#chromatic variability

[francescointoppa]

Esempi della variabilità cromatica dell'Orchidea maggiore (Orchis purpurea Huds., Orchidaceae)

[letterboard-fantasy]

Essence Project ♡ The Azidoazide Laboratory [ FINISHED! ]

"It takes a genius to save the world. Unfortunately, you are not a genius. Who could have guessed?"

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A-Tiers: Hydroxide [Elias Azalea] and Sulfuric Acid [Taylor Misgoff]

[ Elias Azalea // Jiaoqiu ( @m1ss-detective ) ] and [ Taylor Misgoff // Alice ( @/citrinitxs ) ]

B-Tier: Lead (IV) Oxide [Dennis Wylder] // A-Tier: Sodium Hypobromite [Sadie Addison]

[ Sadie Addison // Beshparmak ( @blacksitebazaar ) ] and [ Dennis Wylder // Nestor Morgan ( no blog ) ]

B-Tier: Materia Lab [Hannah Windwaker] // A-Tier: Mercury [Milo Mirari]

[ Milo Mirari // Chiaki ( no blog ) ] and [ Hannah Windwaker // Alice De-Ross ( @/musedevoted ) ]

B-Tiers: Acetate [Pharoah Rivers] and Nitrous Oxide [Melody Phonics]

[ Pharoah Rivers // Alexander ( @ask-the-chief-heads ) ] and [ Melody Phonics // Emilia Parfum ( no blog ) ]

B-Tiers: Chromate [Dynasty Die] and Potassium Iodide [Cocolia Maddison]

[ Dynasty Die // Fitzroy Adams ( @pressure-ask-fitzroy ) ] and [ Cocolia Maddison // Octo ( @ask-octo-pressure ) ]

B-Tiers: Sodium Chloride [Keith Winestein], Sodium Bicarbonate [Grace Stonefield], and Acetic Acid [Amy Winters]

[ Keith Winestein // Quinn Stewart ( @idv-thespians ) ] , [ Grace Stonefield // Beth Anastazja ( @ask-idv-baker ) ] , and [ Amy Winters // Elaine ( @idv-thespians ) ]

════ ✿ ══╡°˖✧ ✿ ✧˖°╞══ ✿ ════

// hii everyone. surprise! I finally finished the skins for this essence, I've got the script of events all written out, both s-tier skins designed, and just... generally somewhat complete with this essence.

// this marks... the second complete murder mystery essence of mine! ain't that something? i don't have much to say here so, I'll leave you guys to look at the skins, read and just. do whatever you please, I suppose?

// there is just one more thing though. Even though things aren't how they might seem...

Can you figure out who the killer and unknown variable are? ♡

[adainerie]

D&D Chromatic dragon mama_ic genders

Mamaredragonic A gender related to being a mama/mother red dragon sitting on her eggs; resembling a red dragon sitting on her eggs; emblematic of the protectiveness a red dragon may have for her eggs. High and proud, like the mountains where red dragons were known to make their lairs. Not specific to dragonkin, but was coined with them in mind.

Mamabladragonic A gender related to being a mama/mother black dragon sitting on her eggs; resembling a black dragon sitting on her eggs; emblematic of the protectiveness a black dragon may have for her eggs. Dark, marshy, and full of life, like the swamps where black dragons were known to make their lairs. Not specific to dragonkin, but was coined with them in mind.

Mamabludragonic A gender related to being a mama/mother blue dragon sitting on her eggs; resembling a blue dragon sitting on her eggs; emblematic of the protectiveness a blue dragon may have for her eggs. Hot, dry, and brutal, like the deserts where blue dragons were known to make their lairs. Not specific to dragonkin, but was coined with them in mind.

Mamagredragonic A gender related to being a mama/mother green dragon sitting on her eggs; resembling a green dragon sitting on her eggs; emblematic of the protectiveness a green dragon may have for her eggs. Fresh, cool, and mysterious, like the forests where green dragons were known to make their lairs. Not specific to dragonkin, but was coined with them in mind.

Mamawhidragonic A gender related to being a mama/mother white dragon sitting on her eggs; resembling a white dragon sitting on her eggs; emblematic of the protectiveness a white dragon may have for her eggs. Cold and frosty like ice or the tundra, where white dragons were known to make their lairs. Not specific to dragonkin, but was coined with them in mind.

Mamabrowdragonic A gender related to being a mama/mother brown dragon sitting on her eggs; resembling a brown dragon sitting on her eggs; emblematic of the protectiveness a brown dragon may have for her eggs. Arid and brutal like the desert, where brown dragons were known to make their lairs. Not specific to dragonkin, but was coined with them in mind.

