#step by step canva tutorial

[reallycreative]

How to create a cute Halloween poster in Canva | Easy Canva Tutorial for...

[senascoop]

ꣀ꣒ ASKING ENHYPEN TO DO YOUR MAKEUP . . 엔하이펜 ☁︎

boyfriend ! enhypen × girlfriend ! afab reader : : fluff + established relationship [ARCHIVE]

♫︎ REBLOGS + FEEDBACKS ARE ALWAYS APPRECIATED

. , LEE HEESEUNG ☁︎ 이희승 !

“Okay, I'm doing this one.” Heeseung declared with a determined tone, eyes glued to the screen as he absorbed the makeup tutorial like it was life or death. The makeup supplies were scattered all over the table, and you couldn't help but giggle internally at how serious he looked, brows furrowed in concentration. “Alright,” you mumbled, trying to hide the smile creeping on your lips. He was taking this way too seriously, but it was endearing. With the brushes in hand, he started working, blending and contouring with laser focus. Every stroke was made with care as if you were a canvas for a masterpiece. You had to admit, the boy had skills. “Done!” Heeseung stood back, clearly satisfied, a proud grin on his face. You blinked at the mirror, shocked. “Woah, woah, woah,” you gasped, almost not recognizing yourself. “I look like I belong on a runway!” Heeseung beamed. “Told you I'd nail it!”

read rest of the members below !

. , PARK JONGSEONG ☁︎ 박종성 !

“This is so easy, I'll handle the job,” Jay boasted, puffing out his chest like it was no big deal. His confidence, however, crumbled the moment he actually saw the array of makeup products in front of him—brushes of all shapes, palettes with confusing names, and products he had no clue how to use. You could see the slight panic in his eyes, but he tried to play it cool. “Okay... let’s do this,” he muttered, picking up a brush, but instead of getting serious, he burst into laughter. “Jay! Focus!” you giggled, though deep down, you weren’t sure how this would turn out. His laughter continued as he attempted to apply the eyeshadow, the brush barely making contact. “Oops, too much!” he said, laughing even harder, while you sat there helpless, just hoping for the best. Finally, he stepped back, proudly showing you the mirror. It wasn’t as bad as you feared—messy, sure, but somewhat presentable. “Not too shabby,” Jay chuckled, and you couldn’t help but smile at his effort.

. , SIM JAEYUN ☁︎ 심재윤 !

“Only blush, lip gloss, and a bit of mascara,” Jake offers, holding up the products like they're foreign objects. He’s clearly not eager to dive into a full makeup session but wants to at least try. You nod, amused at his cautious approach. “Am I doing it right?” he asks every two minutes, furrowing his brows as he gently dabs blush onto your cheeks, concentrating like it’s a life-or-death situation. You can't help but chuckle at his nervousness. “You’re doing great.” He moves on to the lip gloss, carefully swiping it across your lips, his hand steady but his eyes checking for approval every second. Finally, mascara. He hesitates but manages to get through it without smudging. When he’s done, he steps back, admiring his work. “Looks natural, right?” he grins, clearly proud of himself. You glance in the mirror, smiling at the soft, minimal look. “Perfect,” you say, and his grin widens.

. , PARK SUNGHOON ☁︎ 박성훈 !

“It’s okay, I’ll do it,” Sunghoon insists, picking up an eyebrow pencil with a confidence that makes you nervous. You eye him cautiously, already imagining the worst. “Are you sure?” you ask, raising a brow yourself, but he’s too determined to back down now. “...I don’t know if I’ll recover from this trauma,” you mutter, preparing for the inevitable. Sunghoon, laser-focused, leans in closer, his attention fixated on your eyebrows. He’s obsessed with making them look perfect, his face inches from yours as he carefully strokes the pencil. You sit there, holding your breath, watching the boldness of your brows intensify with each pass. When he finally steps back, both of you burst out laughing. Your eyebrows look like they belong on a runway – bold, sharp, and way too dramatic. But the rest of the makeup? Surprisingly soft and balanced. “You look… intense,” Sunghoon chuckles. You laugh, shaking your head, “Bold, but balanced. I guess it works!”

. , KIM SUNOO ☁︎ 김수누 !

“Umm, Sunoo, I think there’s too much blush,” you mumble, glancing at him nervously through the mirror. He’s been applying blush to your cheeks for what feels like forever, and you’re starting to worry you’ll look like a tomato. “Nah, it’s perfect,” he mutters with a casual wave of his hand, completely absorbed in his work. With a focused expression, he blends the shades flawlessly, giving your cheeks a soft, glowing look. You watch in awe as the pink hue settles into your skin perfectly, making you look radiant. “Where did you even get these skills?” you ask, amused, still watching him in the mirror. Sunoo just grins, snapping a million pictures of you with his phone. “This is my masterpiece,” he declares proudly, stepping back to admire his work. You can’t help but laugh, shaking your head. “Masterpiece, huh? Well, I guess I’m your glowing canvas now.” — “And a flawless one at that,” he beams.

. , YANG JUNGWON ☁︎ 양정원 !

“Can I back out now?” Jungwon asks halfway through, looking at you with wide eyes. You raise an eyebrow, clearly unimpressed. “Seriously?” you reply, feeling both disappointed and slightly offended. He sighs, knowing there’s no escape now. He did promise, after all. With a determined expression, he goes back to the clutter of makeup spread before him, feeling completely overwhelmed by the endless options. After a few moments of hesitation, he grabs a lipstick, deciding that’s his safest bet. Applying it carefully, he steps back and then bursts out laughing. “That’s it! You don’t need anything else—you already look gorgeous,” he grins, clearly relieved he didn’t have to go any further. You give him a skeptical look, but deep down, you know this is just his way of saving himself from a tricky situation. You roll your eyes but laugh with him. “Nice save, Jungwon. Nice save.”

. , NISHIMURA RIKI ☁︎ 리키 !

