#*draws the same image* *draws the same image* *dra

[littlestpersimmon]

Had this weird story idea about a big dragon with runes all over him, and he's like a paper accordion that could unwind for thousands of miles, and the only way you could defeat him was if you were able to read every single rune on the dragon's papery body, and discern the long riddle of the princess who turned her labyrinthine library into her living armor in the form of a colossal and endless dragon . So far every knight that tried to off the dragon with fire, rain, whatever, was met with *death by a thousand paper cuts*. But the dragon don't really kill them, bc dragon is actually squeamish Lol. But since the entire kingdom is enrobed by the pages of a large dragon, there are entire university branches dedicated to discerning the riddle of the princess, why, why did she turn into a dragon, why is this her curse. And their culture shifts around literature, books and academia being treated as the holiest, most venerable form of knowledge. But anyway a cringefail and autistic kitchen boy loves math. He had come from a long line of dedicated scholars of the book. Boring and trifling matters like arithmetic were considered ignoble when in comparison to the mystery of the paper dragon. And the boy disagreed, of course. He loved books and all but was easily frustrated by them, he cannot focus on it, he needs the abstract to become concrete in his mind, he is the kind of boy who looks at a bridge and marvels at the sheer architecture it took to build a bridge before he is astounded by the bas relief;

he loves the world as it is and wants to tease out the blueprints. Anyway, when he was a boy, his mama used to tell him the story of the paper dragon, with only the first two pages of the dragons body being successfully interpreted by scribes. It had been about a princess who loved looking towards the stars and recording the sun's positions through refracted telescopes. And how she had a library filled with endless knowledge.

And the boy read and read the two pages and was enchanted by the mystery of the princess' riddle. In his teenaged life the boy would see the dragon flying above him while he was climbing an almond tree, and he makes out one of the pages along its infinite body as having similar lyrics to the known pages.

And it bothers the boy, all day he'd think about it. And he thinks about the princess who locked herself in her tower, watching the sun through refracted telescopes, and made dedicated sketches and notes every day to discern where the sun had spots; and it sort of connects in his mind that those sunspot sketches helped form an image of the sun, in a way, so he does the same.

Every day he'd just watch the dragon, and waited for the repeating lyric, and noted it down, until he had a long and fucked up diorama of the dragon; It takes him 12 years to be able to reliably predict where on the dragon's body the lyric shows up again.

when folded a certain way, in accordance to where the lyric shows up, the dragon's papery accordion body, the dragon forms a star at its core.

written in a spiral, the story forms into an answer to the princess' riddle; "I want to be free, I want to be free, I want to be free, I want to be free,"

over and over and over. In all aspects the princess who was a prince all along had wanted to be free, and the only way he could think of escaping the confines of his life and the fear of misunderstanding, of everyone wanting to harm him or to treat him as unnuanced a person for wanting to be something else...... was to transform into a paper dragon, more unquestionable than a normal human boy who loved drawing pictures of the sun-

The boy who loved math looked at the folded piece of paper in his hands, now he held the answer to the riddle of the prince, and he'd look to the sky to see the dragon flying above him like an endless kite. And he'd smile up at the dragon, scrunching the paper star in his hands. And hed whisper, I love you, I know you. I see you .

And he could have sworn the dragon smiled back at him.

#I have been trying to finish reading wheel of time for 12 years #insane trans guy rants #what if you were a princess and you wanted to be a boy and a dragon #also what if they were in love #someone give me 150 usd ill draw this as a comic

[byakuyasdarling]

S/I’s little personality description (like the fand//om wi//ki): 🌟

Freya is a polite, though typically reserved girl upon first impressions despite her pleasant demeanour. Her oddly formal manner of speaking and noticeable control over her tone and facial expression often are described as creepy or insincere amongst some of her peers and acquaintances — Freya acknowledges this as a way to put distance between her and others. Whether she sees this as a defensive mechanism or to exert superiority over others isn’t clearer-cut and seems to depend on the individual’s interpretation. As she’s foreign to Japan, she struggles with the use of honorifics and her language structures can be rather stiff when not communicating in English; this further attributes to her formal syntax and general reserved nature as she fears being judged for such an incapability or being seen as anything less than intelligent.

She’s quick to judge others, and can jump to rash conclusions due to her anxious nature and subsequent overthinking — though she only shares these points when relevant and is never directly accusatory; she can still be rather passive-aggressive. She doesn’t seem to have an intuitive knowledge of socialisation, and instead relies upon psychological theory and personal experiences to analyse or imitate someone’s behaviour and act accordingly. Freya is beyond competent in this field, and claims that the way she learned to analyse emotions and words was a heavy contributor to her becoming the Ultimate Orator despite the initial shortcomings of her predisposition.

