NinthDesertDude

As of 2017, I agree. I'm licensing it under the MIT license. Naturally, anybody that used the source code before then retains my explicit permission grant to use it in any way imaginable (without the MIT clause of retaining the MIT clause).

Maximize is back. I reconfigured it since it decided to break itself on my computer, so hopefully none of that. This project is on github now. https://github.com/JoshuaLamusga/Brush-Factory. Link to documentation added in my first post.

@MJW Normal maps are computed from a 3D mesh. This is an approximation method using edge detection. The purple shade is the neutral color for a normal map with RGB values 128, 128, 255 since the RGB channels correspond to XYZ offsets for the computed lighting. Sobel edge detection and blurring is a typical solution to faking a normal map. https://en.wikipedia.org/wiki/Normal_mapping

Eh, not a real loss.

@Rick Brewster Have you added sub-pixel font rendering to the roadmap agenda? If not, could you do so?

Fill a layer with the bright yellow color. Set your secondary color to transparent and primary color to drab olive green. Create a new layer, then use the linear reflected mode gradient to make diagonal lines with the dark olive green color. Do a Gaussian Blur with a high value like 150 on it. You can do it a couple times if you want. This is the result.

I really don't know why this question hasn't been answered yet, so I'm going to go ahead and answer it. Get these two plugins: Clamped Gaussian Blur, Channel Operations Step 1: Get two layers ready. The top one will be made transparent and the bottom will be blurred. Step 2: Select the top (glassy) layer and apply Channel Ops to set alpha to 210 (or subtract 45). Step 3: Select the bottom (blurry) layer and apply clamped Gaussian blur at 16 radius. Done. Comparison of the actual Aero blur and simulated Aero blur. (Some artifacts due to a sloppy job, but point proven.) So again, I'm not sure why nobody could tell you to increase transparency on one layer and blur the other

Post a picture of what you're talking about so I can see what you're asking for.

Opal ring The ring texture is made with bevel and fragment. Took 20 minutes. Done on 5/14/2017.

The homepage should group awards with quotes and use a one-column layout with the download link made obvious. The "roadmap and changelog" page is really just a changelog, so it could be renamed (and the browser caption too). That's about all I'd change. Everything else is great.

[It would be nice if posts could be deleted rather than deleting the content and leaving this message.]

I thought there was missing information at one point, but there wasn't. However, it did prove that having a seperate Keyboard & Mouse Input page can go unnoticed. Segmenting the documentation of one feature into zones like that, however important, may be improved by linking to that page for convenience. Consider something along the lines of "To view all keyboard and mouse shortcuts, see this page."

You can use my Brush Factory plugin for that and simplify the process a lot. I know the UI is poor, so I'll show everyone how. 1. Set brush color. 2. Reduce brush size for 1-pixel strokes. 3. These are the spray options. Maybe I should rename them horizontal spray, vertical spray. 4. "Min" reduces the greenness randomly and "Max" increases it randomly. If the color is set to pure green, min/max will increase and decrease the brightness per-stroke. So you don't have to import it into paint anymore, and you can use other shapes / brush sizes as you please. For Cleanup / Coloring If all that noise is made on a separate layer, you can select the whitespace first and hit Ctrl + I to invert the selection instead.

Thank you Pixey, Woodsy, and LionsDragon. I made the tourmaline by drawing a lot of lines in Brush Factory with different hues (all at the same angle as the crystal, and overlapping). This gives the crystal that glossy look. I used motion blur on the lines in the direction they faced. I smudged all the lines together, especially along color zones, so they were cohesive. I used Channel Ops to overwrite Alpha with Saturation, then made a layer below and drew color to fill in the tourmaline. The band of extra translucence near the top is a section I decided to keep as-is. I then merged the layers and selected the edges of the crystal, which represent the faces that can be seen, and darkened them slightly. I finished by using TR's Dodge and Burn to increase saturation on the center of the crystal, especially around the top. If anybody wants to ask how any of my images are made, I can tell you. For drawn images that were converted to digital illustrations, I usually save the original drawing and major steps along the way to completion and can show them too.

Tourmaline Illustration A multi-hued tourmaline crystal ending in a partial blue-cap scepter. Done in 1 hour on 5/4/2017.

Thanks, everyone. My last name used to be Lamuska ~200 years ago before a branch of my ancestors emigrated to North America. My family has polish ancestry.

Hello everyone. I've managed to rename my profile with EER's help and, following his suggestion, this is a heads up that I've changed my profile name. I used to be called Anthony Scoffler, but that was my pseudonym back before I thought I'd be this immersed in the PDN world. I've had my account renamed to Joshua Lamusga. So any old reference to AnthonyScoffler is a reference to me, Joshua Lamusga. That's all

It's possible you ran out of memory. I don't know much about this at all, so that's a total shot in the dark. Depending on your work the next time this happens, you can try using print-screen to recover some of it before you close Paint.net. Somebody with an understanding of this sort of topic will probably respond soon.