Niki had always watched his sisters transform into glamorous versions of themselves, effortlessly wielding brushes and palettes like wands. So, when he decided to try his hand at makeup, he felt a surge of confidence. “How hard can it be?” he muttered, grabbing every vibrant shade he could find. With a brush in one hand and a tube of glitter in the other, he went to work, splashing colors across your face like a canvas. “Look!” he exclaimed, grinning widely, but you couldn't help but cringe at the vivid reds and blues swirling on your cheeks. “Are you sure I won’t look like a clown?” you laughed nervously, eyeing yourself in the mirror. “Clowns are overrated! This is art!” he declared, stepping back to admire his handiwork. You couldn’t deny it was chaotic, but somehow, it was uniquely you.

© senascoop | tumblr

[awretchedthing]

Coming Home (But Not to You) + Someplace New Physical Bind

i've done a few rebinds of paperbacks to hardcovers but this is my first ever full bind :')

i really love this universe written by @lesbianherald and i'm so delighted to have a forever copy! i keep coming back to it, so having it on paper will make it much easier to tab out my favourite parts when i need them.

there's definitely mistakes, especially with the cover (pls don't ask about the back cover it's none of my business). i hit a point where i chose done over good because otherwise this would have taken me 6 months. there is no prize to perfection etc.

Coming Home clocks in at around 360 pages and Someplace New is about 60. i included the playlists for both since i'm a sucker for 'bonus content'. in paper, that means 107 sheets of a4 split into 14 signatures of 7-8 pages.

some retrospectives and the guides i followed below:

what went well:

the actual process of folding signatures and sewing the binding was my favourite part. basically all the work that didn't involve fighting technology lmao

i struggled sourcing a4 short grain but i'm really happy i used it! it's such a floppy, soft book and it sits open on it's own

i hated the cover design in canva but on the book it looks sick as hell. very trust the process kind of deal

what didn't go well:

i'll never learn my lesson about text and heat transfer vinyl. this is where i almost lost my mind

speaking of htv, i really screwed up every step of the case creation. my boards are a little short, i wasted a load of book cloth, and i used to much glue for the endpapers that it seeped through a little. not enough to do major damage to the textblock, but the first and last 20 pages are a little wavy

Resources:

How To Typeset in Google Docs - i followed about 3 different tutorials for doing it in word before finding this video. very easy to follow and she shows how to impose to signatures afterwards

How To Bind on a Budget (Beginner Friendly)

French Link Stitch Bookbinding tutorial

[unknown-till]

HIIIIIII!!!! sorry if this is like a stupid ask lol, but could you do a stamp tutorial? your stamps are always so high quality oml, how do you resize your gifs and images???

HIIII and no worries, I can totally make a stamp tutorial! (⌒▽⌒)

I’ll be going through on how to make a normal image stamp and then a gif stamp. By following these two tutorials, you’ll be able to make stamps just like these!

PROGRAM USED ★ Ibispaint

STAMP TEMPLATE BY ★ AHMED-ART on Deviantart.

To start off, you must find an image you’d like to make into a stamp. Then, find a stamp template you think would pair well with your image. There are many different types of stamp templates out there and you can find a lot of them on Deviantart.

Make sure to read the terms of use for the template before using though! Here is the template I will be using for this tutorial.

Making stagnant stamps is easy once you got the steps down. You can use any art program and follow a similar process, but I only use Ibispaint to create mine.

First, create a canvas that is the same width and height as your stamp template. This one is 97x57. Most stamp templates have super similar proportions. If you are unsure of your stamps dimensions, you can create a 100x100 canvas then crop it around the stamp template once you have inserted it.

(Brush icon -> Canvas button -> Trim)

To get higher quality on the image inside your stamps: the closer the better! For example:

See how the first stamp’s image is rather far away? This makes the quality appear much lower. However, once you zoom in, it becomes higher! So I recommend finding images to create stamps out of that you are able to zoom in on so the quality can pop.

You’ll need to erase the parts of the image that don’t fit inside the stamp so it remains transparent around the border.

If you want to change the border color of the stamp, fill in the canvas with the color you want. Then, clip it to the stamp border. Lastly, go and set it on multiply. This will change the stamp borders color!

If you want to put a line texture on your stamp, you can utilize the ruler tool in Ibispaint to draw lines over your stamp.

I’ll add these every once and awhile to my stamps for fun. If you set the opacity of the lines to 10%, it’ll end up looking something like this.

And that’s the completed stamp!

Changing the border color and adding the line texture is completely optional, though it’s always fun to customize stamps!

PROGRAMS USED: Ibispaint, Ezgif

GIF stamps are a little trickier, but the process is not too difficult once you got it down!

First, find a gif that you would like to make into a stamp. I’ll be using this one!

if you want to have a different colored or customized stamp border, you must edit it on Ibispaint before like explained above.

You can combine the layers and save them transparently so it’ll end up looking something like this.

I made this one blue and added a gradient to it to match the gif I want to make into a stamp! You can add a gradient to the border by adding a darker color onto the multiply layer then using an airbrush to blend both colors together in the middle on both sides of the template.

Now, open up Ezgif and click the tab called Crop. Then, insert your stamp template there. The way I find the dimensions of the inside of the stamp is by cropping my way around the inside of the template.

The dimensions inside this template in particular are 91x51. This is what we will resize our gif to! Before we can do that, click the crop tab again at the top of the page to refresh it and then insert your gif. This isn’t required to do, but I like to crop my gifs a bit so they focus more on what is going on inside my stamp. Like I said before, the closer the better, as it will make the quality higher!

Now that we have our cropped gif, click the tab called resize at the bottom of the page. The dimensions of the inside of this stamp are 91x51, so insert those numbers in the width and height boxes to then resize the gif.

Next step is to click the overlay tab at the bottom. You will need to click the button that says “extend canvas size” so we have room to overlay the stamp template on top of the gif. After extending the size, upload the stamp template as an overlay where it says choose file.

On computer, after clicking upload image, you can just drag the stamp template over the gif and situate it. However, you can also figure out the number coordinations to fix the template ontop of the gif by messing around with it a bit. I make my graphics on my phone so I use the numbers instead of dragging.

Left means to move the template left or right depending on the numbers you insert. Top moves the template up or down. The left for this template is 42 and the top is 21. It takes a bit of messing around to find the exact numbers.

