#tutorial on the replies!!

[saintobio]

quick romantic shoot with xav 🥹 my mc is a two-timer but that’s okay, sylus isn’t looking gahahaha

[eddiediaaz]

Hi! Can I ask how you did the double exposure gifs for your merlin set? They're beautiful btw!

heyy, thank you!! of course!

it's actually not very hard, the trick is to find the right shots for this. here's how i did it (reference gifset), under the cut.

for this tutorial i will be: — using photoshop cs5 on windows — assuming you know how to make gifs using the timeline — have basic coloring, sharpening, groups, and layer masks knowledge

I. CHOOSING THE RIGHT SHOTS

the ultimate trick to pull this off is to choose the right image. in order to do the double exposure, you need a silhouette shot that has these:

a defined and dark silhouette with a background that is not too busy

enough contrast between the silhouette and the background

the silhouette should take at least 50% of the space

not too much movement

here are a few examples of why they work and why they won't:

gwen: perfect example since this shot is already quite contrasted with a defined silhouette. there won't be a lot of work needed to make this one work.

merlin: not a great example because even tho there's a somewhat good contrast between him and the background, the silhouette is just too bright, not dark enough.

arthur: another good example, even if there are some bright spots on his face and armor. since he's not moving too much, you can definitely brush some black over him to make his silhouette darker (i'll explain/show later)

morgana: this one could work because the contrast is great, but of course her skintone is very bright against the black clothing. that being said, since the movement is not too bad, it could be possible to brush some black over her and move these layers with keyframes (as mentioned for arthur's example). i haven't tried it tho, but i think it would work well enough.

once you have your silhouette shot, you need another gif for the double exposure. what works best, in my opinion, are:

wide, large shots

shots with no to little camera movement (no pan, zoom, etc), but the subjects in the shot can have little movement of course

pretty cinematography/scenery shots

i find these are easier to find and make it work, it's not as "precise" as with silhouette shots. it's mostly just trial and error to see what works best with the silhouettes.

II. PREPPING THE SILHOUETTE

for the effect to work, we want a silhouette that's dark as possible. i'm gonna use the gwen and arthur shots as examples.

for the gwen gif, i started by sharpening, and then upped the contrast by quite a lot so her silhouette is mostly black, while retaining some nice details. i've used only 3 layers here:

selective color layer: in the blacks tab, playing with the black slider (value: +10)

brightness/contrast layer: added a lot of contrast (+61) and a bit of brightness (+10)

black and white layer: on top, its blending mode set to soft light and at 20% opacity. gives a bit more depth and contrast

then for the arthur example, i've also sharpened it first, and added contrast layers in this order (the skintone looks horrible, but it won't matter soon lol):

levels layer: black slider at 0, grey slider at 0.76, white slider at 104

selective color layer: in the blacks tab, black slider at +10

brightness/contrast layer: brightness at +1-, contrast at +47

black and white layer: on top, its blending mode set to soft light and at 20% opacity. gives a bit more depth and contrast

as you can see, half of his face is still quite bright. to correct that, create a new empty layer and put it between the gif and the coloring layers.

using a really soft brush and the black color, brush some black over his face and body on that new empty layer. you can edit the layer's opacity if you want, i've set mine to 71%. since arthur doesn't move much here, there's no need to keyframe this layer's position. for the morgana example, this is where you'd need to play with keyframes to make it work. here's where i'm at now after this:

you can always edit this layer later if you need, after doing the double exposure blending.

once the silhouette is all ready, you can put all layers in a group and rename it (i've renamed mine silhouette).

III. BLENDING

now the fun part! import the wide/scenery shot in photoshop, then resize it to the same height of your silhouette gif. make sure the gif is a smart object layer, and sharpen it. finally, bring this gif onto the silhouette canvas (by right clicking the smart object > duplicate layer). once you have both gifs onto your canvas, put the wide shot gif layer in a group, and set this group's blending option to screen.

you can then position the wide/scenery gif the way you like it in the canvas. this is how it looks for both examples after i've done that:

if the blending mode screen doesn't give you the best result, so you can play around with other blending modes (such as lighten and linear dodge in these particular cases), but generally speaking, screen is the real mvp here haha.