Mamapurdragonic A gender related to being a mama/mother purple dragon sitting on her eggs; resembling a purple dragon sitting on her eggs; emblematic of the protectiveness a purple dragon may have for her eggs. Dark and forboding, like the Underdark where purple dragons were known to make their lairs. Not specific to dragonkin, but was coined with them in mind.

Mamagraydragonic A gender related to being a mama/mother gray dragon sitting on her eggs; resembling a gray dragon sitting on her eggs; emblematic of the protectiveness a gray dragon may have for her eggs. Temperate and steep, like the mountains where gray dragons were known to make their lairs. Not specific to dragonkin, but was coined with them in mind.

Mamayeldragonic A gender related to being a mama/mother yellow dragon sitting on her eggs; resembling a yellow dragon sitting on her eggs; emblematic of the protectiveness a yellow dragon may have for her eggs. Hot and arid like the deserts where yellow dragons were known to make their lairs. Not specific to dragonkin, but was coined with them in mind.

Mamapindragonic A gender related to being a mama/mother pink dragon sitting on her eggs; resembling a pink dragon sitting on her eggs; emblematic of the protectiveness a pink dragon may have for her eggs. Variable and adaptable, since pink dragons were said to make their lairs just about anywhere. Not specific to dragonkin, but was coined with them in mind.

[draconesmundi]

Dragons in movies can at times be colorful, what morphs exist within grey wyverns, either natural or artificially bred? And what deformities would Dracones Mundi’s Caraxes’ actor have to give him something similar to the show appearance?

They are highly variable in colour; blue, yellow, red and black to blend in with various rocks. The majority of them are grey (hence the name) but greyish-yellow, a desert-sandstone-orange, a slate blue, whatever helps them blend in to local stone! They aren't as flamboyantly coloured as glitterdrakes (which come in dazzling, highly chromatic jewel tones) but that's where digital colouring comes in.

Like the cry of a red tailed hawk being used for a bald eagle, large dogs being used as wolves, cornsnakes as venomous snakes, black racer snakes for black mambas, those bearded dragons in the Holes movie, horses for unicorns, lions for sabre toothed tigers - a lot of actor animals need some editing to appear as their characters, and are a different species from whatever the film says they are.

I'm not sure about Caraxes - I am not familiar with him beyond some gifs (as I haven't watched House of the Dragon), and I am not an expert on deformities and pathologies.

[crazy-pages]

OKAY THE EVOLUTION OF SLIT PUPILS IS ACTUALLY WAY MORE COMPLICATED THAN THIS AND IT'S SO COOL

(side note: this stuff is still very much imperfectly understood, but this is what we do know about it)

So the pupil is slit along the vertical axis because that provides better resolution along the horizontal axis than the vertical axis, where cats and snakes are focused, yes. But that's not why the pupil is slit. See if the goal was preferential vision along a certain axis the pupil would be rectangular like a goat's. A slit doesn't actually improve horizontal vision, it just makes vertical vision worse, as compared to a circular eye of the same size.

So what's the benefit that's worth making vertical vision worse?

Well, let's talk about what chromatic dispersion is. Chromatic dispersion is when lens have different indices of refraction for different wavelengths (so they might bend red light the least, green more so, and blue even more so). This causes the lenses to focus light of different wavelengths to different focal positions. So if you place a detector (or an eye's rods and cones) at the focal position for green light, blue light might focus to a position in front of the detector and become blurry, and red light might focus to a position behind the detector and become blurry.

And now let's talk about multifocal lenses! Multifocal lenses are kind of like bifocal glasses, different parts of the lens focus on different distances. Specifically, parts of the pupil at different radii from the center have different focal distances. And this can be useful for correcting against chromatic aberration. So the center of the eye might specifically focus green light to the pupil, then a band around the center might focus red light to the pupil, and a final ring might focus blue light to the pupil. (Note: Each of these bands focuses light from the entire scene in front of them, not just light from different angles.)

This means each wavelength of light is getting well focused by part of the eye. There's still blurry poorly focused light on the eye's rods and cones, a red-focusing center conveys blurry green and blue to them as well as crisp red. But brains are pretty good at processing out that blurry mess and leaving behind just the crisp well-focused light, allowing the animal to see a wide range of colors more effectively.

However! Creatures which need to see in low-light conditions need very large pupils to maximize the amount of light that goes in them. But they also benefit from being able to constrict those pupils in bright light, or when their eyes are relaxed so they can take in an entire scene rather than a single object. But if those eyes constricted like B below, the outermost focal regions would be obscured, and the creature would suddenly find themself unable to see blue clearly!

So creatures with multifocal lenses which need to see color in lowlight conditions instead constrict their eyes as slits! The slit allows them to keep all their focal regions in play, preserving high quality color vision, while still allowing for variable low/high-light vision. And the direction of the slit is then determined by the fact that vertical slits add blur at the top and bottom of your vision, and horizontal slits add blur at the sides of your vision (for technical reasons related to the diffraction of wave-like light).

