#Transparent Digital Media

[theclipartfoundry]

Watercolor Purple Iris Flowers

[creativemazza]

Fashion Studio

12 PNG Files and 30 photoshop brushes for your digital projects.

[kawamaru]

AF revenge to ~halfwing!

[brainjuicey]

oh my goddddd early days tom cruise films make me feel something entirely different its something the scientists havent discovered yet

[open-era]

Top Social Media Trends in 2023: What to Watch For

Stay ahead of the game with top social media trends in 2023! From user-generated content to AI and privacy, unlock the keys to success in the ever-evolving digital landscape. #SocialMediaTrends #2023Trends

The social media landscape is a dynamic and ever-changing space, and as we enter 2023, it is crucial for brands to stay ahead of the curve. With new advancements and shifts in user behaviour, understanding the latest trends will empower brands to leverage social media effectively, connect with their target audiences, and achieve their business goals. In this article, we explore the top social…

[champstorymedia]

The Trust Factor: Building Brand Loyalty Through Authenticity and Transparency

## Introduction In today’s fast-paced digital landscape, businesses must prioritize building trust with their audiences to thrive. The concept of “The Trust Factor: Building Brand Loyalty Through Authenticity and Transparency” highlights the cornerstone roles that authenticity and transparency play in not only establishing connections with customers but also retaining their loyalty. Consumers are…

[mossnodachi]

sometimes its fun to see the sketch/starting point compared to the end, right?

[wtechy1]

Transform Your Online Presence: Digital Marketing Services

[thedigitalhorizon]

The Role of Technology in Modern Democracy: A Double-Edged Sword

In an era where the digital landscape is ever-evolving its inclufence on our lives in inescapable. From social networks that keep us connected 24/7, to platforms that have democratized knowledge, technology seems to be the driving force of modern society. But have you ever stopped to consider its impact on our democracy? Let's delve into the complex relationship between technology and modern democracy—a relationship that's both promising and fraught with peril.

Increased Accessibility: Democracy at Your Fingertips

One of the shining achievements of technology is how it has made democracy more accessible. Gone are the days when town hall meetings and door-to-door campaining were the only ways to engage with your community. Today, you can Tweet your local representative, participate in online forums, and even host digital petitions. Apps like Nextdoor and platforms like Change.org are empowering local communities to have a say in their governance.

Transparency and Accountability: Can Big Data Keep Big Brother in Check?

We often hear about "Big Data" in the context of marketing or even surveillance. But the flip side is that it can serve as a powerful tool for transparency. Various countries are implementing blockchain technology to ensure transparent voting systems. Moreover, data analytics can track how funds are used in public projects, rooting out corruption and fostering accountability.

Information Overload: The Dark Side of Digital Freedom

While it's amazing to have information at our fingertips, the downside is the sheer volume that we have to sift through. The rise of "fake news" and the spread of misinformation poses serious threats to an informed electorate. Recall the Cambridge Analytica scandal? It perfectly illustrates how information can be manipulated to subvert democratic processes.

Data Security: The Achilles Heel of Digital Democracy?

With great power comes great responsibility. This is especially true for technology’s role in safeguarding our democratic systems. From concerns about foreign interference in elections to alarming data leaks, digital democracy is vulnerable. It poses a difficult question: How can we balance the need for open, accessible systems with the need for security?

Automation and AI: Algorithmic Democracy or Digital Despotism?

Technology isn’t just limited to social media or data analytics; it also includes automation and AI. Estonia, for instance, uses a machine learning algorithm to allocate its police forces, leading to a dramatic reduction in crime rates. However, the use of algorithms for public decision-making also raises serious ethical concerns. Who writes the code? Who ensures it is free from bias?

Conclusion: The Road Ahead

So, is technology a boon or a bane for modern democracy? The answer, as with most things, is not black and white. Technology offers incredible opportunities for enhancing democratic processes but also introduces challenges that require vigilant oversight and ethical considerations.

The road ahead is filled with both challenges and opportunities. But one thing is clear: technology is here to stay, and it's up to us to ensure that we harness its immense power for the greater good of our democratic systems. After all, democracy is of the people, by the people, and for the people—even in the digital age.