IV. COLORING

now that the double exposure effect is done, we need to color the gifs to bring them together. i went with simple coloring here, simply enhancing the colors that were already there. just make sure that the coloring layers for each gif are in their respective groups. here's how i've colored both examples:

gwen silhouette group: i added a gradient map layer on top of the contrast layers in black to green and set the blending mode to color

scenery shot group: multiple coloring layers, with a green color fill layer (blending mode set to color), with a layer mask so it only affects the top half of the gif

for the arthur gif, i did something very similar but with warmer colors. i didn't use a gradient map for arthur though:

arthur silhouette group: i made the yellow warmer, closer to orange/red, with a hue/saturation layer, and added more vibrance. didn't feel like it needed a gradient map layer here though.

wide shot group: basic coloring layers to enhance colors from the merlin & daegal shot, and an orange color fill layer set to the color blending mode.

at this point you're pretty much done. just need to add some final touches and typography (if you want).

V. FINAL TOUCHES

a small and completely optional detail, but i wanted to soften the edges of the wide gifs. to do so i've duplicated the smart object gif layer and removed the sharpening filters (right click on smart filter > clear smart filters). put this layer on top of the other smart object layers (but still below the coloring).

then with this same layer still selected, go to filter > blur > gaussian blur... > 10px. this will give you a very blurry gif, but we only want the edges of the canvas to be softer. so add a layer mask to this layer. with a very large and soft brush (mine was at 0% hardness and about 800px size), brush some black onto the layer mask to remove the blur in the middle of the gif.

you can play with this layer's opacity or gaussian blur amount if you want (by double clicking on the gaussian blur smart layer filter). here how both examples look with this gaussian blur layer:

you can also mask some of wide/scenery gifs if you'd prefer, so it shows less outside of the silhouette. just put a layer mask on that whole wide shot group and brush some black or grey on the layer mask. it's what i did for the gwen gif, with a very soft brush and i set the mask density to 72% (i kept the arthur one as is tho):

and that's how i did it! hopefully that was clear enough :)

[vinceaddams]

@mxbuster replied to your post “Being a part time alterations tailor may be a very...”:

Omg you are amazing. If you ever want to do a tutorial…….

​Sorry for the delay, I put the photos in a folder on my desktop and immediately forgot they existed.

Alrighty, here is how I shorten modern jacket sleeves.

First I should note that:

I work for a suit store that doesn't take very many outside alterations, meaning almost everything I alter is from the same few brands and I'm used to a specific construction. Other jackets from other brands may have different construction, but it shouldn't be too wildly different.

All the jackets I work on have false buttonholes, or none at all. If you've got one with functional buttonholes (statistically unlikely, but not impossible) you're kind of screwed, unless you need to shorten it by so much they'll all be turned to the inside.

The amount you need to shorten it by should already be marked on the sleeve, or you should have a measurement written down. The salesmen leave a little chalk line for me.

Start by cutting the buttons off. (Both this shop and my previous job use razor blades for this kind of thing, so I can only assume it's common in the professional tailoring world.)

Then turn the sleeve inside out. There will probably be a section on the lining seam where the 2 edges have been topstitched closed. Carefully pick this out with a seam ripper on both sleeves. If it doesn't have this, just open a section of the seam, but not too close to the end of the sleeve.

Often the sleeve lining will be tacked to the outer sleeve's seam allowance in a few places, and you can cut these if they're in the way.

Now you can easily pull out the threads that were holding the buttons on, and can remove the false buttonholes if there are any.

Most of the buttonholes on the jackets I do at work are chain stitch, which means they're easy to pull out quickly once you get one end loose and can un-chain them, but some of them aren't and take a lot longer. I especially hate the ones on the sport coats that have a little contrasting bar tack at the end, those ones are the WORST and take forever to pick off.

There's a seam holding the ends of the lining and outer fabric together. Cut it off.

On jackets with a particularly loose fabric there may be a bit of blindstitching around here holding the end up, same as there is inside a dress pants hem, and you should remove this first. It's big and loopy on the inside and you can find the end and pull on it to make it come apart, just like the string on a potato bag.

There's probably also a bit where the edge of the jacket sleeve is stuck in place with a bit of fusible tape, so pull that apart. Cut through the threads where the seam allowance is sewn to itself, and pick apart the seams that form the corners of the vent.

(I use the razor blade for this too, by pulling the 2 halves of the seam in opposite directions and cutting the threads in between, but you'll probably want to use a seam ripper.) Don't cut the top part of the seam on the vent though, that bit where the seam allowance juts out to provide extra material for the overlap should still be sewn shut, as you can see at the top of the photo below.

Turn the sleeve back right side out and mark the new line all the way around. At work I mainly use wax chalk which disappears as soon as you iron it, but regular chalk works too, it'll just take a bit more work to brush it all off after.