Now that the template is ontop of the gif, all that is left to do is to crop the space around it. Click the crop tab again at the bottom of the page and then click where it says “trim transparent pixels around the image.” This will easily crop the extra space around the stamp.

Click download to save your gif and that’s it! Here is the finished product!

The whole process for making gif stamps is always the same, the only things that can vary or change are the dimensions of the gif (so it can fit inside different templates) and the left/right.

I hope you find this tutorial helpful and if anyone needs anything else explained, let me know. These stamps are free to use if anyone would also like to use them.

Happy stamp making everyone! 🩷

Dividers (c) @coco-coquette

[neosprites]

Digital Stamp Making Tutorial

Hello, and welcome to the long-awaited(at least on my part) digital stamp-making tutorial from neosprites! I’d like to preface that I learned what I was doing from this tutorial so it may be a bit redundant, but if anything I get a bit more specific. Thank you so much to @graphic--horde for your work, it changed me as a graphic maker. This is gunna be a long post so feel free to bookmark it for later. Now, onto the show!

The frame I will be using for this tutorial (which is the frame I use on 99.9% of my stamps) I found from the above linked post, which I believe is from a creator that OP lost track of. Its inner dimensions are 94x50 pixels and its outer dimensions are 99x56 pixels. Here it is!

Find your material! - I recommend using websites like Tumblr and searching with the “GIF” filter only on, or alternatives such as Giphy or Tenor. Your browser may let you directly save the .gif file; if not and you are noticing it restricts you to save it as a .webp file you can try an extension like “Save webp as PNG or JPEG” (for Firefox but I image other browsers have similar functions, but I really recommend you switch to Firefox). To use this you will right click on your source .gif like normal but instead of clicking on “Save image as…” click “Save webP as…” and then click “GIF”. You should be redirected to the website ezgif.com where we will actually be doing all of our editing! Here’s the .gif we’ll be working with.

Convert to GIF (optional) - if you used the extension from the above step you should already be ready to click the blue “Convert to GIF” button. If not, go ahead and open ezgif.com and click on “webP” and then “WebP to GIF”; then convert to a gif with the blue button.

Resize the GIF - now that we have a gif ready to edit, let’s make it the right size. The easiest method I have found is to change it directly to the frame’s inner dimensions, 94x50 pixels. [EDIT: Make sure in the aspect ratio drop drop menu you select "stretch to fit" and not "center and crop to fit" like I did in the photo example.] Click “resize” and then type [94] in for the width and [50] for the height. Next press the blue “resize image” button.

Add the frame - next click “overlay” then click the thin blue button that says “Extend canvas size(use if overlay exceeds GIF sizes)”. This will give us some extra room to add the frame onto the design. Next click “Browse…” and find the frame you have saved onto your device, then click the blue “Upload image” button.

After that it’s going to be misaligned, that’s normal! It will say you have the option to drag it into place, but don’t bother. That’s one of the reasons my old stamps look wack, it’s just harder to do. Instead type [44] in for the Left box and [22] in for the Right box. It took me a while to figure out these dimensions to be honest, and I’ve only tested it with this frame so I don't know if it works with others. Then click the blue “Generate image” button.

Crop the transparent edges - click on “crop”. You will have the option to check a box that says “trim transparent pixels around the image” however, I don’t recommend this as it tends to crop a few of the frame’s pixels with it sometimes. Next, set the Left position to [44] and the Right position to [22]. For the other dimensions we will use the outer dimensions of the frame which are 99x56 pixels, this will trim everything except the tiny spaces in between the stamp frame’s spikes. Type the width as [99] and the height as [56] and click the tiny blue button that says “set”. After that click the blue “Crop image” button.

Save and use! - all that's left is to click “save” and upload the graphic to your liking. (best seen on dark mode obviously)

If you’d like to tag me in stamps you’ve made using my tutorial I would love to see them, but it’s not required!! Make sure to always give credit for pictures/gifs when you can and try not to make stuff out of personal/fan art. Thank you to the person in my inbox who requested this tutorial, I had been meaning to for a while but it was just the kick I needed. :)

[tonycries]

Some answers are written in the stars. Others, you must ask to know.

How do you make your text/ titles gradient?

Patorjk’s Text Color Fader!! My life-saver frfr, I just use the steps of the tutorial provided here <3 However, this unfortunately can’t be done on mobile 😔

Where do you find the manga panels for your headers?

I usually find the panels and/ or titles on mangacap account on Twitter (eg. HornetPills, FAKKU, and lewdxvisuals). Most of my headers are from → “Lady K & The Sick Man”, “Infiltration! Agent on the Edge”, and “Hachisuka’s Family Kotoribako.”

How do you make your headers?

On Canva! I did a tutorial for getting that colorful ombré look right here <3

Where do you make your memes/ get those silly reaction pics?

I make all my memes on imgflip, and the unhinged pics - including the infamous werewolf ones - are mainly from Pinterest and stan Twitter. 

What are your writing tips?

Here are the writing tips n' quirks that work most often for me, and here is for if you want something more practical/ to help with writer's block!!

What fandoms do you write for/ have you written for?

Currently, only JJK - but if you checkout my first masterlist you'll see that I have written for a lil' bit of AOT and Haikyuu.

What is your posting schedule?

9:30PM - 10PM EST on Wednesdays and Sundays for my fics; and you’ll usually catch me answering asks from 1:30PM onwards and 11:30PM onwards the rest of those days. Tiny reminder though that I don’t answer asks on days I post my writing and for 24 hours beforehand (ya girl will be busy typing away something diabolical 😩.)

Why did you miss a posting day?

I try very, very hard not too n’ I miss a posting day very rarely - I promise!! 99% of the time it’s because I’m super sick, though, and I’ll let you babygirls know prior to that. Dw, I almost always bounce back on schedule for the next posting day <3

Are you taking requests at the moment?

Noooope!! Sorry lovelies, but requests are closed. I do take suggestions and thirsts where I’ll just brainstorm or add on to the idea if I really like it, however. Something that looks like this or this.

Where are you from?

Sri Lankan through n’ through rahhh 🇱🇰 Feel free to yap with me in my inbox about it!

What is your gender/ what are your pronouns?