This tutorial is available as a PDF. Click here to view or download it This is my first tutorial, and it's a workflow-style tutorial that discusses how to illustrate scanned drawings. It doesn't require any plugins or filters (not even built-in ones). The work is all you, and that's really great. Being able to draw your own objects without dependence on filters/plugins allows you to develop your own visual style and brings greater control in scenes, like clutter shots. Start by scanning the original drawing. Open it in Paint.NET. We'll call it the scan layer. Before you do anything else, decide what the color scheme is. Here's a self-describing example: The handle is brown, the guard is yellow, and the blade is gray because it's steel. These colors are chosen with some intensity in mind. If this dagger is in a night setting with bad light, these colors will be a lot darker. This dagger is in a neutral lighting, like outside on a cloudy day. Make a new layer to trace over the scan. You want it on a new layer so you can remove the scan from it later. Draw with the desired colors and try to fix as many drawing issues as possible. Notice in the picture below that the guard is visible over the handle, so the edges of the guard are drawn with yellow. Try to keep the regions to be colored on different layers to make it easy to texture them later. Fill in the colors. Choose a light source for texturing. Add a new layer for texture. Add another for highlights and shadows. With Outlines The process is a little more straightforward with outlines. You can create a scan layer as usual. Make a new layer to trace over the scan. Draw the outline with black lines and try to fix as many drawing issues as possible. You don't need to worry about colors yet. Alternatively, if the original image is in grayscale colors (like a pencil sketch) and doesn't need any tweaks, you can modify the scan layer directly to use it as the outline. Use the plugin Switch gray to alpha to remove the background, then use Alpha Threshold to darken the lines. Add a layer for colors under the outline layer. Color in the lines. Add a new layer for texture. Add another for highlights and shadows. Additional Steps - If it's hard to see, make a "screen" layer filled with some translucent color so you can see the difference between identical colors on two layers. That is, if you're drawing on the layer above the scan, and both have black lines, it's nice to have a translucent color on its own layer between the scan and drawing layers. That way, your crisp black lines show up in the drawing layer more vividly than the scan layer (which has a screen over it). - Make a layer underneath the image, fill in everything with white, then merge it so there are no partially transparent pixels left. Tips If the image is symmetrical, draw one side of the image. Flip it horizontally / vertically. The dagger picture had symmetry, and I took advantage of it. Images can have radial symmetry, like petals around a flower. You can copy a petal and paste it, then move the little circle to the center of the flower. It's the point the image rotates around. For highlights, remember to take surface texture, type of material, and angle of light into account. Highlights and shadows are the same color as the object being highlighted, tinted in hue by the light source. A highlighted surface often has more saturation or intensity. Avoid the mistake of using white or yellow colors for all highlights. Remember that shadows are fainter the further the object casting the shadow is from the ground.

Spritesheet for Fleet Fighter The sprites involved in the creation of one of my games called Fleet Fighter. Not the greatest sprite work in the world, but the entire game was made in 3 days. Collectively took about 2 hours.

Whoops, realized a ton of images from this old gallery were removed from the hosting site. I've got them all backed up somewhere but eh, doesn't seem worth it, so I just removed the rest instead. This thread's not the most useful right now, feel free to delete 😅

Funny story; I was planning to make a filter brush plugin like TR did, but I didn't have the time to make the resources to do it until TR made that very plugin. That's why I made brush factory for brush dynamics and not for applying a filter. Of course, TR covered only the basics (colors and adjustments) while I'd be covering filters. What I need in that regard is a way to read all filters and apply them to a surface so I can copy over from that surface (it'd be like a clone stamp, but with the anchor point in the same coordinates on a separate image). Well, there's an idea if somebody gets bored A year later I did make an extension of it.

The phrase "A Effect" comes up a bit. Try replacing it with "An Effect". The phrase "per pixel" should be "per-pixel". The definition of Antialiased looks too technical for plain users. I would also remove the tense and call it Antialias or at least Antialiasing The definition of Add Noise might need to tell the user what noise is. Try comparing noise to TV static.

Information not covered Holding Ctrl and clicking the + or - for the brush size can increment/decrement five at a time. You can hover the mouse over the Fill and brush size properties for the paintbrush and use the mouse wheel to scroll through options. Not all users will notice that they can hover over the tools to view the keyboard shortcut, so each tool should have its keyboard shortcut listed on that tool's page. On the Geometric Shapes page, the tip "Shapes can be forced to have equal height and width..." should come immediately after "When creating a Shape, hold down the Shift key to maintain...", and perhaps be merged with that tip. The tips are highly related (one is for creating the shape and one is for adjusting it), and the current position of the first tip mentioned seems to be out-of-context with its surrounding text.