#duplicate line removal

[thequerysquad]

⫸𝒩𝑜𝟣 𝐹𝓇𝑒𝑒👌💪 Remove Duplicate Lines Tool Online

Streamline Your Data: The Remove Duplicate Lines Tool Online Are you tired of sifting through long lists of data, trying to identify and remove duplicates by hand? Do you wish there was an easier way to clean up your data and make it more organized

Streamline Your Data: The Remove Duplicate Lines Tool Online Are you tired of sifting through long lists of data, trying to identify and remove duplicates by hand? Do you wish there was an easier way to clean up your data and make it more organized and accurate? Look no further, because our “Remove Duplicate Lines” tool online is here to help! If you have a large amount of text that needs…

[yandere-wishes]

⚙︎ Just same quick Yandere Transformers One thoughts

Imagine Sentinal Prime taking you as his darling. It's so easy for him to make you disappear, to erase you from a semi-functional world. He snaps his fingers and you're kneeling before him, optics wide in fear, servos bound behind you. All Cybertron runs through his digits, and you little girl should be utterly honored to have caught his optic.

He colors you in the richest of paints, upgrades you with the newest enhancements in all of Cybertron.

Reconstructed as the perfect doll, sitting pretty in his lap as his golden wings gently caress your back. Maybe if you're particularly feisty, rebellious, and tenacious he'll even remove your T-cog. Making you watch as he crushes your metallic organ in his fist.

"Don't forget your place, my dear. Don't make me remind you again"

Sentinal always has you propped up pretty on his lap. Trailing his fingers over your arms and thighs. Half-heartedly tracing stars and swirls as he's forced to listen to Cybertron's newest developments and his latest orders. The senate's conversations are unfiltered, they peel away the senator's golden facades leaving only the monstrous truth. Sentinel especially is the wickedest of all. Diabolic traitor playing king-prophet. You fight the urge to sink your teeth into him, biting and ridding until only scrap remains...

But the truth is too brittle. You have no power, no strength compared to him. And you're too terrified of Sentinal's punishments to step out of line.

Sometimes when the conversations get too grotesque to drown out, your desperate optics weave to an open window, peering helplessly at a world that's forgotten you. It's usually Senital's cold lips that melt away the melancholy trance. Reawaking you into your nightmare...

── .✦⋆˚☆˖°⋆｡° ✮˖ ࣪ ⊹⋆.˚ ✦ . ──

Imagine D-16 finding you as he's defeating Sentinal. You look so bruised and battered, so broken. Maybe he knew you once, a transformer who was always sweet and kind to the miners. Maybe it's the look of utter despair and hopelessness in your optics that catches his attention. Almost like a mirror of his pain. His servos itch to wrap around your neck, to crush wires and circuits, to eliminate anything that Sentinal has ever held dear.

But he can't...

His broken spark screams in pity. You're just another helpless bot trapped in Sentinel's web of deceit. He saves you for himself, a shivered war prize he's convinced he can fix. He makes plans to seek out Solus Prime's T-cog to lay within your chest. He wonders if Megatronus would approve.

But it doesn't end that way now, does it?

Destiny is too cruel for such fragile hopes.

⛧°。 ⋆༺★༻⋆。 °⛧

Alternatively, Maybe Orian is the one to find you, sacred confused, and utterly alone. He's so eager to lend a helping hand. Wanting so badly to wrap you in his arms, to give you warmth and hope. He plucks you away from Sentinal's tarnished castle. Pulling you away into a life that tastest of saccharine daydreams and sugar-laced optimism.

And Orian -or rather Optimus- is perfect, sweet and loving, and hopeful...

But he's also tasted loss and duplicity. Bitter truths leading to his jaded obsession. He's so careful with you always having a servo on your hip, always listening to every conversation. He can't have this fragile world hurt you again. He needs to protect you from everything at every cost.

Sometimes when your body is curled next to him recharging peacefully. He'll reminisce about the other Primes, wonder if they've ever felt such a love that bites so sharply at the spark. He wonders if he can really make Cybertron the perfect world for you...

[simplitools]

SimpliTools - Remove Duplicate Lines by SimpliTools Via Flickr: Remove Duplicate Lines Tool is one of the 160+ tools, available at SimpliTools.

[foervraengd]

Mirre’s “How i render gemstones” tutorial!

(note: image above is not what is shown in the walkthrough. It is an example piece)

Ingredients:

Art program that has layers and selection tools

Patience (hubris or stubbornness is fine too)

(recommended) photo references of gemstones and/or prisms

(Optional but very helpful) Knowledge on how to use Reference layers and anti-overflow in Clip studio Paint

For this tutorial i am going to use clip studio’s “anti-overflow” feature. This post is not going to explain how to use that specific setting but you should be able to find guides on how to use it on clip studio’s official website or on youtube.

Please Note: The result of this technique will not 100% represent real life gemstones. These are more simplified but should still make an impression of the brilliance and appeal of gems, crystals and diamonds.

If you don’t work in CSP: the best workaround is to use the polygonal lasso selection tool for the same purpose.

This ended up being a long post so I am putting it under the readmore:

First off; Basic idea on how the light refracts inside a solid transparent object:

Wether it is acrylic, glass, water or crystal, the way light pass through more or less should behave the same as long as it is solid and not hollow inside. Pay attention to how the darkest parts of the stone goes along the inner edges, leaving a ”mid tone” sort of in the center. However, this might vary depending on the light setting. But it is a generally good rule-of-thumb to follow if you’re drawing something not based on a photo. Another thing to pay attention to here is how the placement of the highlight will lit up the inside of the gem in a parallel line. It also shows through on the cast shadow.

Light refraction on a cube:

I have already made two posts on this, so definitely go through them:

CUBE BREAKDOWN POST HERE

But a rough summary from those two links would be: Every side/facet of a gem or a cube etc refracts the light individually and not as one entity (that would make it look hollow and not solid). Think of it like how each piece in a broken mirror individually reflect your face back to you. Like a weird patchwork!

Putting this into practice:

For this tutorial I’m going to be nice to myself and not try to draw perfectly accurate gemstones. Instead I’m gonna draw them with a more ”natural” looking set of facets. Which actually isnt as common in real world as video games makes us think. Some crystals have geometric shapes naturally, but a lot of other stones are not as fancy. Anyway, im taking artistic liberty on these example stones because the technique I’m going to use will work for these just fine.

So, in clip studio paint, I first draw the stones on a vector layer. I give them facets for the front side. Then I duplicate the layer, remove the front facets and replace them with the facets on the back of the stone. The third image here shows both layers visible on top of each other. I now put these into a layer folder and mark the folder as ”reference”.

Now, on a layer below the lineart folder, fill with your base tone. Then make a layer on top (if you can clip it to the base tone, do that), this layer is where you decide where the highlight will be placed. In some cases the highlight is only lighting up one single facet - it really depends on the design of the stone. You can also blend and soften the highlight here if it looks good for you, just make sure not every facet is highlighted. The highlight layer should be on top of all the other layers clipped to the base tone layer.

Now it is time for the juicy juicy stuff! Turn on both lineart layers so they’re both visible. I hid the hilight layer here because it was in the way, but might not be needed in your case. Make a layer clipped to the base tone and paint in the darkest tone. This is where anti-overflow helps me out, because when i run my brush over all these crossed lines it will make the stroke pop in and out for each facet. If you dont use CSP, this is where you can use the lasso tool and select every second facet. It will take a bit more time but it should work similarly.