I’m a girlie n’ I go by she/her pronouns yup yup 😌 

So then, why does everyone call you “daddy Tony”?

I DON’T EVEN KNOW WHERE IT STARTED BUT DADDY TONY IS SIMPLY DADDY TONY 😈 DOESN’T MATTER THE GENDER 😈😈 (+ Tony is just what everyone irl calls me too so.)

If that makes you uncomfortable though, you can always call me simply Tony without the daddy part, or Toe knee, or Toenail, or mommy Toenail- you get the point. My lovely babygirls love to make up a lot of names for me n’ I haven’t heard one that doesn’t make me CACKLE just yet 😭

Why do you call your followers “babygirls”?

Ah, I’m daddy Tony and you all are just my babygirls heheh. It started off as a joke at first because I tend to start most of my announcements with “bonjour babygirls” even irl, but it eventually just grew to me referring to all my gorgeous followers as Tony’s Cult of Babygirls - took a page out of Geto’s book there.

I also tend to sift through a variety of pet names when responding to individual asks/ comments - like sweetheart, lovely, ml, gorgeous. etc. Do let me know straight-up if this makes you uncomfortable, because using those is simply my default.

Why didn’t you respond to the thing I tagged you in?

*SOBS* I’m saur sorry about that, I get tagged in a lot of things so either my notifications were clogged n’ I didn’t get it, or I simply missed it amongst everything. I love responding to things y’all tag me in, though - so send me an ask to double check!!

Did you see my ask or was it eaten up – you haven’t answered yet?

Pinky-promise daddy Tony’s not ignoring you!! If I haven’t responded to an ask, it’s usually one of these reasons: 

I get a LOOOT of asks daily - and while I do try my best to respond to every single one - I might take some time to get to yours. Please, please, please don’t send a follow-up ask about your previous one unless it’s really, really important, or until it’s been two weeks since I haven’t responded. That only adds more to my inbox, and I do answer before it reaches that point.

I might have gotten an ask that was very similar to yours, n’ responded to that one instead of both.

Your ask went against my rules/ it was a request (because my requests are closed, most asks like that end up written down in a doc I have. But they won’t be publicly answered until requests open up/ I just decide to write it.) Again: Thirsts and suggestions are completely okay – just no requests!

Your question was already answered in my FAQ - in that case, yippee I hope you got your answer, lovely <3

Sometimes my asks actually get eaten up by this site, and I apologize for that 😔 Like I said, if it’s been two weeks then please do resend me the ask!!

Who are the anons that you have right now?

🧃, 🐹, 🐁, 🔮, 🪦, 🍙, toji titties anon, ⛸️, scribbler anon, 🌳, ♍, medicine major anon, gojo big cock gagger anon, 🫃, 🗣️🩰, <3 anon, orgy anon, 🐝, marketing major anon, 🫶🏻💕, 🧋, 🐠, 🐛, 🗣️🎬‼️, 😼, 🐇, ✏️, 🪶🧠, 🌸, 👀, 🧝🏽, 🌦️, 🌺, 🍭, 🌙, 🔔❤️⚙️, 𝓯𝓻𝓮𝓪𝓴 anon, neuroscience anon, 🎀💄, 🫐, 💋, 🦴, 🦎, 🦩, 🌱, 🫀, 🍓, CJ anon, 🐨, 🦤, 🐚, 💃, 🦇, 🌛, 🪼, 💤, 🍫, ⭐, 😈, spooky sweet tea anon, 🧠, 🧌, 🗣️, 🐄, corpse goon anon, 🦐, tiny anon, 🌟🦈, 💧, 🎱, 🦢, dewdrop anon, 🍵, 🥗, 🥠, :) anon, 🥥, 🐩, 🌝, 🪽🦦, (⁠≧⁠▽⁠≦���) anon, silly anon, jester anon, 🐡, 🎀,  anon H, Marchailina, 👟, horny anon, b. anon, 🍰, 🪢, 🦚, lads anon, lads anon #2, 😻, 💐, 🐢, 🍣, 🃏, ex Nanami-hater anon, ovulating anon, 🐼, 🐜, 🦗, 🚀, vet major anon, 😔, 🐦, void anon, 🦢🐚, gojo convertee anon, therapist gojo anon, 💗, 🧸, 🍄, 🐾🐕, ✨🍀, 🐦‍⬛, lawnmower anon, Nanami’s 𝓯𝓻𝓮𝓪𝓴 anon, 🕷️, 🍞, Nanami anon, ☀️🪵, reading sesh anon, 🐸, 🏵️, 🍄😈, 🪨🧍, law student anon, 🦶, 🔖, 🪞, 🍯, 💌, 🎧, 🪐, 🫆, Hoyoverse anon, 🐈, 🐮, 👅🍑, 🪱, 🍍, 🧪, 🥖, 🌊, 🤍, Hua Cheng anon, 🦅, ♠️, 🕷, 🫧, 🧱ed🆙

Why do you scare me?

I promise I don't bite unless asked to!!

[wombywoo]

Ok! I've finally decided to put together a (somewhat) comprehensive tutorial on my latest art~

Please enjoy this little step-by-step 💁‍♀️

First things first--references!

Now I'm not saying you have to go overboard, but I always find that this is a crucial starting point in any art piece I intend on making. Especially if you're a detail freak like me and want to make it as realistic as possible 🙃

As such, your web browser should look like this at any given point:

Since this is a historical piece, it means hours upon hours of meaningless research just to see what color the socks are, but...again. that isn't, strictly, necessary 😅

Once I've compiled all my lovely ref pics, I usually dump them into a big-ass collage ⬇️

(I will end up not using half of these, alas :'D)

Another reference search for background material, and getting to showcase our models of choice for this occasion~

When picking a reference for an actor or model, the main thing I keep in mind (besides prettiness 🤭) is lighting and orientation. Because I already kinda know what pose I'm gonna go with for this piece, I can look for specific angles that might fit the criteria. I should mention that I am a reference hound, and my current COD actor ref folder looks like this:

Also keep in mind, if you're using a ref that you need to flip, make sure you adjust accordingly. This especially applies to clothing, as certain things like pants zippers and belt buckles can be quite specific ☝️

Now that we've spent countless hours googling, it's time to start with a rough sketch:

It doesn't have to be pretty, folks, just a basic guideline of where you want the figures to be.

