Testing mpm solver for mixing color paint strokes #houdini #mpm

Alvaro Moreira showcased hand-tracking tests in Houdini, using the... MPM solver for a jelly-like effect. See more:show more

Lava flow with MPM solver. Rendered in KarmaXPU SideFX

Sergei Sukhorukov explored Houdini's MPM solver to visualize tire... contact patch behavior on dirt. See more:show more

Join us at SIGGRAPH 2025 for a first look... at Houdini 21! Learn about enhancements to COPs, MPM and Solaris – new ML-based workflows – easy-to-use pyro presets – facial rigging with KineFX... and more! Use code HOUD1156 for a FREE Exhibits Only pass.show more

Axiom 4 for Houdini is out Check out the... changes to the popular GPU-accelerated sparse volumetric fluid solver for VFX and games, including improved collisions between smoke and surrounding objects #Houdini #simulation #VFX #gamedev Theory Acceleratedshow more

I did some magic with this color mixing, watch... to the end for some magicshow more

Hello artists, I have a problem! I'm looking for... a way to fix this issue in Clip Studio Paint: As you can see in the video, my shadow layer is clipped to my base color layer, but it's still stretching the color to the edges of the base color. I've tried looking for an option or something to fix this, but haven't found anything. I've changed my brush settings, created a new brush, etc., but nothing works. I went back to Paint Tool SAI and saw that when I make a selection, it doesn't do this in Paint Tool SAI. So I tried it in Clip Studio Paint, and unfortunately, the problem persists. It spreads the color to the selection edges where Paint Tool SAI doesn't. If anyone has a solution, a better-programmed brush, an add-on, or anything that can fix this problem, I would be very grateful!show more

Hi hi! I would like to share a pearl... brush i created in ibis paint. Please make sure to set the base color to red for the best results!:3show more

Krea might have a chance to be the next... generation Procreate with this. Great job Krea.. acquiring Wand was an interesting move. Now can we have collapsible layers and the ability to paint into the paint layer from the Ai stream. And larger brush sizes for quick color passes?show more

Who is secretly funding the fancy lawyers suing Pres.... Trump for American flag blue paint? A no-name nonprofit says the Reflecting Pool color is too “resort” for the Mall. If they win, the repairs for America 250 stop. Follow the money. 🎥 Margo Martin & meshow more

Grandma and Grandpa Duo Together 😎 ChatGPT Image 2+... Seedance 2 Creation in Magnific Editing app - Capcut INTENT: Create a whimsical magical-adventure sequence that begins with playful curiosity and discovery, briefly escalates into supernatural danger when one student is swept into a living paint current, then resolves with a clever emotional rescue and uplifting ending. STYLE: stylized family-feature 3D animation feel, rounded expressive silhouettes, painterly fantasy environments, clean readable forms, magical brushstroke textures, soft cinematic lighting, colorful atmospheric depth, polished animated-film finish. WORLD: a living fantasy painting world where landscapes, oceans, clouds, and structures are made entirely from moving paint strokes and sketch textures. Wet brush marks ripple across the environment, floating pigment drifts through the air, and drawn lines can physically reshape the world in real time. REFERENCES: Use the provided previs storyboard page @[storyboard_image] as the main reference. Do not treat the page as one single image. Treat the panels as sequential shot keyframes and expand them into a coherent short scene with clear continuity. Use the @[character_sheet_image] as characters reference. VISUAL APPROACH: Match the storyboard's spatial variety and emotional pacing. Prioritize readability, screen direction, and continuity of action across beats. Keep visual motion calm and intentional rather than restless. Preserve the playful exploration energy during the beginning, then gradually shift into suspense and urgency once the magical paint current appears. The painted world should constantly feel alive — brushstrokes flowing, paint rippling, sketch lines forming dynamically in space, and environments subtly reshaping themselves organically. CAMERA FLOW: Wide establishing shot inside an art studio as two students discover a glowing magical painting. Tracking exploration shots through colorful painted landscapes and moving brushstroke terrain. 3/4 suspense angle as one student accidentally approaches unstable ocean-like paint strokes. High-angle danger shot as the student slips into a giant flowing paint current and gets swept away. Medium action shot as the second student realizes sketch tools can alter the world itself. Dynamic low-angle rescue sequence as glowing hand-drawn bridges and ramps rapidly appear across the moving paint river. Hero rescue moment as one friend grabs the other moments before disappearing into the massive paint wave. Wide emotional payoff shot as the magical world calms, sunlight returns, and the newly drawn paths remain across the landscape. LIGHTING: Warm magical gallery light at the beginning. Bright fantasy color palettes during exploration. Stormy blue paint turbulence and dramatic contrast during danger. Soft golden painterly sunlight during the ending. MOOD: adventurous, playful, magical, emotional, suspenseful for a brief moment, then uplifting and triumphant. ANIMATION FEEL: Expressive family-animation energy with cinematic staging, strong silhouette readability, emotional body language, smooth environmental transitions, and visually clear storytelling designed for a short-form animated sequence. Prompt with Image style inspired by Kōdashow more