Now this isn't the full story. Some cephalopods have horizontal slits or W-shaped pupils, despite mostly being monochromats (their cones only see one color). Some cetaceans are moochromats and have U-shaped pupils. There are also a couples snakes noted in the paper which have monofocal eyes and circular pupils, and the lesser bushbaby and the slow loris (both very cute, worth looking up) have multifocal eyes with slit pupils ... despite being monochromats.

So this stuff still isn't fully understood. It may be that some species developed multifocal eyes with slit pupils to preserve low-light color vision, and then later lost their color vision without losing the adaptations built around that color vision. There may be evolutionary benefits to slit pupils we don't fully understand yet (particularly in water, it looks like). And there may be species which could benefit from slit pupils but haven't evolved them for whatever reason. This stuff is complicated.

But all this is to say that the hot cat lady from Treasure Planet would not necessarily have to hunt at eye level.

[integrating-sphere]

Introduction Accurate brightness measurement is crucial in the evaluation and optimization of modern lighting products and display technologies. The LISUN LMS-6000L Portable CCD Spectroradiometer, widely regarded as a highly precise brightness tester, is an essential tool for professionals assessing the luminance and color characteristics of various light sources, including LED bulbs, panel lights, and TV screens. This paper provides an in-depth exploration of the LMS-6000L’s capabilities, measurement parameters, and practical applications, supported by detailed data tables and analysis. LMS-6000 Portable CCD Spectroradiometer Instrument Overview: LISUN LMS-6000L Brightness Tester The LISUN LMS-6000L is a portable, high-accuracy device designed for field and laboratory measurements. It offers an impressive luminance range of 0.1–500,000 cd/m² with ±0.1 cd/m² accuracy, making it suitable for testing a broad spectrum of lighting products and display screens. The instrument provides a comprehensive suite of photometric and colorimetric parameters, including: • Luminance (cd/m² and fL) • Correlated Color Temperature (CCT) • Chromaticity coordinates (x, y) • Deviation from the blackbody locus (Duv) • Color Rendering Index (CRI, Ra) • TM-30 color fidelity and gamut indices (Rf, Rg) • Color purity and dominant wavelength • Peak wavelength and spectral distribution These measurements offer a holistic view of a light source’s performance, aiding in product development, quality control, and regulatory compliance. Experimental Setup and Measurement Methodology To demonstrate the LMS-6000L’s capabilities as a brightness tester, we tested various light sources: •  LED Bulbs (Warm White, Cool White) •  Flat Panel Lights •  RGB LED Strips •  TV Screens (LCD, OLED) Each sample was placed in a controlled environment to minimize external light interference. Measurements were taken at a fixed distance, ensuring consistent angular capture for reliable results. Results and Analysis The following tables present key measurement results for each light source: Light Source Brightness (cd/m²) Brightness (fL) CCT (K) Duv CRI (Ra) TM-30 Rf TM-30 Rg Color Purity Peak Wavelength (nm) Dominant Wavelength (nm) Warm White LED 1200 350 3000 0.002 82 90 98 15% 580 589 Cool White LED 1800 520 6500 0.001 85 92 97 10% 460 470 Flat Panel Light 2500 730 4000 -0.001 88 94 99 12% 540 545 RGB LED Strip 800 230 Variable N/A N/A N/A N/A 70% 630 (Red) 620 LCD TV Screen 400 116 6500 0.002 95 96 102 8% 450 455 OLED TV Screen 1000 290 5500 -0.003 98 99 103 5% 520 525 Discussion The results illustrate the LMS-6000L’s effectiveness as a brightness tester across different lighting technologies. The warm white LED, for instance, displayed a high brightness value with moderate CRI, suitable for residential applications. Meanwhile, the OLED TV screen achieved outstanding color rendering (CRI 98) and near-perfect gamut coverage (Rg 103), indicating its suitability for high-end visual displays. The LMS-6000L’s capability to measure Duv helps manufacturers fine-tune LED spectra to minimize perceptual color shifts, while TM-30 indices provide a more detailed view of color accuracy and saturation than traditional CRI metrics. The instrument’s broad luminance range makes it adaptable to dim ambient lights and ultra-bright displays alike. Conclusion The LISUN LMS-6000L Portable CCD Spectroradiometer is a powerful, versatile brightness tester that excels in evaluating LED lights, flat panels, and display screens. Its wide range of photometric and colorimetric measurements enables precise analysis and optimization of light source characteristics, making it an indispensable tool for researchers, manufacturers, and quality control engineers. Read the full article

[digitalprintplus]

The Tangibility of Thought: Elevating Brand Identity through Precision Printing in the Digital Age

In a marketplace ever saturated with ephemeral pixels and algorithmic noise, print's deliberate tactility continues to emerge not as an anachronism but as a strategic renaissance. At Printplus, New Zealand’s consummate provider of comprehensive printing solutions, we do not merely transfer ink to substrate—we transmute ideas into artefacts of permanence and persuasion.