The next step is to define it more, and I know this looks like that 'how to draw an owl' meme, but I promise--getting from the loose sketch above to below is not that difficult.

Things to keep in mind are--don't go too in-depth with the details, because things are still subject to change at this point. In terms of making a suitable anatomically-correct sketch, I would suggest lots of studying. This doesn't even have to be things like figure drawing, I genuinely look at people around me for inspiration all the time. Familiarize yourself with the human form, and things like weight, proportions, posing will seem a little more feasible.

It's also important at this stage to consider your composition. Remember to flip the canvas frequently to make sure you're not leaning to one side too often. I'm sure something can be said for the spiral fibonacci stuff, which I don't really try to do on purpose, but I think keeping things like symmetry and balance in mind is a good start ✌️

Next step is just blocking in the figures. Standard. No fuss 👍

Now onto the background!

It's frankly hilarious how many people thought I was *hand-drawing* these maps and stuff 😂😂 I cannot even begin to comprehend how insanely difficult that would be. So yeah, we're just taking the lazy copy and paste way out 🤙

I almost always prepare my backgrounds first, and this is mostly to get a general color scheme off the bat. For collage work, it's really just a matter of trial and error, sticking this here, slapping this there, etc. I like to futz around with different overlay options until I've found a nice arrangement. Advice for this is just--go nuts 🤷‍♀️

Next, I add a few color adjustments. I tend to make at least 2 colors pop in an art piece, and low and behold, they usually tend to be red and blue ❤️💙There's something about warm/cool vibes, idk man..

Now we move on to coloring the figures. This is just a basic block and fill, not really defining any of the details yet.

Next, we add some cursory values. Sloppy airbrush works fine, it'll look better soon I promise 🙏

And now--rendering!

I know a lot of beginner artists are intimidated by rendering, and I can totally understand why. It's just one of those things you have to commit to 💪

I've decided to show a brief process of rendering our dear Johnny's face here:

Starting off, I usually rely on the trusty airbrush just to get some color values going. Note--I've kept my sketch layer on top, but feel free to turn it on and off as you work, so as to not be too bound to the sketch. For now, it's just a guideline.

This next stage may look like a huge jump, but it's really just adding more to the foundation. I try to think of it like putting on make-up in a way~ Adding contours, accentuating highlights. This is also where I start adding in more saturation, especially around areas such as ears, nose and lips. Still a bit fuzzy at this point, but that's why we keep adding to it 💪

A boy has appeared! See--now I've removed most of the line layer, and it holds up on its own. I'll admit that in order to achieve this realistic style, you'll need lots and lots of practice and skill, which shouldn't be discouraging! Just motivate yourself with the prospect of getting to look at pretty men for countless hours 🙆‍♀️

I'll probably do a more in-depth explanation about rendering at some point, but let's keep this rolling~

Moving forward is just a process of adding to the figures bit by bit. I do lean towards filling in each section from top to bottom, but you can feel free to pop around to certain parts that appeal to you more. I almost always do the faces first though, because if they end up sucking, I feel less guilty about scrapping it 😂 But no--I think he's pretty enough to proceed 😚

They're coming together now 🙆‍♀️ Another helpful tip--make sure you reuse color. By that, I mean--try to incorporate various colors throughout your piece, using the eyedropper tool to keep a consistent palette. I try to put in bits of red and blue where I can

Here they are fully rendered! Notice I've made a few subtle changes from the sketch, like adjusting the belt buckles because I made a mistake 😬 Hence why you shouldn't put too much stock in your initial sketch~

The next step is more of a stylistic choice, but I usually go over everything with an outline, typically in a bright color like green. Occasionally, I can just use my initial line layer, but for this, I've made a brand new, cleaner line 👍

And the final step is adjusting the color and adding some text:

Tada!! It's done!

All in all, this took me the better part of a week, but I have a lot of free time, so yeah ✌️

I hope you appreciated that little walkthrough~ I know people have been asking me how I do my art, but the truth is--I usually have no clue how to explain myself 😅 So have this half-assed tutorial~

As a bonus, here is a cute (cursed) image of Johnny without his mustache:

A baby, a literal infant child !!! who put this wee bairn on the front lines ??! 😭

Anyway! peace out ✌️

[the-borgias]

Hi, could you please tell me how to do this slanted layout? the-borgias*tumblr*com/post/695485491217334272/one-chicago-appreciation-week-day-one-favorite

Hi, Anon! I'm sorry this took me a few days to answer but I struggled making this tutorial (not because the process itself is difficult but it is difficult to explain it properly.) Anyway, here's the gifset Anon is asking about. I hope this is easy to understand and I also included a .psd file of the layout :)

PSD FILE OF THE GIF ABOVE & TEMPLATE

What you'll need:

Basic Photoshop knowledge (I use Photoshop 2023)

Basic knowledge on how to make layouts (here are a couple of tutorials: x x)

Basic knowledge about layer masks (tutorial)

STEP 1: Make a basic layout

You can do pretty much any layout you want but for the sake of the tutorial I tried to recreate the same template I used in that gifset. I'm assuming you already know how layouts/templates work so I created a 540x540px canvas and went to View > Guides > New guide layout. I used these settings:

And this is how my canvas looked like:

Now I pressed (M) to use the Rectangular Marquee tool and create the rectangles I wanted. This is my end result:

STEP 2: Tilt the layout

This is actually pretty easy. First we're going to select all our layers. I paired mine in groups so they looked like this:

Once we've selected all of them (groups, layers, whatever you're working with) press Ctrl + T. Your canvas should look like this:

And we're going to tilt it by changing the angle to -2.00 in here:

Now our layout is slanted! But as you can see we have transparent spaces we need to fill. I don't know if this is the easier method to do it but I use the Polygonal Lasso tool (L). I'll use the first orange box as an example:

As you can see I use a ridiculously big zoom so I can be as accurate as possible but it's basically impossible to create a perfect box, so this will work. Once we have selected our desired shape we'll use the Brush tool (B) to paint in the layer of our original orange box:

You have to do this with every box so it's a bit tedious but that's the way I did it 🤷‍♀️ This is the end result:

STEP 3: Place the gifs (using Layer Masks)

But now, how do I know which size my gif should be? Our initial measures won't work because our final boxes are bigger so here's what I do. I'll select the Polygonal lasso tool again and make sure I select a little bit more of the box I'm measuring, like this:

It's a little hard to see it but the dots are just a little bit bigger than the orange shape. To be more accurate, my original box was 178x87px and the shape I selected is 174x100px. So I'm going to make a 174x100px gif and place it right above the background, like this:

Now we're going to select the layers of our gif (I'm assuming you're working with a Group because it's easier) and click Ctrl + the orange box. You should see this in your canvas:

And now create a layer mask in your gif group (if you don't know how to do it check out the tutorials I liked at the start of the post.)