Press out all the creases from the old seams at the corners. (I have to be careful not to get steam on my wax lines, or else they'll disappear.)

Now press the end of the sleeve in and make the new crease. Sometimes I press out the old crease first, if it's far enough away from the marked line, but sometimes not.

I like to press both layers of sleeve at once in the middle, avoiding squishing the sides, and then I press each of those side bits using this little dense pillow thingy we have at work. It's kind of like a tailor's ham but small. You could easily make one and fill it with scraps, it's a useful thing to have. Make sure the overlap & underlap are facing the correct way.

I then straighten out the sleeve and see how the lining length looks. The end of the lining is usually quite wrinkled, so I press it first.

Here the lining is barely protruding, so I didn't trim anything off, but if there's more than about 1.5 cm sticking out past the sleeve then I'll trim that excess off.

Turning the sleeve back inside out, trim any excess off the folded up bit. I try to keep this bit about 4.5 cm wide, so this one just needed a little bit removed.

At this point you may want to add a bit more fusible interfacing to the button area, but it usually goes pretty far up, so I only do this if I'm shortening the sleeve by a LOT. (And if I'm shortening it by that much then there probably isn't enough overlap left to redo the vent.)

Now there should be creases showing where the new vent corners will be. On the underlap side I mark a little + right where I'll start sewing there.

And on the overlap side (the one with the mitred corner) I mark a diagonal x and then draw a line over the whole corner with a ruler, like so.

That is NOT your stitching line!!

This corner isn't perfectly square, it's a slightly wider angle. So when I fold that corner right sides together and match up the lines I start sewing from the tip of that marked line at the fold, but I veer off at a slight angle (in the direction of the seam allowance) and end about 4 mm out from it.

It's not very clear in the below picture, but you can hopefully see it.

Flip those 2 corners right side out, turn the whole sleeve right side out again, and press those corners nice and flat. I use the little sleeve pillow for this too.

Then you can pin the overlap shut just the way you want it to sit, turn it inside out again, and carefully re-pin it so the pin is on the inside, before removing the first pin.

(I actually skip this step and just pin it from the inside and go straight to the rest of the sewing up, and then press the corners after the lining is closed up, but I've done hundreds of these at this point so you'll probably want to do it this way.)

Sew the two halves of the vent together so that it'll stay closed. Just a tiny spot of backstitching on the seam allowances, like so.

Now you can match up the ends of the lining and outer sleeve and reattach them. I always start with the seam opposite the vent, since the vent side doesn't line up precisely.

I put them together like this, right side to right side, and pull those ends out through that opening in the lining before pinning it closed.

Then sew it, starting and finishing on either side of the vent.

There will likely be a small gap between the ends of the seam, since the vent is in the way, but this doesn't matter.

On the non vent side, clip into one of the seam allowances right below the seam.

Fold that seam allowance right sides together, keeping the rest of the sleeve out of the way, and sew it to itself. This is the same bit of stitching you removed earlier in the process, and it helps to keep the end of the sleeve from sagging.

If the seam allowances are too small or frayed you can also just turn it back right sides out and stick a bit of fusible tape in there.

Stuff everything back so that it's right sides out but the sleeve itself is still inside out, and redo that topstitching on the linings. (Or do it for the first time if there wasn't any. You may want to press the lining first if you don't have two nice creased edges.)

If this is your own personal nice jacket you might prefer to slipstitch it closed by hand, or to instead machine sew it closed from the inside and hand sew the lining back to the end of the sleeve, but I'm obviously not going to do that for my very low paying alterations job.

Turn the sleeve right sides out, sew the buttons back on, and you're done!

Nice mitred corner and all!

The first time I did this it took me over 2 hours because I didn't know what I was doing, but 5 years later I've got it down to about 45 minutes.

If the sleeve needs to be shortened by so much that there isn't enough overlap material left to redo the vent, then I just sew it shut and fold the whole thing up. I have to add new interfacing behind the buttons, as mentioned. For this I also need to turn it back right side out before I close up the lining, so I can stick the not-vent-anymore area to itself with some fusible tape.

Sometimes I have to lengthen sleeves, and for that the process is fairly similar, except of course I have to carefully unpick the seam at the end of the sleeve instead of cutting it off, and I sew an extra strip of fabric to the end. (I keep a box of cut off ends from some of the pants I've hemmed for this.)

For that you also need to use fusible tape for both seam ends, because when you've added an extra bit on you can't sew the seam allowance to itself. The amount you can lengthen a sleeve by is limited, since you need to make sure the new piece of material is entirely folded to the inside and out of view.