Thank you for reading! Stay tuned to The Digital Horizon for more insights, tips, and recommendations on navigating the digital world.

[popis37]

[thebibliosphere]

I love how transparent you are about what its like to be a self published author in this day and age, and i was just wondering if there was a difference on your side between amazon ebook/paperback and audible - and also if Scribd is any better, because i use it as an alternative to amazon whenever possible (and whenever the library doesnt own a copy of whatever im looking for) is it functionally all the same? What is best for you?

Thank you!

I actually did a huge long post a while back when I got the audiobooks produced and uploaded to various platforms. I included Scribd in the breakdown after people falsely claim that Scrib is better for authors than Amazon/Libraries.

A lot of people were not happy when I burst that particular bubble by showing that Scribd paid me 97 cents out of the 19.99 price tag. Which is less than what Audible paid me.

Now, obviously, Scribd is different because it's a subscription service, and you’re paying for access to multiple things with that subscription. But saying it is better than libraries is just false because I also showed the numbers for that, and my income from libraries was several times higher than both Scribd and Amazon combined (for audio), which is why authors are always begging people to request their work in libraries.

Libraries pay us better and are usually free. Not always. I know it depends heavily on the country, but for most of my English-speaking audience, that is the case.

Now, this is not to say people shouldn’t use services like Scribd. If Scribd is what you can afford and it gives you access to things your library can’t fantastic. Please continue to access our work through that legal option. I would much rather earn 97 cents than zero.

But uh, yeah, Amazon pays me more than Scrib for digital stuff and I really don’t like when people who aren’t on the author side spread misinformation and frame it as some more “gotcha.”

The sad truth is Most retailers pay us the same or within the same royalty range. The difference I earn between Kobo vs Kindle is literal pennies with Amazon coming out on top. I make my work available on multiple platforms to give people options, but unless you’re buying directly from my personal storefront, it's all roughly the same.

I do actually earn more from Amazon paperbacks than I do any other retailers (for self-pub, paperbacks are a flat rate regardless of how much a retailer is charging), but the difference is about ten cents, so I always tell people to buy from wherever is best for them.

I like bookshop.org because they give some of the profit on their end to indie bookstores. Same with libro.fm for audio.

Audiobooks are just a whole fucking nightmare. Audible sets your price point for you and takes 80% of your royalties. And because Audible does that, I have to then use that price tag on all other platforms or risk being fucked by the algorithm gods. Other audio retailers take about 60-70% in royalties, most of them veering toward 70%.

As we say in radical acceptance therapy, it is what it is—fucking end-stage monopoly driven capitalism.

Now, speaking personally, when it comes to digital media, I earn the most royalties from my Payhip store where I keep 90% of my income.

That's the best place for me.

It's also why it's worth looking up an author you like to see if they have their own storefront. It doesn't help our sales rankings or put us on any bestseller lists, but frankly after launch week, who cares. I’ll take being able to feed me and my dog.

I hope that helps!

[mariacallous]

A lawsuit filed Wednesday against Meta argues that US law requires the company to let people use unofficial add-ons to gain more control over their social feeds.

It’s the latest in a series of disputes in which the company has tussled with researchers and developers over tools that give users extra privacy options or that collect research data. It could clear the way for researchers to release add-ons that aid research into how the algorithms on social platforms affect their users, and it could give people more control over the algorithms that shape their lives.

The suit was filed by the Knight First Amendment Institute at Columbia University on behalf of researcher Ethan Zuckerman, an associate professor at the University of Massachusetts—Amherst. It attempts to take a federal law that has generally shielded social networks and use it as a tool forcing transparency.

Section 230 of the Communications Decency Act is best known for allowing social media companies to evade legal liability for content on their platforms. Zuckerman’s suit argues that one of its subsections gives users the right to control how they access the internet, and the tools they use to do so.

“Section 230 (c) (2) (b) is quite explicit about libraries, parents, and others having the ability to control obscene or other unwanted content on the internet,” says Zuckerman. “I actually think that anticipates having control over a social network like Facebook, having this ability to sort of say, ‘We want to be able to opt out of the algorithm.’”

