Align with Layer: checked

Angle: -140°

Scale: 100%

Stroke and Drop Shadow Layer

Stroke settings:

Size: 2px

Position: Outside

Blend Mode: Linear Light

Opacity: 100%

Overprint: unchecked

Fill Type: Color

Color: #a05700

Drop Shadow settings:

Blend Mode: Difference

Color: #ffba00

Opacity: 100%

Angle: 30°

Use Global Light: checked

Distance: 5px

Spread: 0%

Size: 0px

Contour: Linear

Anti-aliased: unchecked

Noise: 0%

Layer Knocks Out Drop Shadow: checked

Image 1: We start with Robin.

Image 2: To make the loser text, I had to create a new path.

Image 3: I make it so the text is on the inside of the path instead of the outside. (Hint: Refer to video tutorial if you don't know how to do that.) I then adjusted the tracking between the letters in the word "loser" so they didn't look so squished together.

Image 4: Then I use layer masks to hide the parts of the shape I don't want shown.

You can then hide the path or delete it. You only need it if you want to adjust the placement of the text. I keep it (hidden) just in case.

Text settings for loser are just like those for princess. Blending mode, opacity, and fill are also the same.

Base Layer

Gradient Overlay settings:

Blend Mode: Normal

Dither: unchecked

Opacity: 100%

Gradient: #eb6400 > #e7f0fd

Reverse: checked

Style: Diamond

Align with Layer: checked

Angle: 90°

Scale: 100%

Stroke and Drop Shadow Layer

Stroke settings:

Size: 2px

Position: Outside

Blend Mode: Linear Light

Opacity: 100%

Overprint: unchecked

Fill Type: Color

Color: #e1a900

Drop Shadow settings:

Blend Mode: Difference

Color: #0068de

Opacity: 100%

Angle: 30°

Use Global Light: checked

Distance: 5px

Spread: 0%

Size: 0px

Contour: Linear

Anti-aliased: unchecked

Noise: 0%

Layer Knocks Out Drop Shadow: checked

Next are the post-it notes! This is probably the easiest part of making this gif. You just have to repeat this process for however many post-it notes you're making.

Image 1: To start, place your transparent post-it note where you want it. You can also rotate it if you'd like.

Image 2: Then create a text layer and write what you want. Font used here is Post. I wanted this text underlined to give emphasis, so I click on the underline option. I also adjusted the leading because I wanted more space between the word and the line. Rotate the text so it looks like it's written on the post-it note. Note: It looks better if you choose a font that looks handwritten.

Image 3: I wanted another line to give emphasis to the "Dingus!!" text and make it seem more handwritten. I use the line tool to create another line.

Image 4: Then I adjust that line to my liking.

Fonts used for notes: Post, Ellianarelle's Path, and Heina's hurry

Repeat this process for all post-it notes!

That finishes the tutorial! (And I hit the 30 image limit lol.) I hope this helps. If you have any further questions, feel free to send an ask or IM and I'll try to answer to the best of my ability.

Happy photoshopping!

[eddiediaaz]

Hi, me again!

Ty for the reply, I would love an in depth tutorial if you don't mind as i really wanna get this effect to work and I kinda work best when it's spelt out for me when learning new techniques lol :)

hey anon, no worries! here's how i used this amazing template by @danesdehaan and added a rolling effect like this (from this gifset):

this effect uses photoshop's timeline. i use cs5, for reference.

detailed tutorial under the cut :)

I. PREPARING THE TEXT

when you open the template, you should have a group called "songs" with 3 groups for each song. what you wanna do is duplicate these numbered groups until you have the amount of songs you want. for each group, use the move tool or your keyboard's arrows to move the duplicated song text layers/groups on your canvas so they're under the first three that are already there. make sure these new duplicated layers are in the "songs" group.

then type the numbers, song titles, artists, song durations, etc. it should look like that:

i wanted mine to have a smaller gap in between each song, so i used the arrows to move each song group closer together, and it looks like that before the animation:

II. ANIMATED EFFECT

once you have typed everything, make sure there are no mistakes and that you won't need to edit anything about the songs or durations or anything like that, because you won't be able to go back. when that's done, select all of the numbered song groups and right click > Merge Layers.

that will give you one layer with all of the songs together. i've renamed mine "SIX SONGS". make sure this new merged layer is still in the "songs" group.

once that's done, you're ready for the animation. and it's pretty easy, because you only need two keyframes: one at the start of the gif, and one at the end.

go to the start of your gif on the timeline, and toggle the position keyframe animation by clicking on the little stopwatch icon. a little yellow keyframe should appear where the cursor is, at the start of the gif:

then go to the end of the gif with the cursor. with the "SIX SONGS" layer selected, use the move tool or keyboard arrows (my preference) to move up the text until all the songs are inside the darker rectangle. once you move this layer's position, a keyframe will appear on the timeline and the animation will be created.

the animation now looks like this:

if you want, you can now edit the speed of the animation by moving the keyframes. the closer the two keyframes are, the faster the animation will be; the further apart the keyframes are, the slower the animation will be.

III. LAYER MASK

since we want the songs to be contained in the dark rectangle and below the line, we need to add a layer mask. i started by creating a shape of where i want the songs to be contained with the rectangular marquee tool:

then, on the layers panel, select the "songs" group and click on the layer mask icon to create a mask with that rectangular selection.

if you play the animation after making that layer mask, it should now look like this:

if you like it that way then you are done, yay!

but if you'd like softer edges, like i have done for mine, click on the layer mask's black and white thumbnail. use the brush tool with a 0% hardness and the black color to make the edges of the mask softer. make sure you are making your brush strokes with the layer mask's thumbnail selected.

once you have brushed a bit of black with a soft rounded brush on the top and bottom of the mask, the animation should look like this:

and that's it! i hope this was clear enough :)