I hope this helps and makes sense!

[iliothermia]

would you be willing to share your process with drawing curly hair? as someone with curls myself i struggle super hard with it and its frustrating when i want to see my hair type and tighter curls in my art and i cant make em look good 😭 i admire the way you do it sooo much

I hope this helps!! As you get used to doing it you can make more uneven shapes of curl and such. I also section hair like this to prevent getting confused, bullshitting my way through hair makes it harder to me so plan the chunks.

Thank you and good luck!!! 🥺

[bigfatbreak]

Hey I was wondering if you would do a post about how you make your feralnette au? I really like how you color it and was curious about your process.

Yes this is absolutely for plagiarism purposes /j

(I want to incorporate something similar on a smaller scale within my artwork, I don’t plan on posting anything but I can run the art past you if your worried about me actually stealing your style)

sure! as a note I'm not a pro or anything, this is just how I render my comic for ease of access

as a general note I draw everything in black and white first

I use a LOT of texture heavy brushes for effects, and specifically because I render with gradient maps a lot. people ask me why I do AU's in different styles - usually anything outside of feralnette is done in color - but that's because the rendering process is different.

for instance in the dad villain au, I do basic linework and chunky colors. if I was to do Feralnette in the same style, the gradient maps wouldn't nearly have the same effect, as you can see up there ^

when a gradient map is applied I can fiddle with the color values to set a Tone for the update I'm going for, while also making it really pretty, bc textures can really bloom the subtle colors in a gradient map. I get a lot from the CSP page itself, but I also MAKE a lot too. this specific map I made by color picking off of a neuron map from a brain scan I thought was pretty~

I don't do the feralnette AU in full color because generally, anything IN full color will have significance - either to show that a scene is important character development,

is a flash back,

or to put emphasis on something supernatural happening.

with Feralnette, when something is colored purposefully, its to emphasize it, whether that be to highlight character moments, or to stress that something eldritched and unnatural could be occurring, as its colors that do not exist in the pre-existing gradient map. Color out of space, yknow?

((SOMETIMES I put gradient maps on my colored chunky stuff, but once again, for the purpose of creating a tonal shift, like when papa Tom shows up in the dad villain AU!))

anyway I hope that helped!

[pixelplayground]

Hey pxl! Loving your recent builds ❤️ Can I ask what your general bokeh settings are in reshade? I’ve been struggling :/

Hello nonny, thank you =)

Here is a quick guide I put together, along with my default DOF settings for qUINT_DOF:

Autofocus Sample Radius adjusts the immediacy with which your depth of field blur settings begin to take effect. 0 = intense immediately after focus subject, 1 = gradual intensity after focus subject.

Near Blur Curve adjusts the blur from the closest perspective, i.e., from your focus subject. 0 = intense blur, higher values lower the blur, 6.000 = no blur.

Far Blur Curve adjusts blur from the mid-point of your depth of field to the farthest point from your focus subject, 0 = intense, 2 = no additional effect.

Hyperfocal Depth Distance adjusts blur farthest from your focus subject 0 = no additional effect, 1 = intense.

Hope this helps!

[disdaidal]

how do you sharpen your gifs???? they're insanely high quality!

Hello, Anon dearest, and thank you so much! ✨ To answer your question properly, I would first have to know which gifset(s) of mine you're referring to because I've made a lot over the years and I often change my sharpening settings, too. It totally depends on what I'm working with at the moment, to be honest. 😅

But, as for the last few sets of mine (this, this, and this in particular), I used these settings:

After converting my frames/layers into a smart object, I applied the settings above. Remember to click on the gear icon in the upper right corner and check both 'Use Legacy' and 'More Accurate' as well. This will make your sharpening look more 'natural' and less cakey imo.

Below is a comparison of before and after:

Note: This Geralt screenshot was taken from a 4K (2160p) video. Most videos I work with are at least 1080p or 720p because quality matters.

And here's the final result: colored, brightened, and sharpened.

—

I hope this answers your question. If not, feel free to send me more questions about this kind of stuff. I'm always happy to help out :)

[beachbeibi]

Hello! I am super in love with your linework. I adore the softness of how it looks when you have the lines all colored to match the object/color they represent. I was wondering what your method is for drawing it this way? Do you draw it all in one color and use overlays to adjust it based on the base color later?

Hi hello! Thank you so much! Actually this is something that I saw artist do in comic books and wanted to copy it, it also took me forever to figure out how to do it quickly so here’s a mini tutorial for you so you don’t have to go through the same as me to find out, it’s really super simple!