When learning to trust those around her, the polite “perfect” image of herself quickly crumbles and she starts to express herself in a more passionate manner, her way of speaking much looser to the point of it bordering on nonsensical as her mind thinks faster than she speaks. Freya is an enjoyer of bad puns, pop culture, cooking, the arts, true crime, and the occult — much of which she speaks in great detail when comfortable. To those she’s close to, she is protective, loyal, and thoughtful towards, but also very sensitive to if she thinks she’s done something wrong. When her guard is down, she’s really just a naïve and excitable child who’s rather loving and affectionate when appropriate.

Her lonely, pressured upbringing makes her rather sympathetic to her childhood friend though later “rival”, Byakuya — being able to gain an understanding of human connection and sympathy through one another’s similarities and differences to upbringings/ experiences that are on “different sides of the same coin”. Later, they grow closer to then become lovers (though in Trial 2 Mo//nokuma remarks Byakuya always harboured a protective and softer instinct when it came to her). Their understanding of one another and their inherit differences catalyse growth in each other, having an intimacy where they emotionally heal together from traumatic family upbringing.

Freya was only scouted as an Ultimate due to H//ope’s Pe//ak scouting Byakuya — as upon recognising him they learned of her being his academic rival for a period at their former high school.

—————

Obligatory D//GR profile information

Blood Type: O

Height: 175cm (5’9”)

Weight: 65 Kilograms

Birthday: 11th November

Chest Size: 96cm

Likes: Drawing, Pop-culture

Dislikes: Cold Weather

Status: Alive

—————

Trivia:

Her and Byakuya are one of the two pairs to attended the same former high school, the other being Sakura and Peko.

Freya makes many references to pop-culture in her later F//TE’s and school mode interactions. Though some are from popular anime (Dra//gon Ba//ll, Poké//mon, etc.) most are from Western shows such as St//ar Wa//rs, St//ar Tr//ek, and Do//ctor Who.

She is the only character in the franchise with naturally curly hair, though it is said she straightens the tops of her tendrils and sets her hair in a particular way when she sleeps. In a F//TE she mentions that she spends too much time braiding/ doing her hair up and grows frustrated at how it never quite meets her standards of neatness regardless of her efforts.

—> She states many people want to see what her hair looks like out, but her perfectionistic attitude and sensory issues deny that request. It’s implied her family says this, though Byakuya is inferred to having an interest when she recalls him giving her curling mousse and never giving an explanation: “He just stared blankly at me without talking, but I’ve known him long enough to know it’s a bit of an affectionate look for him.”. Her hair is inches below her waist straightened.

She is confirmed to wear light and simple makeup and has minor skin issues. Many of her F//TEs allude to a strong insecurity in her looks despite how she’s had positive reception towards her appearance.

Like Byakuya, she hates inappropriate subject matter.

She is commented on having large “doe” eyes, though due to stylistic limitations this doesn’t show clearly.

#I didn’t proofread so I apologise lmao #if you read all of this I love you /p #can’t wait until I rewrite the ship lore a bit and talk about Bya’s charcaterisation LOL #was going to draw more tonight but saving it for tomorrow so I actually sleep. #Freya read later #fave #Freya Andreatidis

[asteriskofficial]

Heyya! I saw a bunch of your old PQ artstyle stuff, and was wondering if you had any tips for learning how to mimic the artstyle? I've been struggling for a few months now, especially with the eyes, lmao.

I'm honestly not the best at explaining my process, but I'm willing to try to help! My first piece of advice is to use simple shapes. It can be tempting to add bits of detail to the draing but a lot of the time you really don't need it. You definetly want the lineart to look pretty clean with not much line weight variance. Shading is surpsiginly very minimal. There's no need to overdo it with shading at all. Remember to use lots of reference images. When I draw a character who hasn't appeared in Q, I'll get up images of Q characters and take aspects of them that I think would fit the character I'm drawing (Eye shape, face, outfit etc). Despite having a very chibi aesthetic, the bodies are a little bit more human like than you'd expect. It's important to focus on the proportions of all the body parts in relation to the head. Reference images help a lot of it. Try drawing immedietly next to a full body reference on the same canvas and lining up the height of your drawing with the reference, if that makes sense. Hopefully at least one of these pieces of advice helped!

[tomreview]

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[jonathankatwhatever]

I’m all the way to terrified this morning. Certified mail from the IRS is likely not good news. It shouldn’t matter, given the time line I’m on now. I’ve been carried along by this process for my entire lifetime. And in some senses, the best you can do is revenge, not on others, but on your own fears, your own lack of belief, on all the parts of you that prevented you from understanding and accepting and enjoying what you were as you were being that person doing those things.