Now you can delete the orange box. And, once again, you have to do this with every box and write down the measures (and remember that all your gifs must to have the same number of screencaps!)

I hope y'all don't mind that I didn't create 8 different gifs lmao I was too lazy so I just used a big gif as a background and made 4 small gifs. This my end result:

For the background I merged the remaining boxes and used that to create the layer mask. I'm not going to explain it since I believe it's much easier if you check out the psd file.

And that's pretty much it! It's the same as making a standard layout you just have to be careful with your gif measures. Oh and also see how my gifset shows those white marks between the gifs under a dark background?

Well, that can't be avoided since we aren't working with straight lines (you can see the same effect in the 2nd gif of this set, different layout but also not straight lines) so we'll just ignore them.

I hope this was helpful (I lowkey feel like this tutorial is a mess) and if you have any questions feel free to ask :)

[lythruum]

Hello everyone! With the poll on my main blog, many ppl have voted for a psd tutorial so here it is! Here are some things to note:

✦ ・ There is NO fixed way on making psds and this is simply my way of going through it.

✦ ・ this will be a in depth tutorial so it'll show u my whole process! Skip to step 3 for actual process.

✦ ・ there are other tutorials on tumblr that i def recommend! Such as @/canarysage and @/imbermagnvs

1. Lets get straight to the point! Choose the image(s) you want, i often make a moodboard first but thats optional and you can just choose ur image. (not sure if anyone needs this but to import or place images, press file -> open)

2. Next, make a folder by pressing the layer button (the 5th button the right based on my image)

3. Firstly, i use hue/saturation to make her a lil more vibrant so my colours can be more uhhh vibrant or vivid.

4. Now, every editors fav! Selective colour 💓 I'm not really good at explaining so pls visit canarysage to see what it is! It's good to tweak some colours without affecting the other colours.

5. I recommend adding more selective colours as i added few more but cuz of the limit i can't show u help but i recommend adding 2-3 anyways! This is the psd so far which seems okay but to me it doesn't pop out so I'll be adding on

7. So i decided to add hue/saturation w the same reason as point 3.

8. Next, i use vibrance to not oversaturate the image.

9. Now i use brightness and contrast, It’s often used for quick n straightforward edits to enhance visibility.

10. Let's add another hue/saturation layer cuz why not! Please remember to experiment w what u do since this is how you can have your own "style" of making ur edits.

10. Next, let's add levels! I recommend checking out canarysage since they explained it better than i ever could.

11. Now, another layer of selective colour

and tada! This is my psd so far but i love those psds that r bright so I'll add on but this is optional!

12. Now let's add a channel mixer to create some custom effects <3

And here's the psd outcome! You'd wanna save it as save as psd (i HIGHLY recommend you put ur psd on a 100x100 canvas w a pic so it doesn't take much space)

ANOTHER NOTE!! i always test my psd on dark skin characters afterwards and made adjustments when needed i realised my selective colours made em abit red so feel free to adjust if ur using this tutorial! If u made it this far drop a follow 😈

[kepkosim]

→ → → i've got an ask a while ago asking about my editing process so here it is! my 07-step tutorial for editing sims screenshots 💫

01 → preparing your canvas

i always take my screenshots in 3 seperate images like shown in the picture above - it gives me a bigger canvas size to work on.

i extend the canvas and line them up on top of each other - decreasing the transparency and zooming in helps to see where each image has to go.

erase all the visible hard edges with a soft round brush and you're good to go.

02 → liquify

under filter > liquify fix any hard edges that are meant to be smooth. i really take my time with this since this makes a huge difference!

03 → skin & shadow smoothing

i duplicate the layer and use the noise > dust and scratch filter with a layer mask

you can also go in and use the blur > surface blur fliter if it's not smooth enough. next i create the layer mask:

afterwards i tend to add a tiny amount of noise on the smoothing layer - i feel like it makes everything blend together a bit better.

you can also obviously lower the opacity if it's too smooth for your liking. i feel like the smoothing wasn't really nessecary in this screenshot but sometimes (especially using relight) the shadows can look a bit pixelated. using this technique helps fixing that issue with little effort.

04 → painting highlights

next i paint highlights onto the skin. i create a new layer and start painting by using a soft round brush that's around 5-20 px big, on 1-2% opacity and 100% flow. i paint the highlights matching the existing light source:

to pick the right color for my highlights i usually pick the lightest skin color on the screenshot and go a little bit lighter and warmer. it all depends on your screenshot and your lighting though!

05 → painting shadows

occasionally i also paint shadows onto the screenshot! first i select the area i want to paint in and then use a black soft round brush, that's around 100-500 px big, on 5-10% opacity and 100% flow. i just do a couple of clicks and just roughly add shadows where it's nessecary

06 → optimizing your image

the last step is to resize your image to a fitting layout using a tumblr image size guide.

07 → end!

if you've followed all my steps the end result should look like this 💫🌟✨

if you have any more questions please feel free to hmu anytime!! i would be more than happy to help + give more tips 💫

[reallycreative]

Step-by-Step Canva Tutorial: Designing a Professional Business Book Cover

[eaudera]

eaudera's detailed tutorial for skin rendering

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

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

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

support me: kofi / ig / twt / commissions

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

starting out with the lips:

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

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

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

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

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

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

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

i hope you enjoyed!!