The Intellectual Gravitas of Printed Media

Consider the modern brochure. In lesser hands it is a perfunctory marketing relic. In ours it becomes a narrative vessel—a curated anthology of your brand’s ethos, ambitions, and sensory identity. Through our specialised Brochure Printing in Auckland, we deploy a synthesis of design intelligence, chromatic fidelity, and material precision to craft communicative instruments that engage not merely the eye but the intellect.

Leaflet Printing: The Art of the Strategic Whisper

Unlike digital intrusions that demand attention, Leaflet Printing is the art of subtle seduction. A masterfully designed leaflet does not shout; it resonates. With Printplus, every leaflet is not a mass-printed afterthought—it is a meticulously calibrated communique. We align typography with psychology, colour with cognition, and layout with logic, ensuring your message pierces through cognitive clutter with surgical clarity.

Beyond the Press: A Holistic Print Philosophy

We operate beyond mere production—we curate outcomes. Our end-to-end print architecture incorporates

Offset and Digital Hybridisation for tailored scalability

Eco-conscious Paper Sourcing that marries aesthetics with environmental responsibility

Data-driven Variable Printing for hyper-personalised marketing

Rapid-turn Prototyping to test and perfect before committing to volume

We are not your printer. We are your co-authors in tactile storytelling.

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With a proud domicile in Auckland, Printplus reverberates through every suburb, region, and enterprise that seeks enduring brand resonance. From Leaflet Printing for local campaigns in Queenstown to elaborate Brochure Printing projects in Auckland’s commercial heart, our reach is national, our impact indelible.

Closing Impression

In an era increasingly defined by fleeting impressions and click-throughs, the judicious use of print is not just effective—it is revolutionary. At Printplus, we invite you to transcend the ephemeral and embrace the enduring. Let us help you inscribe your narrative not on screens but in the minds and memories of your audience.

Print with purpose. Print with Printplus.

[leviathansgrasp]

End of week report.

This week has concluded and our starter project is in its final state.

Yesterday the 25th we studied blueprints and particle effects, creating custom blueprints with light and particles as shown in the fire in my shrine. To do this we created a base blueprint and used the legacy fire cascade particles.

Here is shown the blueprint I have made using the cascade fire particle, Paragon aftermath effect for realistic cinders and the point light feature to give the asset its own light source. While the cascade fire has its own light source, using multiple instances can create a visual glitch where the shadows procedurally created by Lumen, Unreal Engines lighting system can cause flickering and unstable shadow effects. To remedy this we go into the particles edit menu.

Here I've highlighted that in the particles effects menu I have set the flame effects light parameter to false so it wont generate its own light effect, in doing so combined with my point light in the blueprint means that the point light will be the main source of light which won't result in the shadow glitch.

The next step is to make the flames in my blueprint flicker like a real flame, to do this we create a basic script known as an event graph. Here I've attached a node action to the event begin node, my first action is to set the intensity of the point light, I have it set to 7.5 lumens, the next node added is duration which is set to 0.1 seconds and is also made into a variable meaning it can be altered and randomized using auto generated values, such as changing the duration of the lights intensity on a scale of 0.1-0.5 or whatever is preferred to the user.

Seeing as this code is very basic and rudimentary for a flame flickering effect I simply took my two action nodes and duplicated them up to five times, using connections to string it all together and then looped it.

What we resulted in was a very simple and realistic flame effect that I could use for my shrine, I also constructed a basic brazier to showcase my flame.

After we had all of the basic elements of our shrine completed we then cleaned it up and enhanced it using a process known as 'Post-Processing' its a common function used in cinematography, game design and many other visual editing media. For videogames its used to shift visual effects and add in effects such as film grain, chromatic aberration, lens flares and bokeh into the scene as well as shifting color values, contrast, brightness etc.

Here in my shrine I've used post processing to adjust the overall color balances, adding warmer tones, lowering the cool tones and I took the creative liberty of adding some lens flares and bokeh to illustrate a realistic sense of light passing through my shrine walls holes.

Here is an example of what my shrine looked like before I added the post processing effects, In my own personal opinion adding the post processing enhanced the overall image quality and gave it a life of its own.

Here is shown what he post processing looks like in the editor menu, its a simple cube that typically only exists inside the cube. The shown effect in its default is known as 'auto exposure histogram' which does a simulation of the human eye when exposed to light. While this is nice we need to alter the exposure for our own purposes, but first to make sure we can see the effect properly we need to make the volume global. To make the effect global you have to enter the volume settings as shown below.