After the darkest tones I then make a layer for the inside light that the highlight has lit up. Here i keep it inside the darkest tone but this might vary depending on the light setting. If it looks good to me, then that’s what i stick to.

The way I approach rendering the facets here is like the grid in the example images above, every shade and tone appear more or less in each facet but the amount is relative to their position. So a gradient wouldnt have a smooth transition; it would be slightly scewed in each square on this example grid. Essentially like how some bathroom window glass panes look like.

Now it’s time to hide the lineart layer folder and check if the gemstones look decent to you. If not, then you can look up some reference photos and analyze where the values group together the most; be careful not to focus too much on the photos 500 million sparkles. Squint your eyes or blur the reference and try to see how the overall values behae.

I, personally, am satisfied with these rocks so I slap on a gradient map (you can manually color in them too if that’s your thing) and call it a day. The lit up inside of a gemstone tend to have a brighter and more saturated color than the mid tone.

Other Examples with this technique:

If you look up ”gemstone types” you can often find images displaying various facet types from more than just front view. These can serve as useful base templates for practicing this rendering technique. The backside of a gemstone is called the “pavillion” and is really useful to have at hand when it comes to painting the inner refractions. You can probably also use 3D models and convert the wireframe into lineart. But that is slightly out of my pool of knowledge.

Applying this knowledge without using a base lineart layer is of course possible. In this painting I followed a simplified summary of how the facets sparkle: Keep the highlight shape to match the front facet design, and all the inner refractions should be more scattered and split up but face a direction towards the center of the gem. Now don’t you think this sort of makes the gems look like eyes? That’s right! You can, and absolutely should, apply this on eyes to create the most sparkly anime eyes ever.

Now, refracted light that lands on the surface surrounding gemstones varies depending on the material - and if the gem is inside a metal frame it usually doesnt create this much refraction around it. But I want to have fun so i decided to break this rule in the name of pretty sparkles. :)

[twitter-sakuranokaze]

FF14 Battle Portrait Tutorial

For the past few weeks I was trying to find a way to recreate the battle portrait from FF14 as there was a few characters that I want to see in that style but don't officially have one yet. I think I got it down more or less (see image below) so I thought it's a good time to share what I did.

First of all, I made a few files that would help make life a little easier. They can be grabbed here .

Note: I did use Reshade to do a bit of work at the screenshot stage to help speed up the process but the same effect can be recreated in Photoshop with a vanilla screenshot. There are a lot of tutorials on how to do comic/cartoon effect in photoshop and those would make good bases to work off of.

Step 1: Take the screenshot with the PortraitBase Shader on. I usually take two screenshots. One with "Comic" on and one with it turned off. This is so that I have more to work with if needed.

Step 2: Drag all the screenshots into photoshop and remove the background. In photoshop, arrange the layer so that the screenshot with the Comic lines visible is on top of the one with the effect off.

Step 3: Duplicate the the layer with the "comic" effect and apply Blur->Gaussian blur (radius 0.5)

Step 4: Take a look at the hair. In Eric's case, It still doesn't look blur enough to me so I used the blur tool and blurred it a bit more

Step 5: Create a new layer above the layer in the previous step and use the brush tool to start outlining the edges. Where to outline is up to you but the idea is to make edges defined so that it looks more like a drawing.

Step 6: Duplicate the outline layer and then hide that layer. Step 7: Merge everything under the outline layer. Step 8: Drag and drop the "Texture.png" into the project and Clip it to your character layer. Set the blending of the texture to "soft light". Step 9: Drag and drop the "stroke Texture.png" into the project and Clip it to your character layer. Adjust the size till you are happy then set the blending to "overlay". Step 10: Adjust the opacity settings of both texture layers until it looks good to you.

Step 11: Click on your character layer and go to image->Adjustments->Hue/Saturation (note: you will see I dragged in the official Hades portrait as a point of reference to work off of). Adjust the saturation till you are happy.

Step 12: Go to image->Adjustments->Color Balance and adjust the color till you are happy. In this example, since Eric is also wearing the Sophist robe, I tried to match that color to Hades' Sophist robe color.

Step 13: Once you are happy, drag the "Template.png" into the project and scale that to the size you want. Make sure it is completely covering the character. If it's not, you can just use paint more of it with the brush tool to extend it till it covers everything.

Step 14: Hide the "template.png" layer and select your character layer. Use the magic wand tool to select the outside of the character.

Step 15: With the selection still selected, click on the "Template.png" layer and press delete on your keyboard. You should now be left with a blank in the shape of your character.

Step 16: Drag the"Template.png" layer to be below your character layer. Then click on your character layer and clip it.

Step 17: Click on the "Template.png" layer and add a 2px stroke and shadow to it.

Step 18: Drag "Back_Deco.png" into the project and place it behind your character. Scale it till you are happy with it.

And that's it! Now you can recreate portraits for any NPCs that you want (in theory). A lot of it is also fine tuning to what you want but this should at least give you a decent base to work off of :)

[hannahssimblr]

Photoshop Tutorial #1 - Change Background & Add Reflections

Before & After

You will need

Photoshop

Internet Access

I was inspired to make this tutorial after facing a dilemma in my game. I wanted my sims to swim in Brindleton Bay, but, shock horror, the water there is not swimmable. Luckily, I know how to change the background of my screenshots to make it appear as though it is - and I'm going to bring you through the process of how!

Starting off, in game, I brought my sims to Tartosa and got my desired shot. Then, heading over to Brindleton Bay, I got some shots of the horizon that I wanted as a backdrop.

Here's a picture I took:

Okay! Let's open up Photoshop!

For reference, I have Photoshop 2024, but most if not all of the features I've used should be included in older versions too.

Here's our image! Now I'm selecting the Background layer in the layers panel and press CTRL J twice to create two duplicates.

I'll turn off the bottom two layers for now, (by clicking the eye button, for newbies) and go to the properties panel. this should be on the right hand side, above the layers panel, but if it isn't, simply go into window > properties to switch it on.

With the layer selected, I click remove background and voila! Photoshop has... er... done her best to remove the background (she sometimes gets it wrong, but at least it's a help)

You'll see that a layer mask has been created. (circled in image).

If you haven't used layer masks before, the only important thing to know is that black will erase and white will add.

So with my brush tool (shortcut B) selected and set to black, I can go around the image and erase all of the parts I don't want.

If you have a steady hand and a tablet/cintiq you can do the same job a little quicker with the lasso tool (shortcut L) by selecting any unwanted area and simply pressing delete

Once I've removed all that needs to be removed, I see that there's a little slice of her hair that needs to be added. I can change the brush colour to white and paint it in.

Done! Easy!

Okay, let's switch off this layer for now, and switch on the one beneath it.

This is the layer I want to make look like the Brindleton Bay sea. So I'll make sure to pull an image of the water up as reference for colour.

This time I'm going to create a layer mask using the polygonal lasso tool

It's easy.

Find the lasso tool in the tool panel on the left of screen (the third icon from the top - or by pressing L on your keyboard)

Left click & hold, and a menu will pop up. Select the polygonal lasso tool.

Click around the area you'd like to mask, in my case, the sea. Tip: if you hold down the shift key while clicking, you will be able to create perfectly straight lines.