Zuckerman’s suit is aimed at preventing Facebook from blocking a new browser extension for Facebook that he is working on called Unfollow Everything 2.0. It would allow users to easily “unfollow” friends, groups, and pages on the service, meaning that updates from them no longer appear in the user’s newsfeed.

Zuckerman says that this would provide users the power to tune or effectively disable Facebook’s engagement-driven feed. Users can technically do this without the tool, but only by unfollowing each friend, group, and page individually.

There’s good reason to think Meta might make changes to Facebook to block Zuckerman’s tool after it is released. He says he won’t launch it without a ruling on his suit. In 2020, the company argued that the browser Friendly, which had let users search and reorder their Facebook news feeds as well as block ads and trackers, violated its terms of service and the Computer Fraud and Abuse Act. In 2021, Meta permanently banned Louis Barclay, a British developer who had created a tool called Unfollow Everything, which Zuckerman’s add-on is named after.

“I still remember the feeling of unfollowing everything for the first time. It was near-miraculous. I had lost nothing, since I could still see my favorite friends and groups by going to them directly,” Barclay wrote for Slate at the time. “But I had gained a staggering amount of control. I was no longer tempted to scroll down an infinite feed of content. The time I spent on Facebook decreased dramatically.”

The same year, Meta kicked off from its platform some New York University researchers who had created a tool that monitored the political ads people saw on Facebook. Zuckerman is adding a feature to Unfollow Everything 2.0 that allows people to donate data from their use of the tool to his research project. He hopes to use the data to investigate whether users of his add-on who cleanse their feeds end up, like Barclay, using Facebook less.

Sophia Cope, staff attorney at the Electronic Frontier Foundation, a digital rights group, says that the core parts of Section 230 related to platforms’ liability for content posted by users have been clarified through potentially thousands of cases. But few have specifically dealt with the part of the law Zuckerman’s suit seeks to leverage.

“There isn’t that much case law on that section of the law, so it will be interesting to see how a judge breaks it down,” says Cope. Zuckerman is a member of the EFF’s board of advisers.

John Morris, a principal at the Internet Society, a nonprofit that promotes open development of the internet, says that, to his knowledge, Zuckerman’s strategy “hasn’t been used before, in terms of using Section 230 to grant affirmative rights to users,” noting that a judge would likely take that claim seriously.

Meta has previously suggested that allowing add-ons that modify how people use its services raises security and privacy concerns. But Daphne Keller, director of the Program on Platform Regulation at Stanford's Cyber Policy Center, says that Zuckerman’s tool may be able to fairly push back on such an accusation.“The main problem with tools that give users more control over content moderation on existing platforms often has to do with privacy,” she says. “But if all this does is unfollow specified accounts, I would not expect that problem to arise here."

Even if a tool like Unfollow Everything 2.0 didn’t compromise users’ privacy, Meta might still be able to argue that it violates the company’s terms of service, as it did in Barclay’s case.

“Given Meta’s history, I could see why he would want a preemptive judgment,” says Cope. “He’d be immunized against any civil claim brought against him by Meta.”

And though Zuckerman says he would not be surprised if it takes years for his case to wind its way through the courts, he believes it’s important. “This feels like a particularly compelling case to do at a moment where people are really concerned about the power of algorithms,” he says.

[creativemazza]

3 Heads (freebie)

3 Heads, Today I am celebrating 5000 visits to my website. Thank you for you support. ❤️ I hope you enjoy this freebie. If you are interested, please follow the link below.

[kawamaru]

AF revenge to @poroverso!

[the-softest-love-is-ours]

Idk if this’ll help anyone or if these are even good… just thought of stuff self shipper could do, I guess.

Anywho, here’s a list of things yo,u as a self shipper, can do for fun.

(This will be added onto with time)

Proship/Comship/Anti-Antis DNI

Play Tomodachi Life, make yourself, your main F/O, and then a bunch of family and friends and see how the shenanigans play out.

Play Sims (my choice is 4, but any one will work), same as before but this time you have mods and can control you and your F/O’s however you please.