So, in a loop, I have been working on the same problem for an extremely long time, trying openly to become comfortable with myself, and only finding it here, when I talk to you. And this is all talking to you in some form, though sometimes you’re more present, more a presence, like you are in bed.

And the reason for that is the idea I’ve reached many times but have not been able to accept, that there are 3 Irreducibles, that there is a an szK Irreducible, one that holds when szK holds, which means in a stack. The more szK holds, the straighter the stack. I have been unable to accept this even though it maps Triangular to grid squares because I see xK rise up to the midpoint, to the bip, from where it falls to yK, and vice versa. Oh, I just got it: I confused the underlying map with the process that runs on the map. There must be an Irreducible I(sz) for this motion to be possible as a process.

Note the importance of sz, meaning both are required to orient the grid squares so they become grid boxes. This is what then enables the other image that runs in a frustrating loop in my head today - 12 Jan 2023 - that of a flipping Rolodex of cards so the boundary defines the front and back - ah, f&b - of a card that goes in both directions around the circle. That explains the gs process reasons why the circle forms are different. That is, a unit circle has a boundary of Pi at diameter 1 because that is both directions at the same time. The process runs that way. An imaginary unit circle runs instead all the way over and then all the way back. That means the boundary is obviously 2Pi. It’s that simply when you reach this level of Understanding.

This runs over f&b, which invokes the whole 9 thing. I don’t have a good name for this, but it’s SBE3 with Attachment Theory, meaning 1 and 0, so an SBE3 attaches to a 1-0Segment which is orthogonal to the SBE3 grid, meaning it counts in szK, in the I(sz), then wraps back on itself. Visualize a hinge that folds all the way over in either direction. What that means is all the 9 counts, all the SBE, are on the face of each one of these SBE3 structures, meaning they point in both directions.

This then is the importance of that frustratingly hard work to visualize the (1+(SBE3)+1) process. That is, I can see a 0 on either End of the chain to make 10 directional, but that is not the process by which that happens. There has to be a combining of layers in which the SBE3 becomes a 1 or a 0, meaning it has to be an End, which means it is also a 1-0Segment, since Triangular expands Ends into 1-0Segments and contracts 1-0Segments to Ends. That also is doable for me. But when I think of these as dimensions, I get very confused. SBE3 is 9 grid squares, which is the same as drawing nine 1Segments, meaning along an Extent, because those all represent sides of grid squares oriented to that Extent. I see this happening like a snake curling in and out of the center, which must be what generates the ouroboros concept. And the serpentine motifs like the Greek key design. Again, as simple as rendering the dimensions, once I can render the dimensions, which is not easy.

So, SBE3 is 9 and that needs to combine with 1 to make 10 dimensions. These are not internal dimensions. That is, each grid square in SBE3 attaches to 2, 3 or 4 other grid squares, so there are a lot of interior dimensions which add up with the 9 faces, the 9 grid squares that are the expansion of 1-0Segments into grid squares.

This is becoming something. I made a little drawing on the outside of my current notebook. It seems to include much of what we need in this conception I’m trying to get at. I see a line of 9 1Segments, that are drawn as grid squares because if the 1Segments are 1-0Segments that forms a grid square. There are 16 processes by which the center and the 4 corners can snake connect. When in SBE3 form, when rolled up, it has 12 interior 1Segments and 12 exterior 1Segments. If all 1Segments are dimensions, what is going on? And note the line of grid squares has 20 exterior 1Segments and 8 internal 1Segments, which is suggestive as well.

I’m thinking those 24 are going to be equivalent to a D24 lattice. Or rather: to the elements of a D24 lattice. I’m thinking the Leech lattice, which packs 196,560 units together. Forget the number: we are constructing a D24 Object, when we mean an Object’s count of internal and external dimensions. Here’s where I get lost, but I think the solution is that a D24 Object generates in which the interior dimensions are represented externally (from adding 0 or 1 to 12, etc.), because the interior dimensions do appear on surfaces. I noticed this yesterday that even when I was deeply focused and my eyes weren’t looking, even a glance at a passing person conveyed a tremendous amount. And we all know how any form of manipulation works, including the good kinds. This must be why we can pack so many units together. And they’re all grid squares because it actually works out to root2, meaning across the szK. In grid squares, that defines a hole for a unit circle which touches the grid at the midpoints. Then there’s the layer of 2 on top along the szK.