(I work on procreate but this is a feature that exist on every drawing program, also my procreate is in Spanish but ill translate what’s important )

STEP ONE: have a layer with all your lineart, I always do it all with black first

STEP TWO: Create a new layer on top of your lineart layer and on the layer settings select “Clipping mask”

STEP THREE: Now in your clipped mask layer you’ll be able to color the lineart AND ONLY THE lineart without it being super complicated and time consuming

FINALRESULT

[ebi-noodle-doodles]

I LOVE YOUR ART SM, ESPECIALLY THE MIKU ONES, YOUR SHADING ALSO REMINDS ME OF STRAWBERRY SHORTCAKE(the old one) IF YOU DON'T MIND CAN YOU A TUTORIAL ON HOW YOU MADE YOUR ART LOOK SO.... SOFT??? AND LIKE BRIGHT?🫶🫶🫶🫶🫶

Awe thank you! Have a Cherry ShortMiku

I rushed the loose "Tutorial":

Its a bit messy Its 8:30 am i havent slept yet hahhaaha! So basically colors right? IiiIII also am not knowledgeable with color theory but if it looks good it looks good ya know? I sometimes dont get satisfied with the end game so sometimes I adjust the overall illustration's HUE/CONTRAST/BRIGHTNESS/SATURATION etc. These adjustments are crucial imo! To make the entire illustration homogenous, adjustments are necessary! anyway

all of my illustrations most times arent just a fully step by step thing. Sometimes I go back to a layer, I adjust, I get frustrated that sometimes it doesnt look the way it should be in my head. I think people have been asking me how I draw but honestly couldnt find the energy and time to do so until now granted its a bit of a mess ;-; I think its just that I couldnt give a step by step since I myself am chaotic with my layers and progress which is the FUN part imo -u- so thats it- hopefully it explains the basics(?)

[thereaderinsertlady]

Based off of @camprell-art 's reblog :3

WAAAH THIS TOOK FOREVER MY HAND IS FALLIN OFF AHRGRGG anyways, in remembrance of @cottoncanderino spending like an hr or 2 on a lil twitter icon only to cover up the background with a (ahem) rather big-chested character, here are closeups of the icons in the pic

[ruija]

Well I really love your art, may I ask how do u color? I struggle with coloring turtles and I wasn't to know how do u do that?

Hi anon! That's a very broad question, so you've given me a great excuse to ramble anything I want about my coloring, eehehehee~! This will be in two parts and I'll start with talking about my simpler coloring style.

As in, when I color characters on a white background, with a limited or light palette.

The driving force behind this style is me being lazy. My time, energy, and attention span are pretty limited, so if I want to finish anything, I gotta do it fast. And with fanart, I'm usually just doing it for fun and relaxation, so there's no need to push myself to polish it too much.

Despite that, I rarely post just black and white sketches or line arts. I always try to add at least a little bit of toning or shading, because that makes the image easier to read. The characters and their shapes pop out and catch the eye of the viewer better.

However, in this particular example, just the couple toning colors don't quite do the job. The way Don and Leo are entangled makes the center area of this illustration very busy and hard to read.

As a comparison; this pic has only one tone + mask colors, and it works. This is because all the characters are standing separately and their poses are very stationary and simple.

So for the Don + Leo pic, adding some shadows helps in bringing out shapes and depths. Also in general, if you don't feel like drawing BGs, it's good to at least add a shadow below the characters. It grounds them and makes them feel like they exist within a space.

Sometimes if the posing looks too complex and busy, it might just be best to color in the characters fully.

However, even if I do full flat colors, I tend to use a lighter palette. Putting characters in their neutral/default color on a white BG can look a bit jarring as if they're floating in a void. It feels less immersive and like the picture is unfinished.

Using lighter colors makes the image more cohesive, and fits the characters into the white environment a bit more naturally.

If I'm too lazy to draw a BG, I prefer using stylized and limited colors. It feels deliberate and that the whiteness is just part of the palette, whereas the character-accurate colors on white don't match as well, even if they're more pastel.

That being said, there's nothing wrong with just slapping the flat-colored characters on a white background. As you know, I do it too. I'm just exposing my 'fancy coloring style' for what it is; me being lazy, hah!

Limited and monochromatic palettes are a nice shortcut even when you do actual backgrounds. It's faster and you don't have to worry about clashing colors. And you can still convey atmosphere and mood.