After this is selected to be true, the post processing effect becomes universal instead of within the confines of the cube. Now this can be useful when it isn't unbound, if you wished to have two post processing effects in one level you would just need to scale and shape the base cubes and place them as needed and so long as the player is within the confines of either cube the effects will be seen separately, but seeing as were only making a single level and need a global effect we made the volume unbound.

After we've completed those prior tasks we can adjust the exposure, by changing the metering mode from Auto exposure histogram to Manual and turning the physical camera application to false it allows us to alter the settings of the effect to our specific desires such as changing the exposure compensation to the desired brightness.

This concludes this weeks project in basic understandings of Unreal Engine and using pre-made assets to construct a scene. From here on out I will be posting weekly updates to condense my posts and allow for better record keeping, only posting progress shots daily or any other necessary updates.

[industryinsightsandanalysis]

The Wood Preservatives Market: Trends, Drivers, and Future Outlook

The wood preservatives market is experiencing notable growth, driven by the increasing demand for long-lasting, durable wood products in various industries. This article explores the key trends, market drivers, challenges, and future prospects of the wood preservatives market, highlighting its significance in extending the lifespan of wood and enhancing its performance.

Applications of Wood Preservatives

Wood preservatives are chemical substances used to protect wood from biological threats such as decay, fungi, insects, and marine borers. These preservatives can be classified into several types based on their composition and application methods:

1. Oil-based Preservatives: These include creosote and pentachlorophenol, which penetrate deeply into wood, providing excellent protection against decay and insects. They are commonly used for railroad ties, utility poles, and marine pilings.

2. Water-based Preservatives: These include chromated copper arsenate (CCA), alkaline copper quaternary (ACQ), and copper azole (CA). Water-based preservatives are widely used for residential, commercial, and agricultural wood structures due to their effectiveness and lower environmental impact compared to oil-based preservatives.

3. Organic Solvent-based Preservatives: These include azoles and permethrin, which offer protection with minimal environmental and human health risks. They are often used in applications requiring less intrusive methods, such as for garden furniture and decking.

Key Market Drivers

Several factors are propelling the growth of the wood preservatives market:

1. Increasing Construction Activities: The expansion of the construction industry, particularly in residential and commercial sectors, is driving the demand for treated wood products. Wood preservatives are essential for extending the lifespan and maintaining the structural integrity of wood in construction.

2. Urbanization and Infrastructure Development: Rapid urbanization and infrastructure development in emerging economies are leading to a surge in demand for wood products. Treated wood is preferred for its durability and resistance to environmental factors.

3. Rising Awareness of Wood Preservation: Increased awareness about the benefits of wood preservation, such as protection against decay and pests, is encouraging the use of wood preservatives. This is particularly important in regions with high humidity and pest prevalence.

4. Environmental Concerns: Sustainable forestry practices and the use of eco-friendly wood preservatives are gaining traction. The development of less toxic and environmentally benign preservatives is aligning with the growing emphasis on sustainability.

Challenges and Restraints

Despite the numerous advantages, the wood preservatives market faces certain challenges:

1. Environmental and Health Concerns: The use of certain preservatives, particularly those containing arsenic and chromium, has raised environmental and health concerns. Regulatory restrictions on these substances are impacting their usage and driving the need for safer alternatives.

2. High Cost of Treatment: The cost of wood treatment with preservatives can be high, which may deter some consumers and builders from using treated wood, especially in cost-sensitive markets.

3. Disposal Issues: Treated wood waste poses disposal challenges due to the presence of toxic chemicals. Proper disposal methods and regulations are necessary to mitigate environmental impact.

4. Performance Variability: The effectiveness of wood preservatives can vary based on the type of wood, environmental conditions, and application methods. Ensuring consistent performance is crucial for market growth.

Regional Insights

The wood preservatives market is witnessing growth across various regions:

1. North America: The North American market is driven by the demand for durable wood products in construction and infrastructure projects. The region's focus on sustainable building practices supports market growth.

2. Europe: Europe is a significant market for wood preservatives, with strong demand from the construction and furniture industries. Stringent regulations on chemical usage are fostering the development of eco-friendly preservatives.

3. Asia-Pacific: The Asia-Pacific region is expected to witness the highest growth rate due to rapid urbanization, industrialization, and infrastructure development. Countries like China and India are major contributors to the market.

Request for a sample of the report browse through – https://univdatos.com/get-a-free-sample-form-php/?product_id=27181

Future Outlook

The future of the wood preservatives market looks promising, with several trends shaping its growth trajectory:

1. Development of Eco-friendly Preservatives: The development of eco-friendly wood preservatives, such as borates and organic-based formulations, will be a key focus. Innovations that minimize environmental impact and enhance sustainability will gain traction.