Nuke isn’t just for finishing shots, it’s in fact... extremely useful for overall Look-dev. You can push renders way further without constantly re-rendering. Testing lighting, color, and atmosphere becomes fast and flexible, letting you focus on creativity instead of waiting on heavy scene updates. All renders, particles, volumes, destruction passes can be fine-tuned, layered, and balanced directly in comp. This means faster iterations, and more granular control over the final shot. Nuke and compositing is not just the last step in production, I really believe it's part of the whole process.show more

Messi on the pitch, Messi on the canvas. 🐐🎨... Created with Seedance 2.0 on CapCut Prompt: SUBJECT: >>> WARDROBE: Stylish artist outfit consisting of paint-splattered denim overalls over a fitted white tank top. Colorful paint marks scattered naturally across the fabric. Hair tied into a messy creative bun with loose face-framing strands. The front bib of the overalls features a clearly visible embroidered "Zara" patch throughout the video. ENVIRONMENT: Bright contemporary art studio with large floor-to-ceiling windows. Wooden easel centered with a blank white canvas. Worktable covered with acrylic paints, brushes, palettes, palette knives, paint jars, sketchbooks, and colorful paint splatters. Sports magazines and football posters subtly decorate the background. Natural daylight fills the room. MOOD: Creative obsession, intense focus, artistic flow state, passionate admiration for a football legend, energetic craftsmanship. MUSIC: Fast-paced orchestral percussion mixed with rhythmic drums, building momentum throughout the creation process. COLOR LOGIC: Blank white canvas evolves into a vibrant, highly detailed portrait of Lionel Messi. Bright studio neutrals contrasted against rich blues, whites, golds, skin tones, and colorful paint pigments. STYLE: Ultra-realistic cinematic art documentary, high-speed kinetic editing, satisfying creative process visuals, dynamic camera movement, Edgar Wright-inspired pacing. LOGIC RULE: Blank canvas progressively transforms into a realistic painted portrait of Lionel Messi. Every stroke contributes logically to the final artwork. The "Zara" patch remains visible whenever the artist is shown. --- SHOT 1: MCU, 35mm handheld / Girl stands before a blank canvas. A Messi reference photo is clipped beside the easel. She studies both intensely and cracks her knuckles. / SFX: room ambience, knuckle crack. SHOT 2: Insert, 85mm macro / Paint tubes slam onto the table in rapid succession. Blue, white, black, gold, and skin-tone colors scatter across the workspace. / SFX: quick thumps. SHOT 3: ECU, 100mm macro / Thick ribbons of paint are squeezed dramatically onto a palette. / SFX: paint squish. SHOT 4: Insert, 50mm / Brushes are grabbed rapidly from a jar like selecting tools before battle. / SFX: brush clatter. SHOT 5: MS, 24mm push-in / First sketch lines appear on the blank canvas, outlining Messi's face and shoulders. The Zara patch is clearly visible. / SFX: pencil scratch. SHOT 6: ECU, 85mm tracking / Rapid brush strokes establish facial structure, hair, and beard contours. / SFX: paint swishes. SHOT 7: Insert, 100mm macro / Palette knife spreads textured paint across key areas of the portrait. / SFX: scrape. SHOT 8: Overhead WS, 24mm / Timelapse burst as the portrait rapidly takes shape. Messi's recognizable features emerge. / SFX: layered artistic sounds. SHOT 9: MCU, 35mm handheld / Girl steps back, compares the painting to the reference photo, nods, then jumps back into action. Zara patch visible. / SFX: footsteps. SHOT 10: Insert, 85mm macro / Detailed brushwork refines Messi's eyes, beard, and facial expression. / SFX: brush flicks. SHOT 11: MS, 35mm tracking / Rapid layering of highlights and shadows adds realism and depth. / SFX: rhythmic brush strokes. SHOT 12: ECU, 100mm macro / Tiny highlights are added to the eyes, bringing the portrait to life. / SFX: delicate strokes. SHOT 13: Overhead Timelapse / The artwork evolves into a polished, gallery-worthy portrait of Messi. / SFX: artistic montage. SHOT 14: MCU, 50mm / Girl signs the bottom corner of the painting with one confident brush stroke. / SFX: signature brush. SHOT 15: MS, 35mm reveal / She steps aside as the completed portrait of Lionel Messi fills the frame. Bright colors glow in the daylight. She folds her arms, smiles proudly, and nods toward the artwork. The Zara patch is clearly visible. / SFX: triumphant musical climax, music end.show more

In 1990, Italian geologist Angelo Pitoni purchased strange blue... stones from a Fula Chief in Sierra Leone in West Africa. The tribe claimed the rocks came from the sky. Pitoni returned home to Europe and brought the mysterious rocks to a university for testing. The results showed the stones didn’t match any known mineral. The researchers couldn’t explain why the rocks retained a blue color. When a small piece was pulverized and viewed under a microscope, there was no blue color visible. Heating the stone to high temperatures would not alter the mineral. Acids would not break it down. Further analysis showed that 77.17% of the stone was Oxygen. The remaining composition was Carbon, Calcium, and an unknown organic compound. The age of the Sky Stones may be as much as 55,000 years old.show more