Make kandi jewelry for each of your F/O’s, whether it’s a bracelet with their name or just a necklace with a color scheme you think fits them.

Purchase something custom from etsy and/or fiverr. These can be care packages, letters, plushies, art pieces, fanfics, maybe you could find someone who does RP asmrs, and my personal favorites an RP or an annotated book.

Look on youtube for asmrs, whether they’re RP, sleeping beside or those muffled playlist scenarios.

For those of is that are age regressor, make a custom deco paci based on your F/O.

Credits to @myselfshipdiary for this one, make a Pinterest board. They can feature fanart, aesthetic images or heck maybe recipes you would cook for them and memes you would show them.

If you have the skills, or heck even if you don’t (life’s too short, try everything, learn new skills), design something based on them. A dress, a cake, a room, a candy platter, a party, an outfit, a plushie, literally anything!

Make a breakfast, lunch, and/or dinner you think they would like! Maybe if you bring your lunch to work, make a bento for yourself that you would send to work with them.

Go on to your online shopping sites and make wishlists of thing you’d think they would want/like.

Do some research on perfume/cologne, and either track down or commission one you think they’d wear. You can do the same for all necessary toiletries if you’d like to take it a step further.

Play around on spotify (or your music service of choice) and make playlists for various scenarios.

Piggybacking of the last one, find a song that you would make their ringtone and think of what their contact name would be in your phone.

Pick out a ring you think would be the engagement/wedding ring they would give you.

Make paper doll's of you/ your self insert and your f/os) along with attachable paper clothes!

If you have access to a printer and a blank notebook/sketchbook along with some glue, you can make a scrapbook with pictures of your f/o(s)! You can also add drawings you made and anything like stickers, washi tape, etc.

This one is digital, edit a transparent of your f/os) into a selfie of yours to make a couples photo! You can print it out and put it in a frame. Also, Dollar Tree sells frames that you can also paint, put stickers on, anything!

There is an app called Social Dummy, create a social media world with you and all your F/O’s on it!

Make perler bead pixel art of your f/o.

[mclalan]

What art program do you use? sorry if you already answered something like this but im so mesmerized by the techniques you use in your art.

Thank you. No need to apologise; I don't mind answering this question because it's an excuse to walk through my latest image!

The concept for this piece is based on being perceived online through interpretations of posts and artwork, yet how artificial this can be. The relationship the viewer forms is more with the narrative of the work, and any insight into the artist through this feels highly awkward to me, which is precisely what I want to explore with this piece.

In this example, I wanted an attractive sitter to look like someone out of a new romantics music video or like an Enya video, because this genre and era of media is very aesthetically pleasing and nostalgic for me. I hold it as an unobtainable ideal— a hauntology. So, as wonderful as it is, it equally feels shameful and perverse because it's an aesthetic object of desire that I am contriving.

The sitter is holding one of my cartoon characters, Lauren Ipson, the protagonist of my Ersatz world project. A trope in writing is when a character acts as a self-insert of the author, and I'm conscious to try and avoid that with Lauren. I try to write Lauren as dry and sardonic yet also fun, dramatic, and friendly. I don't think of these as personal qualities of my own, but I imagine personal qualities bleeding into fictional characters is inevitable.

Yet Lauren Ipson feels much more alive a character to me compared to any attempt at self-portraiture or self-expression that I've done, which is very little because I'm not interested in constructing a perceivable identity. (I'm aware this text itself can be interpreted as self-expression; however, to me this is just another construct.)

So Is the sitter meant to be me, controlling Lauren? I'm definitely baiting the viewer to think this, and you can interpret it that way if you want, but really I don't think of the sitter as me at all. My intention is to show how it's all a facarde. The sitter is basically just as much a doll, a puppet, a mannequin as Lauren Ipson is, if anything more so.

There's a deliberate irony between Lauren's cartoon rendering and the sitter, who I wanted to render with more detail and evoke a modernist style. I'm inspired by Hans Bellmer and Dorothea Tanning with their work with dolls. However, despite that implied visual hierarchy, the more detailed sitter shares a similar, stilted vector construct to Lauren. They're both born from vector drawing after all. And it's further undermined with the way Lauren the doll looks directly at the viewer, as if she's alive, while the sitter looks to the side with a blank, almost dead-in-the-eyes expression.