Think about that for a moment, we have hit this before, but this 2 layer counts 1, 4, 16, etc. But it can also count any multiple of 4, because it goes 1, skews to the 2, and then 4 in the same orientation as 1. We also did this part before: the transfer into 0Space occurs at root2 because that is the fundamental gs process: any integer count can be made in gs and any integer count breaks down 4:1 through root2, so the 0Space is always connected, always embedded with the 1Space calculations which occur across that 0Space.

I also see that the 16 processes map to 16 grid squares, meaning to LC, that mapping the gs process to determine IC for each of the existence states in IC, literally blown up by 1 grid square in any direction, meaning converted to 1-0-1 counting over grid squares, but - and this is the key - connecting each of those states, each corner gs, to the center. Note the center is D4 internally, while the other gs are D2 internally, with their D4 extending outside the SBE3. And then note that this center gs shares 1-0Segments only with non-corner gs. Let’s try this: those side gs are the original IC so the new corners are those that count to one of the two corners on either side, which connects this all to the center with directional choices.

So, this is brain scrambling but I have to keep going.

What if the corners are the original IC states? Then in SBE3, each of those is connected to the center and thus to each other by these pathways which link all the internal and external dimensions together in chains.

OK, so let’s try a bigger statement. I’ll explain why now in a moment.

D10 is special because it’s Attachment away from SBE3, which is D9 in Extent form. This is almost hair-pullingly difficult: I’m seeing 10 as the SBE3 glyph in Extent form so there’s a continuous line of 1Segments and thus of gs, and it’s isn’t just that each 1Segment expands to D9 but that this enables the bidirectionality, so the glyph counts 20, meaning up and down or across and back, which is exactly what you need, and what is coming out is weird, and I’m confused. Here that is: the counting of 10 is then of 2 Extents, of two 1Segments, which is D2 (which connects to D5). It’s also a Brick, which is 2gs. And it’s that bridge where 1Space becomes 0Space or rather avoids becoming 0Space by shifting orientation to Bridge from 1 to 4 and 4 to 1. So 10 is 2gs and each of them is SBE3 and each of them is 1 and each of them is 5.

If that was sensible, the key idea is that Bridge to avoid the 0Space. That seems to work. I need a break.

——-

I seem unable to stop. This is a big, a very big idea. The difficulty is largely contained in the meaning of dimension. There are internal and external dimensions and these map, however imperfectly, to a surface as external dimensions. All this work is coming together again because we just went over how the delta of Ideal to Informational Limit, the two IL’s, allocates ideal over actual. Note how the snake metaphor connects to a center gs. That puts 2 inside any 10, which finally makes sense with D5 being an fD with the dividing line.

Maybe one way of looking at this is to think of Irreducibles making 10 and thus 8 or 9 by counting neither or one of the dividers.

Try and put more together. We have the 3 Irreducibles, including sz. We squash the third down to a 1-0Segment so we can treat the x-y surface as a projection with a top and bottom or f&b. Each of those Irreducibles exists as 3fD, so we take 2, the x and y. Which means only the 1fD from each case. Those are put together. How? This is the question that kills me, that fills me with shaking fear because I can’t get it apart. We have the 2szK in each view. With those held, x and y align in any of the manners we’ve needed, from across at the midpoint to stick on an End. As long as they’re orthogonal, they are in each spot on each other’s 1-0Segment. That draws a grid square. FINALLY! They literally pull apart and come together to make grid squares. And at the gs(n) and gs(m) layers because those are generated! FINALLY!

I feel like crying. This is intensely hard. The stress rips at me. The work itself causes vestibular distortions that make me queasy, and that appear as ocular migraines. It’s like I’m back in grade school and the white glows until the black type disappears and little shining lines run across my head in outlines of certain objects. And then at times I feel absolutely magnificent. I’m doing what I was meant to do, what I was taught to do, what I’m obligated to do, what I was scared into doing by the voices that lectured at me about death and eternity. My body is always changing, so I can never say it’s fixed, but I’ve regained and improved on so much by following the lessons learned. I can’t believe how functional I am.

Here’s the thing I needed to mention. It’s about poop. Yesterday or day before, I produced the thickest poop I have ever managed. I had to use my deep muscles to push it down from where it had developed higher up. I could feel it shift. The exit was painful, and was exactly like I experienced as a child when I was super active and this would happen. And today I managed the best squeeze ever and produced the longest continuous poop I’ve ever managed. Made me think about the snake: because the image is obvious, that there’s a snake in you. And you can see it when a person or an animal is cut open.

You can see why the bad concepts of a snake as unclean relate to it being literalized as what is excreted but alive. Like worms and other living things that people and animals get. And that a snake swallows instead of chewing, like it’s a mouth of a different kind.