Happy Final Space Friday! Lots to update. So here’s... the thing… since I legally can’t do a digital version of the comic, I’ve been digging into a little loophole: a motion comic. Like… an actual video version of the book. Still testing it, but Daz Tibbles did a rough test and is trying a few motion poster tests with other characters. If we pull this off, it’s gonna take FOREVER but it’s possible. That’s the key word here. Possible. And maybe worth it. Over on the Color Edition, the print file’s coming together clean. The whole focus right now is threefold: 1.Resizing 2. Color matching 3.And the “Zazz Pass” (if a tweak takes under 30 minutes, I’m hitting it). I’m building a punch list and should have some before/after examples to show off next week. It’s looking really good. On the Midnight Edition, we’re building out the UV Spot File for the cover titles on the front, spine, back, and yep, the shards of glass will glint too. Gonna look sick! Just waiting on the physical samples to land at my door so I can approve it for full print run. Also printer flagged 15 pages where the text bubbles were a little too close to the cut line, so I went in, fixed them, and sent them back. And yes, I asked about international languages. It’s doable, but that’s a whole other mountain would need to re-letter the whole thing. I’m shelving that until the English versions are fully out. Right now, I’m just keeping my head down and charging through the color files. Let me know what you think of Daz Tibbles tackling a full motion comic. -O PRE-ORDER HERE:show more

How to 10x your design with Figma Make ⭐️... I spent 40+ hours testing Figma Make prompts. Most designers waste time with vague prompts and get garbage outputs. Here are the exact prompts and proven workflow that actually work: 1️⃣. Prompt formula: Bad: "Create a dashboard" Good: "Create a SaaS analytics dashboard with: → Left sidebar navigation (240px wide) → Top bar with user profile → 4 metric cards in a grid → Line chart showing revenue trend → Use blue (#2563EB) as primary color" The more you specify = higher quality. 2️⃣ Workflow: Import Your Design System First Before your first prompt: → Go to your main Figma file → Export your component library → Import it into Make → Add this to every prompt: "Use components from [Your Library Name]" Now everything matches your brand automatically. 3️⃣. Prompt for Interactive States: "Create a login form with: → Email and password inputs → Show error state when fields are empty → Disabled button state when form is incomplete → Success message after submission → Add smooth transitions between states" Gets you working prototypes, not static screens. 4️⃣. Advanced Prompts: Data States "Create a user list screen with three states: → Loading (skeleton screens) → Success (populated table with 10 users) → Empty (illustration + 'No users yet' message + 'Add User' CTA)" One prompt = complete UX coverage. 5️⃣. The "Design System Drift” Fix: Notice Make using wrong colors? → Try this Prompt: "Analyze my imported library and list all color tokens, then regenerate using only those exact values" It'll self-correct and stick to your system. 6️⃣. Responsive Design Prompt: "Create a pricing page with 3 tiers. Make it responsive: → Desktop: 3 columns side-by-side → Tablet: 2 columns with 3rd below → Mobile: Stacked vertically → Use Auto Layout for fluid scaling" This gets you mobile + desktop in one shot. 7️⃣. Magic Troubleshoot Prompts: Output looks off? → Try: "Redesign this following Material Design principles" → Or: "Make this follow iOS Human Interface Guidelines" → Or: "Apply Gestalt principles for better visual hierarchy" Give it design frameworks to follow. It works magic. Designers who master prompt engineering in 2026 will ship 10x more than everyone else. P.s. I made a Gameboy for Pokémon. (bookmark this for later)show more

So much of my time here I have spend... dreaming. Dreaming for the day that has now arrived. For years I spend my days grinding to fulfill a promise made by a 25 year old right after having the biggest night of his life. Midnight夏季Breeze sold out in 30 minutes. And for someone who had less then 5000$ in the bank, suddenly making 1.5 million dollars was kind of insane. Euphoric I said "v2 will come for those who hold a breeze" Little did I know how much that single promise would affect my life. I have spend majority of my late 20s painting this world. And been very critical of what this space is about. I wanted to be a voice you could rely on. Someone that shows up, is approachable, but also be the change I'd want to see. Everyday looked the same for me, make coffee, walk dog, turn on pc, paint until dinner, walk the dog again. I sometimes quite literally went insane. The pressure was high. I had to make this project real. And there was always so much to do. Art direct, animate, color grade , composite, 3d , sound effects , music, development, management like countless hats to wear all the time. The Vision however, called me. There was no way I was gonna give up, or quit. Though every vibre in me wanted to. My health , my personal life, they demanded it. But I did not stop. And that persistence has let to today. It has let to an industry that doesn't care. A timeline that can only talk about something if its $ related. And a world that is more chaotic then ever before. And amidst it all, I fulfilled my promise. Fragments of the Lonely Road is here. And I do not think you will ever understand what it means. But, I do know, that this art. This project. This vision. It has been worth it. So now, if you made it all the way down here. I want you to rally. I want you to make noise. I want you to share with the world what this is about. I want you to be the storm that says, "shit can be different". And I will be the wave, and show, why that's the case. GM. STAY BREEZY AND... (you say it in the comments!)show more