Also, on the topic of conserving your time and efforts; I think it's very common among younger/less experienced artists to think that the amount of time you spend on your art piece = how good and well received that piece will be.

Which has some merit to it of course, but it can lead to putting too much effort into areas where it's not necessary. E.g. filling the piece with tons of details and clutter that don't serve an actual purpose, but rather make the image hard to read. Or doing really complicated shading for a meme/comic, where simplicity would deliver the joke better.

So whenever I'm drawing something I intend to publish, whether it's a quick doodle or a more polished piece, I try to follow these two principles: Make it easily readable and do the bare minimum that needs to be done to convey what I want to convey.

Putting time into practice is important, but if you draw for work, it's also crucial that you know how to prioritize and use your time efficiently!

Anyway, thanks for reading! In the next part I'll go into how I do my fully colored pieces, so stay tuned for that!

[destinationtoast]

Hi, I would like to know how to make a list of all the ships in a fandom on AO3. For example, I use the Tag Search on "Transformers - A Media Types", but it shows that Jetfire/Starscream is the most popular with 641, but it is actually only the 6th with 1074. Furthermore, it quickly drops to showing Relationship with a single digit when I know that there are dozens of Relationship with hundreds of Works! Why don't most Works appear? Do you know of a way to find All the ships of a fandom on AO3?

Hey! Sorry for the slow reply... I was traveling and then covid knocked me flat for several weeks. :P

So let's talk about AO3 Tag Search. In general, I'm very excited about recent improvements to this feature... There didn't used to be any way to find the top ships (or characters, or freeform/additional tags) across all of AO3. But now you can* by doing a tag search and sorting by uses (descending order):

*In practice, though you won't exactly get a trustworthy list of top tags (and, as you pointed out, in some cases tags may even be missing! we'll get to that later). You will get a list where the numbers are not correct, sometimes to a bizarre degree:

For example, when you click through on the Derek/Stiles tag, you find far fewer works using the tag (note that these are the public works -- if you're logged in, you see a somewhat higher number, but not as high as in the above screenshot):

I will be posting some stats soon that show different numbers (and a different order) for all of the above top ships. But why is there the discrepancy? Here are several guesses about why some works are wrong in Tag Search (and then I'll get to why some ships are missing and what to do about it):

TAG INFLATION #1: The above numbers probably include tags used in AO3 bookmarks, which increases some of the numbers quite a lot. [Evidence: if you search for top freeform tags, you get tags like "To Read" high on the list, and authors don't use those tags.]

TAG INFLATION #2: The above numbers seem to include draft works. [Evidence: I just tested this out by finding a rare tag with only one use... I created a draft of a new work using that same tag, and even though I didn't publish the work, Tag Search now showed 2 uses of the tag.]

TAG DEFLATION: The above numbers do NOT seem to take tag wrangling into account. Some AO3 tags have a lot of synonyms or subtags, but I think only exact uses of the tag get counted in the above list. [Evidence: I found at a tag with only one use according to tag search, but two works when I clicked the tag (Peter Gabriel/Mike Rutherford). I found that one of the works contained a synonym of the main tag ("Mike Rutherford/Peter Gabriel (Imagined)"). That would match with Tag Search only listing one of work for "Peter Gabriel/Mike Rutherford." And when I created a new draft work that used the main tag, it increase the count in Tag Search for "Peter Gabriel/Mike Rutherford" -- but when I created a new draft work that used the synonym tag, it did not.]

There may also be other factors affecting the overall Tag Search numbers.

Okay, so I suspect #3, tag deflation due to no tag wrangling, is (helping to?) create the unexpectedly low numbers you are seeing for ships like Jetfire/Starscream. I suspect that many people do not use the full canonical tag "Jetfire | Skyfire/Starscream (Transformers)", and those other uses don't get counted in Tag Search. The only way to address this issue is to click through on a tag returned by Tag Search and find out how many works the tag has once you look at its list of works.