Anyway, with that in mind, almost all of my work starts as a thumbnail sketch. Although I often draft digitally and am fine with doing that, I feel more confident doing it freehand on paper. Digital rendering feels more like a refinement process to me. Funnily enough, although I often prefer to sketch with physical materials, I'm anxious of refining or rendering with them.

I like my designs to be very direct and conceivable, so a solid silhouette, pose, negative space etc. I often create a quick digital sketch with this in mind, either by tracing or referencing the thumbnail, although sometimes I skip this step and go straight to the rendered drawing. The aim is to establish a visual guide, dividing the drawing into various shapes for digital airbrush rendering later on.

With this composition, I made a second draft with more attention to details such as the face, hands and feet. Sometimes I'll use photo references if I'm struggling with posing or anatomy. These drafts are often blue because it's easier to render the black linework over a transparent blue sketch.

The chair took some time but was relatively simple to render. It uses the line tool set to magnetic anchor point, following two-point perspective vanishing points. I like two-point perspective because it feels sort of digitally native to me to have these impossibly perfect vertical lines. I also know the horizon line should be at eye level or something, but I just like the idea of the top of the chair to be perfectly horizontal.

Here I'm drawing the final rendered form. I use the stroke tool with it set as smooth as possible. Often I'll redraw lines over and over if it means getting certain curves to look right. Once the lines are drawn, I'll fill them in and remove the stroke, leaving just the solid vector shape. The shade of grey I use is done to simply denote the shape. It does not represent any kind of shading or anything; in fact, when I bring it into Photoshop, all these shapes are set to the same shade, but if I had that here in Animate as I'm drawing, it would be impossible to see what I'm doing. The red background is just for clarity.

Once it's all drawn, I'll make sure every shape is clean, overlapping nicely, and divided into its own layer. A composition can often be comprised of hundreds of separate shapes.

Each shape will be its own layer in Photoshop, which will operate as a clipping mask. The clipping masks act like masking tape or shielded off areas for soft brush opacity rendering, similar to the soft atomised rendering from an airbrush, just done digitally.

I follow very rudimentary painting techniques of simple shading, lighting, and bounce-back highlights. I follow a simplified Grisaille technique, focusing on strong values in greyscale before adding a wash of colour with a color gradient map set to layer style color. Sometimes my values can be a little off, but as long as the values are all consistently acting together, I can correct them with transparent washes or color curves. If the greyscale looks harmonious with all the forms clear, colour will likely work.

Proper digital painters will say this is an amateur process, with results that look mechanical and stiff, as colours in the real world all bounce together off different surfaces, resulting in colour harmonies. However, I don't mind the inharmonious nature of the colours, as I find the values give the composition enough harmony. I'm working digitally, so why go to all the effort to make it not look digital? It's interesting to me to have the red chair look blindingly red, the green skirt look blindingly green.

Colours can look boring without some form of harmony though, so I will add in blue-greens with the darker areas, more turquoise greens towards the highlights.

Skin tones are far more complex, however, as it's something that's more informed by realism. This is why kigurumi dolls with their plastic flesh look so artificial to the eye, because we're familiar with how light passes through flesh and skin and all the subtleties of colour that it picks up. This piece is the first time I've explored flesh tones, as typically I avoid all this by rendering skin as grey porcelain.

I needed to really up the contrast, with shaded areas becoming purples and highlights verging on washed out. Areas with more blood, like feet and cheeks, appear more orange and red. Areas closer to bone and cartilage, like the bridge of the nose, can look almost blue and green. Exploring these colour values and tints in the aim of natural tones was fun to do, and ironic given how blank the face is.

Although in the moment I feel very much like I'm rendering a realistic reality, when I step back, I'm reminded how stylised and unrealistic the painting actually is. It looks kind of insane, like everything is so uniform and overtly saturated. It doesn't feel present in a real space, despite the shadow and form implies one. But I'm not consciously thinking of these things, of style, as I'm working. To me, it's a process of world-building and problem-solving.