2. Technological Advancements: Continuous research and development efforts will lead to the introduction of advanced preservatives with superior performance. Improved application methods and treatment technologies will drive market growth.

3. Expansion into New Applications: Wood preservatives will continue to expand into new applications, including landscaping, outdoor furniture, and recreational facilities. Their versatility and protective benefits will drive adoption in these sectors.

4. Collaborative Efforts: Collaboration between industry players, research institutions, and regulatory bodies will be essential to address challenges and promote sustainable growth. Joint efforts in research, development, and implementation will drive market innovation.

In conclusion, the wood preservatives market is set for substantial growth, driven by the increasing demand for durable and long-lasting wood products. While challenges remain, continuous technological advancements and sustainability initiatives will ensure a bright future for the wood preservatives market, contributing to improved wood preservation practices and enhanced wood performance across various applications.

Contact Us:

UnivDatos Market Insights

Email - contact@univdatos.com

Contact Number - +1 9782263411

Website -www.univdatos.com

[datubooty]

“maybe the cones in my eye are more special than the average bear’s” is sparkling biological essentialism but for whatever reason i have the flavor of chromatic perfectionism that makes my brain sad when the fabric doesn’t match the reference… and it gets worse when you remember that lighting conditions are variable enough that they will almost never match 😑🙂‍↕️🙃

[fmpfmpfmpfmpfmp]

Unreal Engine: changing post processing effects in-game

Any post process changes mid-game are handled by the player's camera. So I tried the Make PostProcessSettings and Set members in PostProcessSettings nodes:

This didn't do anything though. After some testing I found out you had to manually add the settings you wanted on the Make PostProcessSettings node:

Then you had to set the post process settings like a variable:

This is the result of me toggling some chromatic abrasion:

It looks ok, but it's a bit sudden. I experimented with a timeline and a lerp node to get this effect:

I think both approaches could be used in my game. Either way, I'm very happy with this outcome- I think it's as good as it needs to be and I can apply this to any other post processing filter I want.

[letterboard-fantasy]

Essence Project ♡ The Azidoazide Laboratory

There's an infinite amount of worlds and universes out there, ones we can't reach with our own knowledge. There's an infinite amount of things to learn, places to discover, creatures to explore... but you? YOU are finite.

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Murder Mystery Case Two // The Azidoazide Laboratory Incident

???? ⊹₊⋆ S-Tier // Arsenic

[ (REDACTED) UNTIL REVEAL // pre-chosen slot ]

I have to thank you for being so... gullible, friend. Thank you for finishing the work we started.

A unknown variable in the investigation.

 KILLER ⊹₊⋆ S-Tier // Ammonia

[ (REDACTED) UNTIL REVEAL // randomized slot ]

I've found something. A symbol, a paper, a wish granted to me from beyond the veil to free us from our own prison. Won't you help me?

The killer's true identity, and the puppet behind the Azidoazide murders.

PROTAGONIST ⊹₊⋆ A-Tier // Sodium Hypobromite

[ Sadie Addison // Beshparmak ( no blog. YOUUUU. /j ) ]

The Azidoazide laboratory is the most famous and influential lab in all of mankind's recent history... anyone who is worth a damn in the science community wants to make to these labs! And... we got a field trip for free!!

The protagonist of the story, and a college student on a field trip to the laboratory.

 ⊹₊⋆ A-Tier // Sulfuric Acid

[ Taylor Misgoff // Alice ( @/citrinitxs ) ]

It's interesting... this laboratory is famous for many things... researching cures for cancer, cures for illness, research into black holes... I wonder what other secrets they're hiding.

A college student on a field trip to the laboratory, playing "detective" during the case.

 ⊹₊⋆ A-Tier // Hydroxide

[ Elias Azalea // Jiaoqiu ( no blog. you. /j) ]

I always wondered if there was more to my purpose than meets the eye. I've always wanted to help people, to save people, yet I can't help but feel like... I've failed you all.

A college student on a field trip to the laboratory.

 ⊹₊⋆ A-Tier // Mercury

[ Miles Mirari // Chiaki ( @/snow-capped-graphics ) ]

They say that you're either born with the capability to change the world or you'll never be able to... it's a sad mindset. I think anyone can change the world despite their standing, as long as they just try, right?

A college student on a field trip to the laboratory.

 ⊹₊⋆ B-Tier // Materia Lab

[ Hannah Windwaker // Alice De-Ross ( @musedevoted ) ]

The flow crystal diamond is rather unstable... those kids... it's reacting to something on them. Another crystal diamond? No... that can't be... right?

A scientist who works within the walls of the Azidoazide laboratory.