But in this context, the snake was the expression of the well executed contraction of the internal muscles, meaning the internal dimensions aligned with the external dimensions so they operated as a whole and squeezed together and against each other to full contraction and thus expulsion. The snake of that line of compression both in the muscular dimensions and in the product.

So, did I just get grid squares FINALLY? I think so. It looks like it: by counting sz as I(sz), we combine I(x) and I(y) along a 1-0Segment, and that makes a grid square. To say I(sz) means to say it stacks, which is what enables the pole. Remember, we generated the pole as being at the End where the 4 gs(n) meet, with that being the bip or Bip of the gs(m). We can now draw that exactly.

I have struggled with this single idea for many years. I thought this morning it might kill me today. I could not get anywhere. I was in a loop of I can’t get this and worse.

What sparked this was the concept of revenge as against your own insecurities in the past, that it’s about reclaiming your rights, your stake, yourself. All modeled and expressed by you so it carried this dimensionality. Whenever I get anywhere, you are there. I wish you were here.

[budbanana]

Paintbrush app for mac

PAINTBRUSH APP FOR MAC MOVIE

PAINTBRUSH APP FOR MAC SOFTWARE

Pheew! That was a tough learning curve for this little bike. But this would just be icing on the cake, I guess if I was going to ask for one feature besides higher res, it would be the possibility of returning to previous layers even after you’ve added more. You can zoom in and out to see what you’re doing, work with either a very large or very very small ‘brush’, have a choice about softness of edge, erase/unerase the top layer at any time, load on as many layers as you want, and save your session at multiple stages so you can add a new layer but easily go back to a previous version if it didn’t work out. Juxtaposer’s only issue is that it is so low res, Otherwise it is a perfect App for doing this. The other issue with Paintbook is that as it is primarily a vector drawing program, it erases with an extremely sharp edge, and the cuts are therefore very clear. Unerase on the other Apps lets you bring back any part of the top layer at any time. One of Paintbook’s main issue is that since it is not designed for this specifically, there is no ‘unerase’, only undo. I was hopeful about new App PhotoChop but although it has higher res than Juxtaposer, the image seems less sharp, Also, you could not enlarge the image you were working on or change the size of the eraser/uneraser to have control over detail areas. While Paintbook is the clear winner for resolution, Juxtaposer is still the clear winner for collaging features. (Resolotions reduced to the lowest to fit them on the same page for upload) The set was put together in Photoshop on my Mac. Research-backed: In a nationwide study, students in classrooms using Pixie significantly outperformed students in classrooms that did not on a nationally recognized standardized test for reading and math.Īll three are digital collages made on my iPod Touch from scans of an oil painting and a charcoal drawing. Pixie has hundreds of standards-based curriculum activities you can use at home to support and reinforce what kids are learning in school.Īwards: Pixie is an iParenting Best Product, a District Administration Reader’s Choice, a Children’s Technology Review Editor’s Choice, and has a Seal of Approval from the National Parenting Center. Support Learning: Pixie is used in thousands of classrooms to engage students in the curriculum.

PAINTBRUSH APP FOR MAC MOVIE

Export pictures to email to friends, print booklets and greeting cards, show off your pictures in a slide show, create a movie or podcast, or share your pictures in an online image gallery. Share your creations in a slide show, online gallery, or other programs. Record your voice narrating a story, practicing vocabulary, or recalling a family vacation. Tell stories using pictures from the sticker library. Edit images by applying a variety of graphic effects and edges to photos. Kids can tell stories, create original artwork, and manipulate photos.įeatures: Create original art using the paint brush, crayon, marker, shapes, and fill tools.

PAINTBRUSH APP FOR MAC SOFTWARE

If there is text within the shapes, both the shape and text moves as one unit, saving you from moving the shapes and text as separate elements.Kids love using Pixie! Pixie is exciting creativity software with an array of paint and easy-to-use image editing tools. There are, also, diagramming programs, that have make drawing simple geometric shapes easier to do and easier to move around and esier to edit and change their appaerance. What type of diagrams are you drawing/painting? So, there's the quick tutorial about layers. You can, also, more easily move elements around on a layer more easily that having all the elements on a drawing or painting on one layer. If you don't alike what you did on a layer, you can erase an entire layer and start drawing or painting on that layer, again, or delete the layer entirely. If you want to alter elements on a layer only that layer gets affected. You can build up a drawing or painting by putting different elements on different layers. Think of layers as multiple sheet of clear paper or thin sheets of clear plastic that you can draw or paint on. Why are you afraid of applications that use layers? Layers are one of the easier concepts of both drawing and painting apps to understand and use.

#Paintbrush app for mac