Click on the layer mask button at the bottom of the layers panel (pictured)

Everything except the selected area should disappear!

A small thing here, but I don't want the reflection of the rock in the water in my picture. I'll select the layer (not mask), take the eyedropper tool (shortcut i) with the sample set to all layers, and use a soft brush (B) to paint it away.

Next I'm using adjustment layers to edit the colour of the water, to try and make the blue turquoise paradise look more like the horrible green bog water of the bay.

You'll find these next to the mask button in the layers panel.

For my picture, I'm using hue/saturation for the colour and levels for the light. you can fiddle around with any of the adjustment layers to find what works for you.

I've shown the adjustments I've made for my specific scene below, just for reference.

When I'm happy with the colours/lighting, I select all adjustment layers (shift + L click to select multiple), then right click and choose create clipping mask. This is to ensure that the adj layers don't affect any other parts of the image, just the area I want it to.

And there! My water is looking sludgy, just like I wanted.

Okay! I've decided that I'd like some texture in the water. It always annoys me that sims water looks so flat. So here's where Pinterest enters the story.

I like Pinterest because unlike Google, the majority of the images are not watermarked. You're also slightly less likely to find AI slop.

I wanted some water ripples, so I searched for something like Water Texture, found one I liked, and dragged and dropped it into my photoshop file.

From here, I transformed it (CTRL + T) by resizing & rotating the bounding box, then grabbing the corners while holding CTRL to create some kind of perspective that works for the image.

I didn't bother bringing it all the way to the horizon, because I intend to fade that out with a gradient anyway. I had to sacrifice the bottom of the image for the sake of correct perspective, but that's fine. I will crop that out later.

With the texture layer selected, set the blending mode to soft light. It blends nicely!

Now! Another layer mask! These are our friends

With the texture layer still selected, I create a layer mask.

This time, because I had nothing in the image selected first, the layer mask will appear white. That just means nothing has been masked yet.

With it selected, I find the gradient tool (shortcut G) if you press G and the paint bucket tool is activated, simply navigate to the tool panel on the left of the file, hold the paint bucket tool down and select gradient.

I'll change the colour to black, and make sure I have the foreground to transparent gradient selected.

Other settings are pictured.

I'll drag the gradient over the area I want to mask. In this case, the top of the water texture to make it appear as though it's fading away towards the horizon.

(Doubly make sure you've selected the mask, not the layer while performing this action.)

Looking good!

Time to drag the layer above your adjustment layers and create a clipping mask again.

Alright! Let's do the background.

I'll drag that image of Brindleton Bay that I took earlier into the file.

I want to place it below my sea layer, and above that original background layer (I am going to leave that untouched for insurance reasons)

Then, using the move tool (shortcut V) I'm simply going to move it to the correct place. Basically I just want the horizon lines to match up.

Tip: hold the shift key to drag an image in a straight line.

Enter to confirm.

You can see that the sky is now unfinished, but it's such an easy fix. I'll just select the sky colour with the eyedropper tool, then use the paint bucket tool & brush tool to fill in the sky.

Done!

Now - note that the sea doesn't quite blend in with the background. To fix this, I'm going to take my eyedropper tool (shortcut i) and select some of that dark green colour beneath the mountains.

I will create a layer (+ button on the base of the layer panel) and drag it above that sea texture layer I created earlier.

Then I'll create a layer mask to clip it to the sea.

I'm grabbing that gradient tool again (G) and creating a nice gradient on the horizon.

The horizon line is a little sharp, in my opinion, I want it more faded. So, using a soft brush (B) and that same green colour, I'm going to create a new layer & place it above that green gradient, this time I'm not clipping it.

Holding down the shift key, I'm going to draw a straight line right across the horizon. This helps to blend it all together a bit better.

Now! for Reflections!

Firstly, I'm going back to that sky layer with the Brindleton Bay mountains, and I'm going to duplicated by pressing CTRL + J

I'm dragging it above the sea layer, but below all of the other clipping masks. This will automatically create a clipping mask for the new layer.

Next, I'm going to edit > transform > flip vertical

With the move tool (V) I'm moving the image upwards so that the horizon lines meet and it looks like the lighthouse and mountains are reflecting in the sea.

Note: make sure auto select is off while using the move tool on a layer that lies beneath several others.

This leaves a little bit of a mess on the bottom on the canvas, which can be fixed by creating a layer mask & the gradient tool set to black, and dragging a gradient over the bottom of the image until it blends nicely into the sea.

With the mountains reflection done, I'm going to move onto the people.

I'll turn that top layer that I worked on earlier back on.

Then I'll duplicate it (CTRL + J)

Right click on the layer mask of the duplicate and select Apply Layer Mask from the dropdown. This simply bakes the layer mask into the image. Usually I try to edit non-destructively as much as possible, but in this case it's fine to destroy.

I'm going to rename this layer Reflection

With that new, reflection layer selected, I'll go to Edit > Transform > Flip Vertical, just like before.

I want to add a little water/shimmer effect to their faces, so I'm going to Filter > Distort > ZigZag

I'll just mess around with the settings here until I find something I like.

This is optional, obviously, I've done reflections in edits without doing any of this, but it just adds something a little extra to water scenes, I think.

Here's a time I didn't do that.

anyway, my sims are looking a bit crazy now, but it's fine, because I'm going to, you guessed it, add a layer mask and gradient.

But first, using the lasso tool (L) I'm going to draw around one of the characters and drag her into place. I can move the bounding box around a bit to make her shoulders meet in the right place.

Then I'll do the same for the other character.

Tip: Hold CTRL while moving, warping or resizing something for a smoother, more precise experience.

Now, I'm doing what I said I would, and I'm creating that layer mask. We know how to do it by now, right?

Make sure everything is deselected first by pressing CTRL + D

Create layer mask

Select Gradient (G) set to black

Drag gradient over bottom of reflection (If you ever need more precise gradients, you can select the round gradient at the top of the file. I needed it to blend the reflection on the right more, because the characters are not at an even height.)

In the Layer panel, change opacity to 20% (or whatever you like) and hit Enter to confirm

Using Crop (shortcut C) I'm going to crop my image, cut off that pesky strip at the bottom and just basically make the framing of the picture a little bit nicer.

And viola!

I could edit this image more, throw in bounced light, splashes etc etc but I'll leave it like this.

The only thing I will add in is a little lens flare to indicate sun, so again, I'm taking to Pinterest and searching for one that works.

Tip: make sure the background of a lens flare image is completely black. Otherwise it will be harder to use.

Below is the one I have chosen.

I'm simply changing the blending mode to screen, moving it and resizing it with the transform tool (T), and fiddling with the opacity until I'm happy.

That's it!

I made a video running through this whole process, with all of my shortcuts in the bottom right hand corner so that you can see exactly what is happening.

If there are other tutorials you'd like to see in future, please let me know!

And I'm more than happy to answer any questions!

Good luck <3

[usergif]

HOW TO: Make Animated Neon Text

Hi! No one asked for this tutorial, but this is one of my favorite typography effects as of late — so I thought I'd share how I do it. You can see this effect in the first gif of this *NSYNC Celebrity set and the last gif of this Anthony Bridgerton set. Disclaimer: This tutorial assumes you have a basic understanding of gif-making in Photoshop. It's also exclusively in Timeline and uses keyframes for the fading effect seen on the blue text.