 ⊹₊⋆ B-Tier // Acetate

[ Clyde Rivers // Alexander ( @ask-the-chief-heads ) ]

Everything in earth works like a linear process. We wake up, eat, commit our daily necessities, and then we fall asleep, and the cycle begins anew, until death worms its way into the process and brings it to an abrupt end. So, why do we keep moving forward?

A scientist who works within the walls of the Azidoazide laboratory, with a notably bleak outlook on life.

 ⊹₊⋆ B-Tier // Nitrous Oxide

[ Melody Phonics // Lollita Wednesday ]

The lab is quite lively today... the next generation of scientists is a bright bunch... now let's see... where'd the strange man's documents go..?

A scientist who works within the walls of the Azidoazide laboratory.

INITIAL VICTIM ⊹₊⋆ B-Tier // Lead (IV) Oxide

[ Dennis Wylder // Nestor Morgan ( no blog. YOU. ) ]

Sadie's pretty excited about this trip... we both desired to be the world's greatest scientists, however... we became pawns in a scheme far beyond our own knowledge...

A college student on a field trip to the laboratory, best friend of Sadie, and the first victim of the killer.

 ⊹₊⋆ B-Tier // Chromate

[ Dynasty Die // Fitzroy Adams ( @pressure-ask-fitzroy )]

What an exciting school trip! I've always been curious about what goes on in Azidoazide's walls... this is so exciting!!! I wonder what things we'll learn today...?

A college professor on a field trip to the laboratory.

 ⊹₊⋆ B-Tier // Potassium Iodide

[ Cocolia Maddison // Octo ( no blog ) ]

These kids are my responsibility, and it is up to me to make sure they learn and grow as people... so how... how did things end up like this?

A college professor on a field trip to the laboratory.

 ⊹₊⋆ B-Tier // Acetic Acid

[ Amy Winters // Elaine ( @idv-thespians ) ]

I'm only here because of my parent's wishes... admittedly, this place sounded kind of cool from just the public knowledge... I just wonder if there's something else better suited for me without disappointing my parents wishes...

A college student on a field trip to the laboratory.

 ⊹₊⋆ B-Tier // Sodium Chloride

[ Keith Winestein // Quinn Stewart ( @idv-thespians ) ]

This lab is no place for children... I have no clue what the director was thinking, approving a college school trip here. I mean, there's things going on here that absolutely cannot be seen by outsiders. Things are bound to go wrong.

A scientist who works within the walls of the Azidoazide laboratory, who really thinks the college students shouldn't be here.

 ⊹₊⋆ B-Tier // Sodium Bicarbonate

[ Grace Stonefield // Beth Anastazja ( @ask-idv-baker ) ]

Science is like baking. Equal parts of a and b to create product c! But... what happens when you add parts of d and f into the mixture? I've always wondered about that.

A college student on a field trip to the laboratory.

Essence Project ♡ Rules and Additional Information

This essence is the follow-up location to the Emerald Masquerade essence! This one takes place inside of a famous in-universe laboratory, however.

Similar to its sister essence, there will be mentions and discussions of death and murder, and its main s tier (Ammonia) will be chosen via the spin of a wheel! In addition, deaths will be chosen through the wheel, however, two characters will be excluded from being selected as the killer. Who those two characters are? You'll have to find out.

Due to the age range of the essence, every character here will be over 18, and most of them are canonically over 21. Therefore, if possible, I'd like all muses to be at least 18 years old, or, an adult.

To ensure everyone gets a chance to participate, everyone is limited to two muses. To reserve a slot, you can contact me either in my inbox or on Muns Discord. Also, if you want to use an OC or muse who does not have a blog (for OCs, a reference of some kind is preferred), do not worry! I'll still take them, and when the essence is finished and the skins come out, I will simply DM or tag your main. To reiterate, I do not respond to discord DMs for these things unless absolutely necessary, and non-blog muses are allowed.

Happy murder mystery-ing? /j

[ukcameraclub1]

Exploring Versatility: Canon EF 75-300mm f/4-5.6 USM Lens

The Canon EF 75-300mm f4-5.6 USM lens stands as a testament to Canon's commitment to delivering high-quality optics for photographers seeking versatility and performance. This telephoto zoom lens is designed for Canon EOS cameras, offering a focal length range that makes it an excellent choice for various photographic scenarios.

The lens features a variable aperture of f/4-5.6, allowing photographers to adapt to different lighting conditions while maintaining a compact and lightweight design. This flexibility makes it a go-to lens for outdoor photography, sports events, wildlife shots, and even portraiture.

Equipped with Canon's Ultrasonic Motor (USM) technology, the autofocus system of the EF 75-300mm lens is not only fast but also nearly silent. This feature is particularly advantageous when capturing wildlife or in scenarios where a quiet operation is crucial. The lens's autofocus performance ensures that photographers can quickly and accurately focus on their subjects, capturing decisive moments with ease.