[misty-quigley]

hi! would it be possible to post a tutorial of how you created the shapes in this set /post/753222419295158272 thank you :)

sure I made the gifset a while ago so don't have the psds saved but i decided to make a new gifset with a similar shape effect and show you how i made that :)

tutorial below the banner/cut

first start by making and colouring your base gif as you'd like. for the example i'm making today i'd like a pink gif.

for simplicity i'll put all the colouring layers in a group so it is easier to see what's going on with the shapes, but this is not a step i usually take.

once you've got your base gif ready search for the image/shape you would like to appear on your gif. in this case i searched for glinda's crown :)

make sure the image has no background and save it. if needed go to https://www.remove.bg/ and remove the background from the image then save it.

open your saved image in photoshop and drag it onto your gif. typically i drag it on the gray area outside the image canvas so it will land in the centre of the canvas.

if the image is too big resize it by using the transform function (ctrl +t)

right click the image layer and go to "Blending Options" (you can also do this by double clicking the layer (but not on the layer name as this will prompt renaming the layer)

go to color overlay and change the colour to white with blend mode normal and click ok

convert the new image layer to a smart object by right clicking and selecting the relevant option

change the blending mode of the new smart object to 'difference'

go back into blending options now and change the color overlay to the desired colour with the blending mode set to 'color'

at this point you can also add a stroke and drop shadow

this results in the below result

i noticed a bit of background missed from remove.bg

so i now add a layer mask and mask over the errant mark

and that's the basics of how to make a shape like the one in the gifset you linked. you can now add any text or other embellishments you may like.

a few other tips:

play around with your stroke settings, i did this a lot when making the so highschool gifset (e.g. i think the basketball one used the centre option)

the stroke option will outline what doesn't have a solid fill. to get each part of the basketball outlined like it is in the gifset i used an image like the first one below where the lines on the ball were also transparent to get the strokes i wanted (if that makes sense). if the whole image was solid, like the second image the outline would just be a circle basically.

in most cases the method i showed here is the best method, but for the so highschool book image i did something slightly different where instead of doing a straight smart object i also duplicated the shape on top with all the details left in. i applied the same effects to the bottom layer as above and on the duplicated layer also set that to difference and added a color overlay like the above

gives a result like this:

you can tweak how this looks a bit by using a selective colour layer clipped to the top layer. i wanted a bit more definition on the hat so i ended up with this after tweaking the neutral and blacks channels

overall my advice is to experiment and see what you like as that is what i basically do :)

[naumin]

How to format, print, and bind a zine

This is a consolidated version of previous posts on zine making, with more detail and screenshots. For a version of this post on gdocs, click here.

This is a step-by-step guide on how to use InDesign (or similar programs) to format and print a zine. This can be used for fanzines, sketchbooks, anything. It’s also only one way to do things - there are as many methods as there are zines under the sun. If you’re interested in other ways, searching for zinemaking on youtube would be a start.

If you are printing your zine, your total page count must be a multiple of 4.

Examples of multiples of 4 ✅

4, 16, 112

Not a multiple of 4 ❌

7, 99, 31

This is because our book will be made of folded A4 sheets (that’s regular printer paper). 1 folded A4 makes 2 A5 pages. Each A5 page has a front and back. Therefore each sheet of paper makes 4 pages.

How to format

Open InDesign. Go to Create New > Print. Choose A5 and tick Facing Pages. Enter your page number (this can be changed later). I’ve put 12. Hit Create.

Locate the Rectangle Frame Tool.

Draw a rectangle over your whole page, or just the part where you want your images to go.

Press Ctrl+D and insert the image you want on that page.

That’s it! Repeat on every page and you’ll have a book. Promise.

Further reading

I need a free alternative to InDesign.

InDesign is free for the savvy but I also recommend Scribus which is free and open source and very lightweight. The method is exactly the same but the Rectangle Frame Tool is called Image Frame and the Ctrl+D shortcut will now be Right click > Get Image instead.

I need help with designing my A5 pages.

For my first sketchbook zines, I arranged several images on an A5 canvas in a program like CSP or Procreate and exported them as a JPG into InDesign or Scribus. You can do this if your images aren’t already A5 size or you don’t want to waste time with InDesign’s formatting tools.

I need to get fancier with it, format text, or export my file as small as possible.

Here are the InDesign tutorials I used and liked:

How to Add Page Numbers

How to keep Page Numbers on Top

How to Create a Table of Contents

What is Overset Text and How to Fix It <- essential for formatting text onto multiple pages

How to Reduce InDesign File Sizes

Formatting best practices

Remember that in addition to your front and back cover you also have an inside front and inside back cover. You can leave these blank or create an endpaper with a pattern or include a short message or something. Look inside any books or zines on your shelf for inspiration. Or don’t listen to me and put your first drawing or poem there. Just be aware printer paper is thin so you might be able to see it through the cover.

Avoid putting anything important in the gutter (inside edge) or outside edges of the page. Also be careful of creating double page spreads that go across the centre of the book. Because of how we will print and fold the pages, each half of your spread might not meet up perfectly. 

How to print it out

Open your completed book’s PDF file in Acrobat Reader (free download: https://get.adobe.com/reader/)

Print with the following settings: Booklet, and Booklet subset: Both sides. 

We can see a preview of our print-out on the window on the right. The pages will look jumbled up, but form the book in order when folded.

Congratulations! Now you’ll have a stack of paper. Once it’s folded it should resemble your (unbound) final book. Use a bulldog clip or similar to keep your pages together neatly.

How to bind (2 methods)

If your book is less than 30 pages, I recommend using a long arm stapler, or a stapler that can open to lay flat. They are cheap.

There are also special book binding staplers or heavy duty staplers, if your book is thicker than 30 pages. Just position your book so the staples are in the middle of the spine (or as close as you can get) and send it. They will be a little wonky… that’s fine.

You can also separate your book into staple-able segments and then join them into 1 big book with tape or thread.

For my 112-page zine, I used thread to bind it.

These instructions are copied from the video ‘How to Print & Bind a Zine’ by LFONinja.