PHASE 1: PREP YOUR BASE GIF

1.1 – Choose a dark scene. This effect looks best contrasted against a dark background. You can definitely do it with a bright background, but just like a neon sign irl, you only turn it on in the dark/at night — so keep that in mind! 

1.2 – Determine the length of your clip. Depending on how much you want your text to flash or fade in, you'll want to make sure you have a scene long enough to also allow the text not to flash — reducing the strain it takes to actually read the text. For reference, my gif is 48 frames.

1.3 – Crop, color, etc. as you would. New to gif-making? Check out my basic tutorial here!

PHASE 2: FORMAT YOUR TEXT

Before we animate anything, get your text and any vectors laid out and formatted exactly as you want them!

2.1 – Finding neon sign fonts. It's easy as going to dafont.com and typing "neon" into the search bar!

2.2 – Fonts I used. Neon Glow by weknow | Neon by Fenotype | Neon Bines by Eknoji Studio

And to not leave my fellow font hoarders hanging, the font for "tutorial by usergif" is Karla (it's a Google font) 🥰

2.3 – Group your text layers. (Conditional) If you plan on having multiple text layers like I did and you want them to appear connected (like how the last letters of "NEON" and "sign" intersect with the wand icon), I suggest putting the layers into groups according to color (the shortcut to group layers is Command+G). If you don't group your text and just apply the outer glow settings to each individual layer, you'll end up with something like this:

—where you can see the glow overlap with the line, instead of the smooth connection you see in my final example gif. I'm using 2 colors for my text, so I made a group for red and a group for blue.

2.4 – Apply Outer Glow. Right-click your text layer (or your group if you have several layers) and select "Blending Options" to open the Layer Style menu. Check "Outer Glow" and feel free to play around with the settings until you like the way your text looks!

Your outer glow color should be darker and more vibrant than the color of the text itself. The text should be within the same color family but much brighter and, sometimes, almost white (see Step 2.2 again for my text colors).

Here are the settings for the Red Glow (the glow color is #FF3966) and Blue Glow (#00F0FF):

These aren't always my exact settings but they're pretty close to my standard. I always set the blend mode to Hard Light and usually have the opacity at 100%.

For every gif I use this effect on, I like to play around with Spread and Size. Spread will make the glow look denser and "expand the boundaries" (source: Adobe) and Size will diffuse the glow and blow it out so it covers a larger area (Adobe says it "Specifies the radius and size of blur").

2.5 – Duplicate your text layer/groups and remove glow. We're only going to be animating the glow on our text, and since doing this affects its opacity/visibility, we want to preserve the base text by creating a duplicate.

I just hit the Command+J shortcut to duplicate my groups and delete the Outer Glow effects, making sure that the "No Glow" version is above the "Glow" version:

I also put all these groups into one group called "Text" for organization and so I could apply a drop shadow to all the elements for better visibility.

PHASE 3: CREATE THE FLASHING EFFECT

This is for the effect you see on the RED text in my gif!

3.1 – The 0.03-Second Rule If you've read any of my animation tutorials before, you're probably already familiar with this rule. In my experience (and for reasons I can't explain), Video Timeline pauses every 0.03 seconds (try clicking the forward button a few times, you'll probably find a "duplicate" or paused frame). So, keep all your layers a duration of 0.03-second increments (e.g. 0.06 or 0.09 seconds can also work) and align them on the Timeline at 0.03-second intervals. If you don't follow this rule, you'll get duplicate frames when you export, resulting in a choppy final gif.

3.2 – Trim and arrange your text layers. Only on the layers/groups WITH the Outer Glow effect, trim them into several segments of varying lengths where the glow will be "on" (visible) and leaving spaces where the glow should be "off."

Typically, I'll have a mixture of 0.06 and 0.03-second text. That's when the glow will be visible. Between each "flash" of visibility, I've got a 0.03-second blank space, baby *pen clicks* and I'll write your name:

The layers shown above are arranged with a few flashes and two long segments of no flashing. This is the order and duration of each segment shown above (purple = visible segments):

0.06 blank, 0.06 visible, 0.03 blank, 0.03 visible, 0.03 blank, 0.03 visible, 0.03 blank, 0.24 visible (the long bit where "FLASHING" doesn't flash at all), 0.03 blank, 0.03 visible, 0.03 blank, 0.12 visible

(I only did this for the text that says "FLASHING" to give it a glitching effect. The other red text keeps the glow visible starting at the first long segment.)

PHASE 4: CREATE THE FADE-IN EFFECT

This is for the effect you see on the BLUE text in my gif!

4.1 – Animate using the Opacity Keyframe. Again, we're only touching the layers/groups WITH the glow effect. If you only have one layer of text, you'll find the Opacity Keyframe by clicking the film reel icon:

If you're working with groups like me, you'll find it in the Timeline panel under the group when it's expanded:

As you can see, I already added my keyframes (lil diamond babies). And luckily, it's super easy to do!

4.2 – Add the ending Keyframe first. We're starting at the end because our layers/groups are already at 100% opacity. Drag the playhead (the blue arrow attached to the red vertical line) to a spot where you want the glow to be 100% opaque — this is where the glow will be fully "on" or visible. [Again, follow the 0.03-Second Rule. You will get duplicate frames regardless when using keyframes (this will be explained in the note in Phase 5), but abiding to the rule will mitigate the amount of dupes you get.]

Then, click the clock icon by "Opacity" to place a keyframe:

4.3 – Add the starting Keyframe. Go backward from the ending Keyframe you just placed (I went back 0.12 seconds — but you can play around with the duration of the fade, just keep it a multiple of 0.03):

And drop another keyframe, this time by clicking the diamond icon by "Opacity":

4.4 – Reduce the opacity on the starting Keyframe. Keeping that keyframe you just placed selected, go to the layers panel and reduce your layer's/group's opacity to 0%:

Now, this Outer Glow will slowly fade from 0% to 100% opacity.

And just for a visual aid, here's where my fade-in keyframes are in relation to my flashing segments:

To refresh your mind, the 0% Opacity Keyframe starts when "FLASHING" is visible for 0.24 seconds (the first long segment of visibility).

With these keyframes, you'll get a smooth fade-in à la ✨light switch with a dimmer✨

PHASE 5: EXPORT

Yay, we're finished! Convert from Timeline back to Frames and export your gif!

NOTE: If you only did the flashing effect and followed my 0.03-Second Rule, you shouldn't have any duplicate gifs. BUT if you included the fade-in effect using keyframes, you WILL have duplicate frames. 'Tis the nature of keyframes. 🤷‍♀️ I had 4 extra frames where the fade-in starts, which I deleted. So, as always, I recommend checking your frames when you convert from Video Timeline back to Frame Animation — and manually delete any duplicate frames.

Sorry this tutorial is so long 🙈 I over-explain so you're not just mechanically copying steps, but understanding the WHY behind each step! Thanks for bearing with me

If you have specific questions about this tutorial, feel free to send a message to usergif and I'll try my best to help! :)

More USERGIF tutorials • More resources by Nik • USERGIF Resource Directory

[inbarfink]

So when I talk about how the Winter King is, on some level, far more removed from original-flavor Simon than Ice King ever was - Betty is the most obvious example. Ice King’s whole obsession with princesses and the kidnapping therefore and general romantic neediness has always been a Mad, Sad and Magical reflection of just how much Simon misses Betty.