The Canon Mount Adapter EF-EOS R 75-300mm focal length range provides a substantial zoom capability, allowing photographers to bring distant subjects closer without compromising image quality. The lens's optical construction includes elements that help reduce chromatic aberration and deliver sharp, high-contrast images throughout the zoom range.

The Canon EF 75-300mm lens is an affordable option for photographers looking to expand their creative possibilities. Its compatibility with a wide range of Canon DSLR cameras makes it a valuable addition to any photography kit. Whether you are capturing the action on the sports field or the intricate details of distant wildlife, this lens empowers photographers with the tools needed to express their vision.

In conclusion, the Canon EF 75-300mm f4-5.6 USM lens is a versatile and reliable option for photographers seeking a telephoto zoom lens with excellent performance. Its blend of affordability, portability, and image quality makes it a popular choice among enthusiasts and professionals alike, showcasing Canon's dedication to meeting the diverse needs of the photographic community.

[riant-draws]

Thank you!! I'm assuming you're asking about all the effects... hopefully this makes sense, I love explaining my process but I'm not always the clearest and this was somewhat technical ^-^'

rambling below~

I painted Hunter and the void worm first, nothing too weird there. Then copy/pasted the layer they were on and put the copy through a filter in the G'MIC plugin (I use krita which comes preloaded with G'MIC, which is awesome and I should really use it more), the filter's just called "Water" and it creates the melting/dissolving effect. Using a gradient tool, I erased the bottom halves of the worm and Hunter on the melty layer to show the normal painting underneath, which is why their undersides aren't as distorted. This is probably most noticeable with the worm's eyes: about halfway down, they stop dissolving. To create the void fluid-esque effect above Hunter and the worm, I copied the melty layer and used a gradient map to change their colors to match void fluid, which luckily was pretty easy since it's just gold and black. Moved that layer behind the normal one and normal-colored melty one, then set it to a super bright blending mode to really make those yellows pop. It turned out even better than I expected!

Then I copy/pasted all of that (Hunter + worm) a couple times, tinted it yellow-orange, lowered the opacity a lot, moved them around, then set those new layers to the addition blending mode. This way, they're a bit brighter against the background, and that creates the ghostly effect.

Last main thing is the chromatic aberration, which is lot less fussy: I do that just by creating a new layer that basically flattens the entire image (krita's lovely "new layer from visible" button) and, well, do that again actually. Then I set those each to have only one color channel enabled in their layer's properties, then simply use the transform tool to make one a bit larger and one a bit smaller than the image. quick and dirty way to add a fun, variable lens effect (notice how it gets more distorted the closer you get to the edges of the frame)

haha thought this would be a short post but I got carried away ^-^" but yeah I don't often use filters and stuff this heavily, it was super fun though

rain world art month day 2 - swim

[abstracteddistractions]

Felipe Pantone ‘s “Subtractive Variability Compact”,” 2022,

Subtractive Variability Compact combines the manipulable aspect with the operation of the CMY model in which endless shades of the chromatic spectrum are obtained from the subtraction of light that happens when the three colors are combined in their different variations. The construction of the subtractive color model allowed the standardization of printing around the world and was quickly adapted to industrial means of production. Each historical moment is accompanied by the visuality that allows its technological development, with CMY being the model that refers to a universe built from the notions of development, speed, connectivity, globalization and industrialization; a leitmotiv in Pantone’s work.

47 x 45 x 5 cm 18.5039" x 17.71653" x 1,9685",

UV paint, PMMA, pulleys

Courtesy: Configurable Art

[tealfruitarts]

help a trans man afford hormones!

I finally got a prescription for testosterone patches and then found out that even with my insurance, it’s going to cost me $150/month out of pocket to get them. I called around and I can’t get this number down any further, and it may even be MORE expensive than that (the insurance agent and the walmart pharmacist told me two different things). I’m getting my rx changed to injections, which should be cheaper, but this first month’s patches have already been ordered, and I don’t want to wait another week for insurance approval on the shots to start my long-awaited transition. so have some fursona designs!

Cherry Cheetah / Chromatic Canine / Celestial Cat

For each of these designs:

$75 will get you a simple reference sheet that shows the design you see here, plus a back view. It also, of course, includes the rights to use the design however you see fit!

Another $50 ($125 total) will change that simple reference sheet into a bigger, more complex one, showing the designs above complete with any ““bits”“ you want on them, a back view, and a clothed version with your choice of fashion.

If you’d like alterations to the designs themselves, please let me know and I will do my best to accommodate them, for a small extra charge (variable depending on the level of alteration). 

If these designs aren’t to your liking, I also take commissions and can design a custom character just for you!

Please share this post as much as possible! Thanks!