You can watch it here: https://www.youtube.com/watch?v=zKYy6G7lIy8

You will need: Ruler, awl, thread, sewing needle

Make 5 holes in the crease of the pages like so. (½ page, then ½ of that, then ½ of that again)

If the paper is thick, be careful when making the holes. It helps to have a piece of blu tack, putty, or soft eraser underneath the spine of the book as you work for the point of the awl to push into.

I don’t recommend separating the papers into smaller stacks as your measurements will likely vary and the holes won’t align.

Use a needle and thread to go through the holes in the following pattern. At the end, tie a knot with the ends of the thread (1 and 9) in the centre of the book. You’re now done.

About page creep

Because we are using folded pages inserted into each other, they push each other out like so:

From: https://www.greenerprinter.com/ support/page-creep/

You can use a heavy duty or industrial paper cutter/trimmer to remove this edge. This is why we kept any important contents away from the edge of the page during formatting, because we don’t want this process to destroy our book’s contents.

About image edges

Because of how the printer works, the images in the book don’t extend all the way to the very edges of the paper and have a thin white border on all sides. It’s possible to crop these edges from your book with a heavy duty paper cutter. Be careful and start small (3mm or less). Depending on how much your pages move during the printing process, the size of the white edge can be different on different pages. Or you can just leave them in.

To read some of the zines featured in this post, check out naumin.itch.io.

[gemmascouts]

TILE TRANSITION TUTORIAL

a couple of people have asked me for a tutorial on how I did the penultimate gif in this set, so here goes! this is my first tutorial, so please feel free to reach out with further questions if anything's unclear.

note: this tutorial assumes you know the basics of gifmaking, can create the base gifs, and are familiar with timeline mode.

STEP ONE: create the base gifs! I'd recommend staying between 25-40 frames for each gif, since the transitions we'll use later tend to increase gif sizes. these are the ones I'll be using for this tutorial:

STEP TWO: create the guide layouts for both base gifs. for this panel, I chose a 4x4 grid — I would recommend keeping the number of "tiles" low because it can get tedious, but have a minimum of 9 (3x3 grid).

now your canvas should look like this:

STEP THREE: create the tiles. this is where the going gets rough; there might be easier ways to do this that I couldn't think of 😭 if there are any please send me an ask!

essentially, in this step we'll cut up the base gifs into smaller squares so that each tile can be manipulated separately when we put both gifs together. to do this, first create a square using the rectangle tool and the guides. then duplicate the base gif, move it above the square, apply a clipping mask, and then convert the clipped gif and square (selected in the image below) into one smart object.

ALTERNATELY: you could duplicate the original base gif and use layer masks to isolate tiles. create a layer mask for the duplicated gif layer and, with the layer mask selected, drag your mouse over a square (using the guide layout) and press delete. then press ctrl/cmd + i to invert the layer mask so that the gif only shows in the square of your choosing.

now repeat until you've got the entire gif in tiles, and do the same for the other gif!

since the transition effect is achieved by staggering the crossfades for each tile of the final gif, you can cheat by having multiple tiles "flip" at a time, ideally no more than four. this means you need to cut the base gif up into fewer pieces. to do this, simply draw multiple squares instead of one and then merge the shapes, before duplicating and clipping the gif onto them.

if you do this, it's essential to remember that you have to divide both gifs up in the exact same way. each piece of the b/w gif has to correspond to a piece of the purple gif!

this is what the layers look like for each gif once I'm done:

I have them lettered so that it'll be easier to match them up in the next step.

STEP FOUR: this is the complicated bit that took me two days to figure out. I'll do my best to explain but don't hesitate to reach out if something isn't clear!

to begin, open up a new psd and import both base gifs into it. (remember to click "create video timeline" and ensure that your gifs are all in order before proceeding.)

now, the trickiest part about this transition is ensuring that all the little tiles sync up so that the larger gif is coherent. so first we'll create some markers (just empty layers) to ensure that everything lines up as it should. — marker 1: at about halfway through the first gif (b/w in this case) — marker 2: at about a quarter of the gif length — marker 3: close to the end of the gifs

at this point we're ready to start bringing in the tiles. I'm going to delete the base gifs from this new psd just to keep things cleaner!

first thing to do is import my b/w tile. move the timeline slider over to marker 1 and split the first gif. (if it helps, rename the split gifs and add (start) and (end) to the two halves.) then, move the (end) half to the beginning of the timeline, and the (start) half to line up with marker 3.

the purple tile is easier to manage. simply import it into the psd and line it up with marker 2.

your timeline should now look like this:

notice the overlap between the gifs at their beginnings and ends — this is where you'll be able to cascade the tiles flipping, so it helps to have a significant amount of overlap.

crop the three gifs for this tile as you see fit! since this is the first tile I want to flip from b/w to purple, I'll crop gif 1a (end) all the way to the current position of the timeline slider (red line with blue tip) and leave the beginning of gif 2a uncropped. for the flip from purple to b/w, I'll crop both gifs a bit.

once that's done, drag all three gifs onto the same level in timeline so they form a video group. your timeline should look something like this:

now you just repeat the process for all the other tiles! as long as you made sure that all the tiles in one gif correspond with tiles in the other gif in step three, this should be a fairly painless process. make sure to crop the starts/ends of the gifs separately so that they don't all flip together.

this is what my layers look once I've done all the tiles:

and the gif!

STEP FIVE: transitions! click on the half-white square (top right of the left column in the timeline, beside the scissors) and select the crossfade transition, then drag it between two gifs in a video group. it should create a two-triangle symbol and shorten the overall length of the video group.

apply the transition to all the tile flips, ensuring that the duration of all transitions is constant. this can sometimes be tricky because ps likes to change the duration of each transition, so right click on the transition symbol and manually change all your transition durations to be the same.

your layers should now look something like this:

STEP SIX: draw the grid. bring back the guide layout from step two and using the line tool (I like 2px thickness), trace the grid. adjust opacity as you see fit (50-80% is usually a good idea), so that the canvas looks like this:

STEP SEVEN: export and celebrate! you're done!

I hope this tutorial made sense and was easy to follow, and happy giffing! my inbox is always open for any questions <3