But why aren't some ships showing up at all? That's a different question. Here, I suspect the answer again is related to tag wrangling. Every (?) canonical ship tag has at least one parent tag that is a fandom tag (as well as the relevant character tags). You can see the parent tags for Jetfire/Starscream on its tag page:

Skyfire (Transformers), Starscream (Transformers), The Transformers (Cartoon Generation One), The Transformers (IDW Generation One), Transformers (Bay Movies), Transformers (Dreamwave Generation One), Transformers (IDW 2019), Transformers (Marvel Generation One), Transformers - All Media Types, Transformers Animated (2007), Transformers: Armada, Transformers: Beast Wars (Cartoon), Transformers: Cybertron, Transformers: Cyberverse, Transformers: Energon, Transformers: Prime, Transformers: Shattered Glass, Transformers: The Headmasters, Transformers: War for Cybertron (Video Games)

Jetfire/Starscream has "Transformers - All Media Types" as a parent tag, and I suspect that is why it shows up in the Tag Search for that fandom. I would guess that some of the bigger Transformer ships do NOT have that broad fandom as a parent tag. Let's check the parent tags of Megatron/Optimus Prime:

Megatron (Transformers), Optimus Prime, The Transformers (IDW Generation One), Transformers (Bay Movies), Transformers Animated (2007), Transformers: Armada, Transformers: Robots in Disguise (2001), Transformers: Robots in Disguise (2015)

Megatron/Optimus Prime does NOT have "Transformers - All Media Types" as a parent tag. I suspect that's why it didn't show up in your tag search.

So what can you do? Unfortunately, I think the only way to be sure to find all the Transformers ships is to do a Tag Search within each of the different Transformers subfandoms (and I know there are a lot) and then combine the lists of ships you find for each. And then be sure to visit the tag works page for each resulting tag to get the actual number of works, as discussed above. I also discussed other ways to get the find the top relationships here, but I think they're all either less reliable or more arduous than this method, at least for a big fandom like Transformers.

Best of luck!

[eddiediaaz]

Hi! Would it be possible to post a tutorial of how you created the white text in this set /post/695221752725422080/buckpendragon-911-verse-coc-week-day-1 thank you :)

hiii! you mean the text in the first gif, right? it's actually a pale green so i hope that's what you meant 😅

i somehow still have that psd so i was able to go grab the exact settings for the two text layers used here:

(if you meant the little white text, it's simply the font candara with different values of tracking/letter spacing)

the font i used is called letter magic, and i've given my bare text a bit of warp (right click ont the text layer > warp text > style: twist). by the way, the color of the text doesn't matter, so no need to pick one.

BASE LAYER

first, put the text layer's opacity to 100%, and the fill to 0%. the text will become transparent, it's what we want. then double click on the layer to get to the layer style options. you'll want to add a drop shadow, a color overlay, and a thin stroke:

DUPLICATED LAYER

i found the stroke a bit too thin on my gif, so i duplicated the base layer (right click on the layer > duplicate layer > destination should be the same canvas), put its opacity to 50% and kept to 0% fill. and disable the drop shadow and color overlay by clicking on the little eyes on the layer:

voilà :)

[dengswei]

Hii you're so talented!! i wonder if you could explain how you did this gif effect with the squares? and do you have any tips on colouring because yours is always top notch <3333

heyy thank you so much 🥹 and of course! i've never really done a tutorial before but i'll try my best to explain it in a way that makes sense 😅

so i start off with making my two gifs seperatly and colouring them as i normally would, once i've done that i load both gifs into the same project and once i've done all that i started on the grid part:

now go to view -> add guides and this window should pop up:

(it's was so daunting at first when i saw this i was like ????? and started putting in random numbers and was like oh that's how this works 🤣)

here's the settings i used for my gif which is 540px x 500px in size with 5 squares x 4 squares: (if you want more or less you just have to play around with it)

once you've done that it should look something like this:

now the next part is really up to preference again: add a vector mask onto the gif that's above the other one like this: (ignore the name of my folder that is irrelevant 🤣)

and then i used the rectangle select tool (this is because the rectangle select should lock onto the grid squares making it easier to erase certain sections) + a black brush tool to erase the squares to show the other gif that's underneath (you can reposition both gifs to your liking which is what i did)

before & after:

so my vector mask looks like this afterwards

(you don't have to do the squares so close together like i did it was just how i liked it & because of the scenes i had chosen that mine turned out this way)

now onto the grid lines: i used the line tool with these settings

just like with the rectangle select tool the line tool should lock onto the grid line you want to redraw, do this for every line that you want/have for your grid & once you're done go to view -> clear guides and it should look something like this: (added a version with just a black background so it can be seen a little easier)