Even when he was too far too gone to recognize Betty when she was standing right in front of his face

Ice King always carried the hole she left in his heart. Meanwhile, the Winter King has full access to his old memories, he just forgotten her because he doesn’t care anymore. 

Even while he was forcing Princess Bubblegum to dance along in a recreation of that same romantic grief.

But still, I feel like what happened Winterworld version of Marceline is an ever more poetic example, even if figuring out what exactly happened includes a lot of inferences and headcanons.

In “I Remember You”, during yet another emotional breakdown, Ice King accidentally shoved Marceline - and he was immediately absolutely overcome with regret and shame

Because although he didn’t consciously remember what Marceline meant to him, he still retained these feelings of fatherly care and affection. Some sort of core element of Simon’s being that persisted despite the effects of the Magic Crown. Because of that, he couldn't even stand the thought of hurting her, even slightly.

Ice King was capable of doing some fucked-up things in his desperation and madness - but hurting Marceline was the one line he never ever wanted to cross.

But the Winter King?

We only have hints of what went down between Winterworld Simon and Winterworld Marceline. All we know is: 

The Winter King and Winterworld Marceline had the same Simon and Marcy backstory as in the Mainworld, and the Winter King fully remembers it - since he conjures a vision of them during his song. 

Since Marceline’s Ax Bass still exists in its familiar form, it’s safe to say this version of Marceline did reach adulthood and probably had a pretty similar life to Mainworld Marceline.

The Winter King did something absolutely morally repugnant to the Candy Kingdom in general and Princess Bubblegum specifically. Although at the time the Winter King came to being, Marcy and Peebs were still reeling from that centuries-old breakup (assuming there are no other major divergences in the timeline) - I have no doubt that Marceline still had enough lingering feelings (and also maybe general human decency) that she would not stand for Simon’s actions.

And yet the real Marceline is 100% unaccounted for, only her Ax-Bass remains, in the Winter King’s possession. 

Or rather, in the possession of Ice Marcy, an icy duplicate of Marceline as a child living in a gilded cage in the Winter King’s palace - presumably just as lacking in Free Will as the Ice Scouts and any other creation of the Winter King.

The Winter King’s little conversation with Simon about Betty is the best hint we have to Winter King’s motivation for making Ice Marcy. Namely, he suggested making an ‘Ice Betty’ as a way for Simon to get over losing the love of his life. And he’s fully aware that this is unethical - he just doesn’t care.

I think it’s pretty reasonable to assume that Marceline and the Winter King would have some sort of confrontation about what he did to Bubblegum and since the Winter King implicitly compares it to the situation with ‘the dead one’ (Betty)… I honestly think it is not a stretch at all to assume the Winter King killed Marceline. 

And even if he didn’t straight-up kill her, I think most scenarios that fall under Occam’s Razor still involve the Winter King knowingly inflicting a great amount of emotional and potentially physical damage to Marceline. And it definitely involves the Winter King claiming Marceline’s most beloved posession as his own and giving it to a false icy duplicate of her child self he made to replace her. 

I mean, the fact that he even bothered implies that he at least misses her more than Betty. But his discussion with Simon still means he considers replacing her with a nonsapient magic ice construct that copies not the person she was when she was speaking out against him but the child who adored him to be more than a suitable solution. Which is a demonstration that whatever sort of love remained in the Winter King’s heart for Marceline was a very twisted and selfish kind of love. 

Even if you want to argue that the Winter King has nothing to do with Marceline’s disappearance - the fact that this is how he dealt with her being gone shows how much of the love Simon genuinely had for Marcy is now become a hollow and self-centered sort of thing. This is also a form of hurting her.  And again, with the way the Winter King is in general - I think it’s very likely he has a lot to do with what happened to Marceline.

Meanwhile in the Mainverse, the Ice King couldn’t even lightly shove her away in a fit of emotions without being overcome with pain and regret.

So which Ice Wizard really retains more of what made Simon Petrikov who has is? The one who kept his identity and memories but has lost all of the love and care that has once motivated him more than anything? Or the one who can’t remember his name or his old face most days but still retains this ever-persistent echo of his romantic love for Betty and his fatherly love for Marceline even if he doesn’t fully understand where it comes from? 

[tinyclowndancer]

Ilkka's version I hope you're ready for pain & suffering because I WASN'T when I heard this version for the first time. I'm curious about how many they recorded because I couldn't find the one from the Behind the Scenes video, and those extras from IN07 weren't even mixed in the final audio, apparently. Still, I'm glad they left us plenty of unused files, it gives us an idea of how much the game changed over time and we can also appreciate more the work done by the cast and the Sound Design team. ♥

Matt's files for the Drowning video and fadeout lines are available here. The MIX folder contains the video version with the sound effects applied (just in case anyone needs it) and the recombined fadeout lines since Remedy had to cut it in ~3s parts for in-game usage. I removed duplicates and the angry-031 line bc it feels a bit out of place and edited the pacing, but you can always change that or just listen to the separate files.

Now if you excuse me I'm gonna pack a bag with a weighted blanket, hot cocoa and antipsychotics, and jump on Cauldron Lake because our favorite tortured writer clearly needs some help and a hug.

[dengswei]

I LOVE this set and i was wondering if you could pls explain how you did the text, including how you added texture to the ripped text and the highlighting/circling/etc of words? thank you for posting your beautiful gifs 😊

thank you!! 🥺 & of course! (photopea tutorial)

the majority of the texture for the ripped paper effect i can't really take credit for it's on the paper it's self all i did was make the paper white (because the texture was yellow) and used curves to darken the texture), i got the texture from one of photopea's templates but it seems their whole template section has changed drastically and no longer has like anything i used to see before ???? so i'll just share both versions here:

(original & my edited version)

for the ripped parts i just played around with this brush set in the plugins

once i decided which of the paper brushes to use i had a new layer and used it where i wanted, so top left in the gif above, i clip masked the paper texture (and the adjustment layers as well) onto it so you get that ripped effect (if you don't like or want to add to that you can always use the brush tool again (or the erasure tool) set as the paper brush to add or remove sections i did this a lot when i realised certain words i wanted to show weren't on there (also changing the size of the paper brush when wanting to add a little bit or take a little bit away was a massive help)

i also always add a drop shadow to my paper textures, the settings i used is mostly the same EXCEPT for the angle for all of the ripped paper (it's also my text drop shadow settings) because depending on how the ripped paper looks you might have to change the angle

also i know in the screenshot below it's on but make sure the use global angle is off if you're going to have multiple different angles of drop shadow in your one gif (so if you want your paper texture on 125° but anything else on 60° the global angle needs to be off but if you want them the same then you can keep that on, which is why it's on for me because the angle is the same for both the text & the ripped paper) (and by text this isn't the text on the ripped paper, there isn't any drop shadow on the text itself there, just to clarify this was for my "ripped paper text tutorial by dengswei" text)

as you can see i also clipped my "handwriting" text to the paper layer this is so it stayed on the paper rather then going onto the gif itself (and it saved the fiddly part of masking it away & it felt more authentic this way too)

i found for me it was easier to seperate the text line by line so i knew exactly which part of the text was on which and if i wanted to change anything either it being a typo, changing the paper texture, or wanting a different word on a different line it was easier that way because it didn't end up messing up all of the text (though you don't have to do it that way, it's just what worked for me here)

font i used was: vag-handwritten (a default photopea font)

