Joshua Lamusga

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Joshua Lamusga last won the day on April 16

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  1. Glad you figured it out because I haven't been subscribed to this thread, apparently, and this plugin gets a low volume of interest.
  2. No good way to do it even in photoshop. Some things are just naturally kinda hard. Plenty of workarounds that take a little effort. Post a picture and suggestions we have would probably improve though.
  3. Converting gray-orange pixels to gray is as easy as selecting them and making them grayscale (Adjustments -> Black and White). Coverting gray-orange pixels to orange is craftier. You can select the image and invert selection so whatever you do doesn't affect the image, then set your brush color to orange and paint over the intermediate pixels. You can then soften the hard edge you just created by changing to gray, lowering opacity, and using the edge of the brush to make edge pixels gray (to keep some anti-aliasing). If you don't want anti-aliasing, even easier.
  4. Version 1.9 released It's been awhile since I've updated this plugin. I decided it's a disservice not to have a color picker already, so I've added that functionality. It works similar to the normal color picker in paint.net, and you can press K to switch to it. After selecting a color, the brush tool is selected.
  5. I did mention Aseprite in my previous post for a reason
  6. @PixelArt That seems like it would be a custom algorithm that removes the adjacent pixels while drawing. This would be very difficult to do for a brush image, because that would require finding out where all the pixels for each applied image and detecting L shapes to omit changing the corner pixels -- it would be super time consuming, actually. I can see how a pencil tool designed only to draw individual pixels (and not a brush image) would be able to handle this kind of algorithm. What I can do is try to get brush smoothing. It would still create L shapes when drawing, but it would be less likely to do so since localized jitter is averaged out. I'll let Aseprite keep their custom implementation of the pencil tool.
  7. Setting the foreground color with a color picker is very much necessary in pretty much any work I do in Brush Factory, since I use the plugin myself. That work isn't hard and I've created a branch for it. I'll be updating this plugin shortly, likely tomorrow.
  8. And make sure that tolerance is set to 0%. This is better than using a plugin.
  9. Krita used to have this feature, but they didn't like it and got rid of it . They use masks now, which can get the same end result, but is much more effort in my opinion. In any case, you could consider Krita for a lot of features that PDN doesn't have; I now use both in my workflow.
  10. Thanks everyone! @LionsDragon Painting minerals is hard because of the way light interacts with crystals, I can only imagine it's much harder than using semi-transparent layers in PDN . Of course if that's what you want to do, I can't complain because minerals are awesome and hey, it's something new to work on. I just -finally- got a drawing tablet to play with, borrowing it from my friend, and it seems quite a lot more likely that I'll be able to draw reasonable things: This is done in Krita (so I won't be sharing other sketches directly here). No references, second thing I drew with the tablet and I have no idea what a wyvern should look like. I'm thinking its body is too long (I left the right side of the body not-quite-finished anyway). But this is excitingly better than what I get myself with pencil and paper. Since I have a drawing tablet for the time being, I'm hoping I might be able to add pressure sensitivity support in Brush Factory in PDN. No promises on when, though. I realize there are multiple APIs (Window Ink is the common one, but there's little standardization so Wacom, Huion, etc. have a lot of specialization) and I might need to have more than one. The UI for the brush dynamics would need a full update anyway to support mapping the values. Food for thought.
  11. A drawing of quartz with goethite inclusions from March 2018, just using my imagination here. I wasn't sure about the matrix for the goethite, so I made some dark, uncertain and metal-heavy matrix. The edges of the quartz may look weird, especially the hanging face at the top-right. The quartz face is supposed to be incompletely grown there. This was an interesting one to do because I had to mimic the index of refraction, which I did at the seams where the faces meet (it's intentional). I think it's interesting anyway. I haven't been active for some time except for a ghostly vote here or there; I was busy on other things. So here's a 5-minute tree from June 2019 in a cartoon style I haven't done yet. Forgive me
  12. It's nice. The zoom icon in the lower right-hand corner can be toggled on and off when at 100% zoom with no apparent effect; maybe it should just display the icon without dotted lines if zoom is 100% regardless of when the user toggles it. That would be a clearer design because at 100% zoom, you are viewing a 1:1 ratio, and pretty clean in code I'd imagine.
  13. Wholeheartedly agreed. I'd give 4 attempts, maybe with a warning it will result in a temporary lockout, etc. Don't forget that Avada brings up that the email address isn't accepted to log in, which is important if true. For usability. We could tighten it down to one attempt, theoretically, and permanently lock out the account on failure until an admin intervenes. That's the most secure solution, but is it good? I'd say not. I'd even go as far as to agree that 3 is too few. You can read more about it; this source has a variety of answers, one of which includes 3 attempts with a 5 minute timeout on failure, and that's for logging into a user account on an operating system; surely more important than this site: https://ux.stackexchange.com/questions/73565/how-many-atempts-should-you-give-a-user-before-invalidating-his-password. So weigh on it critically from both a security and usability standpoint. Probably someone will chime in that it'll be looked at or not in scope, that's fine. Just want to make sure it's known.