(i'm ngl idk why my lines ended up kinda faded and not white 🤣 i think it might be because i used a white fill instead of white stroke but it doesn't really matter to me because i got my ideal outcome anyway 🤣)

bonus step: you can stop here if you'd like but i wanted my lines to match my colouring & my intended typography so i put all my line layers into a folder and set the mode to difference & added a yellow fill layer with a clipping mask, like this:

and it should look like this:

you can also play around with the opacity of the lines too which is what i tried out but i prefered for my set the lines being at 100% opacity but it's really up to you with what you want to play around with

now once you're happy with everything merge those layers together (make sure they have the same amount of frames first before merging them) and either save as it is or add some typography like i did and you should end up with this:

for tips when it comes to colouring it really depends on what you're colouring, if you want to manipulate the colours as much as i do i recommend choosing a colour within the scene so you're not having to change too much, or finding scenes that have colours that can be manipulated more easy (any colour that aren't skin tones, unless you're working with red or yellow like i did here, i chose yellow because one of the outfits in the gif was yellow toned and it looked better with the gifset being yellow than my original colour which was blue), also looking for scenes were the people in it don't move as much also is a big help!

i hope this helps :) feel free to ask more questions if you didn't understand or want some more tips i honestly don't mind!

[murfeelee]

Finding Private Posts In X-Kit's Mass Editor (2024)

I got 2 different asks about this in 2 months, so I'm just gonna post this publicly.

As of 2024, there's 2 different New X-Kits. The one you'll need for this is the older one found here: https://new-xkit-extension.tumblr.com/

Download whichever one you need (I use Firefox):

Once installed, you'll see it on the dashboard's bottom left:

Click it and get a popup box (click Get Extensions):

And scroll down to Mass+:

Once installed, you'll see the Mass Post Editor on the dashboard's bottom right:

When you click it, it'll take you to a page that looks kinda like Tumblr's Archive:

Unfortunately, MPE's not as intuitive as the Archive, where you can filter/toggle Private & Public posts the way you can with Drafts & Queued posts. Instead, squint, and you'll find where it says:

Select by type: private Aa ?

Click private, and it'll tell you how many Private posts you have, and mark them with a blue overlay and a round key lock:

If you have tons of posts, you'll unfortunately need to scroll a lot.

You can click each Private post to open them in a new tab and read/edit them.

So yeah, that's how I view Private posts using X-Kit!

If there's a better way, let us know!

[awingedllama]

Hi Anna, I know you mentioned a while ago that you had made your own lighting mod so I was wondering if you have a tutorial for how to go about that?

there used to be a great in-depth tutorial for this by lunar-nelfean (which is how i learned to do it, so all credit for the discovery to them), but since they've deactivated their blog i'll make a quick one. for posterity. and google results

Sims 4 Edit World Lighting Tutorial

Navigate to Program Files (x86)\Origin Games\The Sims 4. If you want to change the lighting for an expansion pack world, go to the Delta folder and choose an EP folder. If you want to change the Base Game lighting, go to Data\Shared\Worlds\Areas. BGEngagement 0-3 is Newcrest, all worlds with a GD prefix are Willow Creek and SO prefix is Oasis Springs.

Copy the .world files you want to edit, as you can't save files in your game folder. I recommend saving a backup of the original EA ones too, just in case you don't like your edits and want a clean slate, or want to go back to EA lighting without having to repair your game.

2. Open "World Color Timeline" and click Edit Items.

3. From there, you're off to the races. Change any values you like. The names are mostly are self-explanatory as to what they change. Sometimes you notice a huge difference on changing values, and other times you might not. Some effects (like bloom) are only visible when you have Post Processing Effects on in your settings. You just have to experiment!

It's a bit difficult to visualize what each one of those colors is going to look like in game, so back when I was still planning to make a lighting mod, I spent way too much time making a sheet to help visualize what each color looks like at each time of day for certain values. The top colors are EA's original for San Myshuno, and the bottom is basically a recolor I made by just changing the hue/saturation (I used the eyedropper in Photoshop to get the RGB and changed the values in S4S to match). Hopefully this can help you get a rough idea of what decimal number corresponds to what time of day.

4. Each 'World Timeline Color' represents a season, hence the 4 entries in the box. When you're done editing, if you want the same values for each season, delete the bottom 3 World Timeline Color entries, then copy your edited one 3 times. Change the PointofInterestID. Make sure you have 00000000, 00010000, 00020000 and 00030000. When you're ready, save!

5. To quickly copy your custom lighting to the other neighborhood files for the world, batch export the World Timeline Color file.

Open another neighborhood, click on World Timeline Color and click Import.

6. Save, repeat for the rest of the neighborhood files, and you're done! Drag your edited files into your Sims 4 game folder, replace the existing ones, and go in game to see your changes :D

i hope this was easy to follow. if you have any questions I'll do my best to answer them, just shoot me a message!