all of the next part needs to be above the text on your ripped paper:

for the highlighting, circles, and the lines it's pretty much all the same, i chose the colour which matched the gif (so say purple), for the highlight used the rectangle select & colour fill tools and set that to multiply & then played around with opacity (for most of my highlighting it's set to 50%), for the circles it was the same except the circle shape tool (no fill just stroke) set to purple, set to multiply, with 100% opacity (i found the circles looked better with 100% on some gifs depending on what colour i used), & then duplicated it once or twice and then just moved each circle to where i thought it looked best & the double lines is also the same using the line tool, set to multiply, & playing around with the opacity, & positioning them where i like

for the squiggly lines, the hearts, the 3 small doodle lines at either side of a word, & any other doodles i had on there i doodled them myself with my drawing tablet (you probably don't have to use a drawing tablet i just found it easier that way) using the free pen tool and then did the same thing set it to multiply and played with the opacity

if the colour you choose looks too dark or too light with it set to multiply either try a lighter/darker colour, try out something else like lighten, or screen, or increase/decrease the opacity more (i found i had this issue with the yellow being hard to see on the white paper so i used a darker yellow and kept everything at 100% opacity rather than 50%)

hope that helps! and please if anything is confusing or you want to ask any more don't hesitate to ask i know i ramble on a bit and it can sometimes get a bit confusing 🤣 or if there was anything i missed feel free to ask again 🥰

[nymphofnovels]

How to Make Replicas of Your Own Teeth: A Cosplay Toothtorial

This is a method to safely use a molded mouth guard to make duplicates of your own teeth without destroying a potentially expensive piece of dental equipment. Everything that goes into the mold—clay and mold release aid—must be nontoxic/edible so you can wash your mouth guard at the end of the process and continue to use it as normal. 

Benefits: No mold-making or casting experience required Lightweight end result Adds a truly personal touch to your project :)

Downsides: Must own a molded mouth guard/retainer End result can be fragile and needs proper sealing for durability

Supplies

Molded mouth guard/retainer (referred to as “mold” from here on)

Cornstarch

Soft/fluffy brush

Non-toxic white air dry clay (I used Crayola Model Magic)

Craft knife

Jewelry wire (I used 20 or 22 gauge)

Pins/yarn needle/any various household implements you can sculpt or smooth small details with

Acrylic paints and a variety paint brushes

Clear glossy top coat (I used Mod Podge (satin) and UV Resin)

Prep

Brush or otherwise clean your mouth guard if you haven’t already, especially if there’s build-up.

If you’re using your container of cornstarch for cooking, set aside a small container specifically for crafting. No accidental cross-contamination here!

Dip your fluffy brush into cornstarch and brush into your DRY mouth guard. Lightly coat the entire mold and distribute any clumps. This coat of cornstarch will make it easier to remove your teeth from the mold.

Molding

Firmly press clay into the mold so that approximately half is in the mold, half is sticking out for root sculpting. Make sure there are no air pockets or you won’t pick up the details. 

Use detail scissors/craft knife to cut away excess material and indent to mark out the divisions between teeth as visible on the gum lines (see above)

Reference a tooth diagram like the one below and separate out the roots for each tooth. Front teeth tend to have 1 leg, middle teeth have 2 legs, and some molars have 3+. I personally found that my limit was 2 roots. Sculpting 3+ roots on a single tooth was more difficult and more fragile than anatomical accuracy was worth. 

Demolding

You can demold immediately after sculpting or wait up to an hour. The faster you remove the teeth, the easier they are to reshape. The longer you wait, the more they resist unintentional denting BUT the more touch-ups you'll have to do to clean the edges between teeth.

Gently lift the full row of teeth from the mold. If it won't release when you tip the mold or or push at it, try using a pin to stab one of the end teeth and use that to pry up the teeth. The rest of the row should follow. If they don't, try repeating for the other side. If they're still not lifting, set aside to dry and try again ~15-30min later.

Gently cut apart the u-shape into individual teeth.

Press raw cut edges in and smooth with various tools, like a yarn needle. Use a craft knife to help trim off any excess clay.

Touch-ups

In the case of air pockets or if you accidentally remove a root, wet some clay and use a very small amount to fill in gaps or add on roots. Don't forget the water! It makes the clay stickier and smooth out better. This is where tools come in handy, wet clay sticks less to smooth objects than your fingertips!

Once repaired, set aside any wet pieces to dry for at least 15min before doing any more sculpting work.

Set all teeth aside to dry for several hours on a wax paper or other non-stick surface. Make sure it's not textured or it will leave an imprint on your teeth!

Flaws like the chip on the top left tooth and the cracks on the middle bottom teeth are great candidates for smoothing out with a little extra clay.

**PAUSE HERE AND CLEAN YOUR MOUTH GUARD**

I personally like to rinse it out with water and clean it with a dissolving denture cleaning tablet to make sure it’s fully sanitized. It also doesn’t hurt to properly brush the mouth guard to make sure there’s no clay or cornstarch residue stuck in the crevices.

Holes

Test a tooth to check if it’s dry to the touch and doesn’t immediately deform to your touch. If it’s holding shape, you can move on.

Bore a hole into the tooth with a pin or jewelry wire. Consider how you want them to hang. A) For the central dangling teeth on Harrowhark’s choker, I punched holes as close to the tip of the root as possible without tears, perpendicular to the teeth so I could hang them on jump rings directly from the center brooch. B) For the teeth intended for Harrow’s tabard, I punched two sets of holes parallel to the jaw to prevent teeth from flipping around. One set just under the tooth cap, approx. 1/8in down, and one set about the same distance from the roots.

Once a hole has been punched with a pin, wiggle it around a little to open the hole or thread it on a piece of jewelry wire.

Leave teeth on a piece of wax paper or strung on a thread/wire to dry for ~48hr (or as recommended for your clay).

Painting/Weathering

Mix a small amount of yellow-brown paint with water to create a wash (middle palette above). Paint all of your teeth with this first to establish a base color and help define any hairline cracks.

Paint with less diluted yellows and browns (right palette above). Refer to photos like the below for reference (try searching "teeth" and "archaeology"). NOTE: The root tends to be darker and more weathered than the main tooth because it isn't protected by enamel.

Dry brush ivory or white mixed with some yellow/brown onto the tooth cap to bring out highlights.

Finishing

Your air dry clay teeth and paint job will need a top coat for protection. I highly recommend a glossy clear top coat to give the look of enamel. Below is a comparison of the two sealants I used, but there's many more options out there!

UV Resin (Left) Pros: Harder/more durable Cures faster Cons: Need to work during daylight or use a UV light Harder to get a thin even layer Requires more set up and safety precautions

Satin Mod Podge (Right) Pros: Can be applied with a brush Air dries Cons: Takes longer to dry Teeth tend to stick together unless kept below room temp or kept from touching each other (I solve this by storing unused beads in an old pill bottle in the fridge. Yes it's cursed and Yes I've had comments from my housemates.)

As mentioned earlier, thread teeth on a wire or pin down to dry. This method also works well to set up for spray painting a clear coat.

Now, go forth and enjoy everyone's reactions when you tell them that you're wearing your own teeth! :D

[breakfastatmiles]

Your art is wonderful!!!

A constant inspiration to my own creativity and art work. Could you explain some of your art style to me? I’m interested in looking at a bunch of different ones to try and finally find one for me.

Goodnight!!🌙

Thank you so much! That means the world to me! I’d be happy to share some of my process with you 😄

Keep in mind I’m completely self-taught, so this is just the process of how I make my drawings and not any sort of professional advice 😅 apologies for the long post ahead 😪

Starting with the basics, my biggest influences are Jin Kim and Ami Thompson. Both are amazing character designers and I really admire their stylization and expressions. Whenever I feel stuck on something, I always go back to their drawings for inspiration.

I typically start in Procreate with a canvas size of 3300px x 4200px or 11” x 14” with a DPI of 300.

I put my reference in the corner of the canvas (in this case it’s a screenshot from the movie She’s the Man) and I start my rough sketch (emphasis on rough). Sketching is probably the longest part in my drawing process because I’m focusing on expression, composition, proportions, etc. This usually has about two to three passes before I move on.

Then I lower the opacity of the sketch and clean it up with some lineart on a new layer. Lineart doesn’t play a huge part in my style, but I still like to play around with line weight. Since I knew this was going to be a fully rendered piece, I didn’t spend much time on lines that I knew were going to be removed later in the process.

Underneath all of that, I use the skin tone and color the base of the character. I make sure that I color ever so slightly past the lineart, for reasons that will be important later. This part can be tedious, especially because I use a textured brush, so there are a lot of gaps that I fill in later.

Then using new layers with clipping masks, I start the flat colors. Nothing too crazy here.

I’ve made color palettes for characters and backgrounds that I typically draw, so this way it speeds up the process and maintains style consistency. If I need a color that I don’t normally use, I’ll just play around with the colors until I find something that fits well with everything else.

Next, on a multiply layer, I add some basic shading (with the skin tone color) and blush (with an orange-pink color). I also move onto the background. Some are more complex than others. If I’m going for a more cinematic look, I’ll fill the background in with some basic shapes and blur it slightly. Thankfully the background was pretty simple in this reference.

I start checking proportions now that everything has basic colors. Then I duplicate my lineart layer and change it to a pinkish-red and put it on multiply mode and turn down the opacity. This is why the base color layer needs to line up with the lineart, otherwise there’d just be gaps underneath. Instead of erasing my black lineart layer, I put a mask on it and just keep the eyes and eyebrows.

Then I start working on the shading and hair, which is an entire process in itself. Maybe I’ll make a tutorial on that one day 😅

I also use some vivid light and soft light layers and put in some subtle colors for extra pizzazz.



Then I add a hard light layer to the eyes for that glossy look and on a normal layer add some white details just to make some things pop more (like the nose, lips, eyes, sometimes hair, etc.)

I did make an eye tutorial a while back, but my process is still the same!

Lastly, I spend a lot of time playing with different blending modes (multiply, add, soft light, vivid light layers) and really focus on the lighting. I used to focus on adding a lot more details and make the coloring more realistic, but I found that the more simplistic coloring was easier for me to do and fit my style better. Sometimes I still tend to go too far with the details and realize that it looks better when I tone it down a bit.

That’s pretty much it! Let me know if you have any questions! Hope this helps. Have fun making art!

[laurabenanti]

Duplicate Frame Deletion: A Likely Unnecessary Tutorial

So… you updated to MacOS Sonoma, and–while it is amazing in many regards for photoshop things–it is a dang bummer and mood killer if you use MPV. However, after slamming my head into a wall trying to change the code on my own, I realized there is a much, much simpler solution to this.

In this tutorial, I will be showing you all how to delete duplicate frames from your gifs, with two options:

duplicate finder

within photoshop

Under the cut because pictures are a visual learner’s best friend!

A quick note:

MPV is odd with this. I’ve not had to do this on 4k capping, but have had to on anything under that. I don’t know the full reasoning, but it mostly looks to be something with the way it is reading frame rate. I know it’s in the code, but could not pinpoint it myself, and these were the only tricks that worked. If you find a better solution, please let me know! It has been rough, otherwise.

Step 1: Cap in MPV as normal

Now, this may be obvious, but make your caps in MPV. For a full tutorial on this, I highly recommend this one by kylos. The only difference between our software and their suggestion is going to be using the newest version of MPV (.0.36 at the time of this), and not the older. This is because there is an issue with MacOS Sonoma and older versions of MPV that prevent it from opening for… Some reason.

Step 2: Make sure you have your caps

I recommend moving your caps to whatever folder you like for your own ease of use. My biggest rec is to have it in its own folder, with no older folders within the folder. Not really a requirement, but in my mind, it makes the process faster (only true depending on number of files in other folders). You should have something like this (I am doing a scene from TWOT, as it’s one I’ve tested this method on a few times in several instances):

Once there, it’s time for the line split. I recommend option 1 the most (it’s faster, IMO), but again, this is a two option thing.

Option 1: Duplicate File Finder

So, duplicate finders are what they sound like. They are pieces of software that can be used to scan your device (or specific sections of said device), for duplicate files. It does not matter the title of the file, if the system reads it as a copy, it will find it.

There are a number of varieties for this, paid and free. I will not lie, the one I use is a paid version, because I had a huge issue with duplicate files taking up space when I moved to a new device. This also helps a lot with cloud file keeping, in my opinion. But that is beside the point.

This is Duplicate File Finder Pro, which I got for other reasons, but has been very useful since this became an issue. The free version is sufficient for removing duplicate files found in folders, and that is why I still suggest it. You only need to get the pro if you have other intentions.

Now, onto the next step…

Step 3: Drag and drop the folder

With our folder full of caps, we simply drag and drop it into the application to begin.

Step 4: Click “Find duplicates” and watch the pretty graph roll.

Step 5: Select the duplicate images

You can see here it found the duplicates.

Now, I could go through by hand and click them, but… that’s a lot of time I don’t want to waste. I let it auto select them instead (you can tweak the settings for auto-select, but this is not that tutorial).

Step 6: Select review & remove, complete!

Wham bam! You’re completely set and good to go. Gif as normal~ (all final results at bottom)

Now, of course, maybe you don’t want a duplicate remover. Understandable, so what then? Well…

Option 2: Photoshop & the Changing Frame rate

So, this one is a little more technical. I suggest basic giffing and Photoshop knowledge before attempting.

Step 3: Import folder as you normally would

I believe this works as it would for import video, but I don’t want to say that and be wrong. But load your files in and you’ll be here:

Now create video timeline, make frames from layers, yada yada (kylos’ guide is very good with this if you need help, it’s the same that was linked at the beginning of this). You’ll now be here:

And the actual part of the tutorial you all came here for...

Step 4: Change the frame rate

So, in the bottom, next to the mountains for zooming in on the timeline, you’ll see it reads “30.00 fps.” We need to change this to 60. How? Easy! Click the three lines circled here:

Then click “Set Timeline Frame Rate…”

A little box will pop up, change the 30 to 15 (dropdown or typing, it works the same) and click “OK.”

Your timeline will now be cut in half for length. That’s OKAY. DO NOT PANIC.

(Optional) Step 5: Double Checking

Click play on your gif, and you’ll notice it is no longer duplicate framed! To verify, let’s convert back to frames, just to see…

And it did, success! So make the rest of your gif as normal.

Your final results for the gif will be the following, with the gifs all labeled on what option was taken (or not). These were cropped for uploading and sharpened because of how I am. No coloring applied.

If anything was confusing, please don't hesitate to reach out! I'm happy to help in any way I can on this. My ask is always open. Happy Giffing!

[v-toast]

twilight princess link's house ! wii / wii u hero mode version (gamecube / wii u normal mode version is mirrored)

feel free to use as reference and save if you want, but don't remove the credit/watermark :]

fun facts i learnt while mapping this out:

1. this house has a skylight ! and its not even half covered by branches and leaves. this man's house is RUINED every time it rains

2. he has a wrap and sash/obi hanging on a decorative line that are in the same pattern and fabric as colin's ! so either colin keeps his spare (duplicate..) clothes in link's house, or link has a matching outfit

3. link has one mirror in his house, and it's in a corner in the basement (B1), and your reflection can only be seen when you're carrying a lamp and walking directly up to it (that's very out of the way for a mirror...)

4. the wall mount on F1 holds a big pitchfork, and what seems to be a whip wrapped around it ?

this was super fun and took way too many braincells out of me lol

[beardedmrbean]

Bad Dragon is suing SinSaint over copyright infringement of their dildo designs. What I want to know is, can you copyright the shape of a dog's dick? Because if you can, you shouldn't be able to.

I did knot need to hear about this one.

one more pun

TSG is gonna be one of the more reputable sources for this one

MARCH 25--A manufacturer of “fantasy-themed sex toys” has accused an upstart Brooklyn, New York firm of knocking off its distinctive designs, according to a federal lawsuit alleging that the defendant has infringed on copyrights for dildos such as “Spritz the Seadragon” and “Tyson the Water Buffalo.”

In a March 20 complaint filed in U.S. District Court in Arizona, Bad Dragon Enterprises contended that its “sculptural” products have been illegally copied by SinSaint, which is headquartered in a Coney Island warehouse and advertises that all its “Ethically Manufactured” toys are “made in Brooklyn, USA.”

Bad Dragon, which noted that it has had “significant commercial success” in the adult toy field, alleged that SinSaint has been selling the duplicative dildos through its website and other trade channels, including the recent AVN Adult Entertainment Expo in Las Vegas (where the new firm’s exhibitor booth was next to that of the all-nude Palomino strip club).

The lawsuit identifies 13 separate dildos that Bad Dragon claims have been copied (and renamed) by SinSaint, which was incorporated in New York last year. The colorful silicone toys feature scales, tentacles, suction cups, and other design elements meant to mimic the genitalia of dragons, sea creatures, and other fantastical characters.

Some of the Bad Dragon products that SinSaint is accused of swiping are “Kelvin the Ice Dragon,” “Stan the T. Rex,” and “Vergil the Drippy Dragon.” SinSaint has not been accused of pirating other Bad Dragon offerings like “Jason the Demogorgon” or “Cuttlefish of Cthulhu.”

According to the lawsuit, SinSaint’s counsel last month stated that the company had begun removing “some of the allegedly infringing listings for product redesign.” This response, Bad Dragon contended, was “unacceptable,” adding that it “continues to be harmed by Defendant’s ongoing, unlawful conduct.”

The Bad Dragon complaint seeks an order enjoining SinSaint from continuing any further alleged

copyright infringement and seeks “disgorgement of all of Defendant’s profits” related to the artificial penises. The company may also seek statutory damages of up to $150,000 for each of the dildos in question.

For more than a decade, Bad Dragon has sought trademark and copyright protection for various product lines. While often successful, the firm’s application to trademark its “Cum Tube” was abandoned after a government attorney rejected the ejaculating dildo because the “applied-for mark consists of or includes immoral or scandalous matter.” The application included a very NSFW image, which can be found on the U. S. Patent and Trademark Office website.

According to an August 2023 trademark application, SinSaint’s owner is Oleg Semenenko, 50, a resident of Brooklyn’s gated Seagate community. Semenenko lives less than a mile from SinSaint’s warehouse, which shares an address with GlobMarble, an industrial molds business for which Semenenko is listed as “manager” in a separate trademark application filed this month.

In a brief interview today, Semenenko was asked how a dildo firm grew out of his original business. “We work with rubber,” he replied. Semenenko dismissed Bad Dragon’s claim that its products were unique and original: “How can octopus hand can be your idea?” (4 pages) ____________________________________________

Hope the judge that did the recent trump case gets this one, even though I know that's basically impossible, just the thought of making him listen to hours of testimony about how these rubber fantasy dildos are protected by copyright or trademark law, or something like that is funny to me.

It's not a revenge thing wanting it, just a keep him humble thing. I know you think you're hot shit now, so here listen to these arguments for a bit.

Totally different note, I'm wondering how long until the discourse starts up, or if it has already started up, where using horse dildos is either bestiality or a gateway to bestiality because what with the way people treat cartoons of fictional people I can't imagine it's far off or not already here.

Look to japan for the tentacle ones.........

[eddiediaaz]

https://eddiediaaz.tumblr.com/post/720106767343878144/lgbtqcreators-bingo-challenge-35-headcanon

How did you get the lyrics to move and the sound bar to move if you don't mind me asking?

Such a cool effect makes it so much better!

ahhhh thank you!!

first of all, all credits go to Tiny for this amazing template! i just tweaked it a little to animate the lyrics and sound bar with position keyframes. here are the steps i've taken to animate the lyrics in this gifset (under the cut).

I. editing the template

first, you want to move the layer mask from the lyrics to a new group. to do so, select the LAYER named lyrics, and put it in a new group. i've renamed mine rolling lyrics. then, while holding CTRL, click on the layer mask's thumnail (what i circled in red). you'll see a selection appear (the "animated marching ants")

with layer mask selected, make sure the rolling lyrics group is also selected, and click on the add layer mask icon at the bottom of the layers (circled in red). your layers should look like that:

now you just gotta remove the layer mask on the lyrics layer. to do so, simply right click on it and go "delete layer mask". it should look like that:

II. lyrics

for this template, there are about 9 lines of lyrics that you can make fit. for the rolling lyrics effect, you want to add a bit more. 2 to 5 more lines of text should be enough, depending on the length of the gif and the animation speed you desire.

so put all your lyrics in there, and make sure that when you are on the first frame in the timeline, the lyrics are what you want. keep in mind that the first line of lyrics will be gone quickly since it'll be animated from the start.

III. keyframes

animation time! still on the first frame in timeline mode, go to the lyrics LAYER's animation panel and click on the position timewatch (circled in red) to activate the animation and create the first keyframe.

then go to the end of the gif, select the lyrics LAYER, and with the move tool, make the lyrics go up with your keyboard's arrow key. it should create a keyframe automatically, and if you play your gif, you should see the text being animated and rolling up. it's that simple!

IV. refinements

so it's possible that you see lyrics peek at the top and bottom of the layer mask. to do so, simply brush some back with the brush tool onto the rolling lyrics group's layer mask until you don't see any lyrics peeking through.

also, if you want a quicker or slower animation, go to that last keyframe's position on the timeline and move the animation up or down with the arrow keys. if you right click a keyframe you can delete or duplicate it.

V. sound bar

for the sound bar it's a very very similar process to the lyrics. put the two song position bar layers in a new group (i renamed mine sound bar), make a layer mask so the shapes don't show up on the edges of the gif, and then use position keyframes to move the white bar around, like i showed for the lyrics. my layers look like this:

and that's it! :) i hope i was clear enough haha, i always feel like i babble too much in these