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#jesse adobe
grimsae · 2 years
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c a c t us
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tyerisesky · 1 year
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Final project for Illustrator class
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after threatening photoshop several times it turns out i was actually the problem
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akelboye · 3 months
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newgrounds in the mid 00s ass drawing 💀💀💀
ash had a normal one (he chopped his hair and shaved his eyebrows during a manic episode)
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carneflower13 · 9 months
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macbooks suck ass i shouldve never gotten one of these
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usergif · 1 year
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hi! i’m user ames tattooine, and i’m gonna go over how to cut footage out of a scene. i’ll talk about rotoscoping—what it is, its history, and how to mask with the rotobrush successfully. i will also briefly go over how to use the pen tool to mask in after effects.
though this is pretty comprehensive and info-heavy already, there are still things i don't go over! but it should be a guide fit for beginner-intermediate after effects users.
YOU WILL NEED:
adobe after effects (minimum version cs5 / anything released after 2010)
basic knowledge of the interface and workflow, including but not limited to: compositions/precompositions, keyframes, and how to use brush tools
time. a lot of it
patience. more of it
also, before you click "read more," please note that this is about 3000 words long. definitely recommend viewing it in your browser. with housekeeping out of the way, let's go!
WHAT IS ROTOSCOPING?
very simply put, rotoscoping is a tracing technique. physically, it’s a little like using a selection tool on video. conceptually, things are slightly different, and that’s due to how it was meant to be used—but like many artistic tools, rotoscoping was transformed by contemporary artists / editors / animators / etc to become the versatile thing it is today. for mainstream giffing and video editing purposes, it is most often used as a way to mask footage out. see:
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UNDERSTANDING ROTOSCOPING
the main thing you need to understand is that rotoscoping was meant for animation. not masking, not giffing—hand-drawn animation. in its early days, animation was clunky and generally unnatural-looking; not due to stylistic decisions about motion, but because artists were mostly guessing at how a movement would be divided into frames between point A and point B of any given movement. then, in 1915, two brothers named max and dave fleischer stuck a projector to a table, attached it to a car light, and beamed that light onto a block with tracing paper attached. they’d then take the image produced onto the tracing paper, trace out the figure (in the first case, dave dancing on top of a roof in front of a white sheet), and repeat this frame by frame to eventually trace an entire scene. the animated character would be drawn over / match the traced figures, and bam, animators suddenly had a HUGE shortcut to imitating real life movement in drawn scenes. (or, more accurately, only max and dave did, at least until the patent expired lol)
WHAT DOES THIS MEAN FOR ME??
well, maybe not much if you don’t care to nerd out like i do, but it should absolutely inform the choices you make re: scene selection. dave and max used a white sheet for contrast and added a car light to their apparatus to enhance that contrast when they were tracing. if you try to rotoscope a scene that doesn’t have much contrast to it, you may not come out the other end with much success.
but remember: the tool wasn’t created so that you could cut your blorbo out of a scene, it was so that artists could trace movement for funky and weird animated characters in the 1920s. over time, and as tech advanced, people realized that if they completed half the rotoscoping process, they would have an isolated scene from the original footage. aka, they could mask out background footage. sprinkle in a little web 2.0, accessibility and increasingly easy use of tools from the mid-90s onwards (and the implementation of the rotobrush tool specifically after 2010), and we have a fascinating study of how tools can be transformed from their original use to do things that are different but equally valid. and yeah—2010. it’s mind-boggling to think about the leaps and bounds we’ve made with editing tech in the last 10-15 years alone. i digress.
ROTOSCOPE =/= ROTOBRUSH
so here’s where you might be like, jesse what the fuck are you talking about dot jpg. i’ll try to be concise: rotoscoping is the method. rotobrush is ONE of the tools you can use to rotoscope. i have a little issue about terminology that i won’t get into, but what people want to do in gifsets and video edits with the rotobrush is MASK. they are using the rotobrush to mask away footage, the same as if they used tape to cover up sections of a canvas. it’s easier, however, to think of it in the inverse—taking specific footage out, rather than snipping background away. imagine i have gingerbread dough, and i want to cut it into stars or various shapes. one thing i could do is take a knife and a stencil and physically cut out my shapes; another thing i could do is use a cookie cutter. the rotobrush tool is like a cookie cutter if it was driven by machine learning, involved way too much math and programming for personal comfort, and also was incredibly inelegant. the former method can be done using the pen tool, which is more time consuming, perhaps, but it lends itself to accuracy because it’s all done by you, the artist. i will be going over both methods.
THE ROTOBRUSH METHOD
fucking finally! we’re in after effects! first thing of note: my interface looks like this. yours, unless you also went through a sony vegas envy phase in 2015 and then modified your existing cs6 interface to be as inconvenient as possible, does not. don’t worry about it—the tools you need are located in the same place, and if ever i use a panel you can’t find, just click “window” at the top (both in mac and windows) and click what you need there.
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step 1: select your footage, and be selective. and boy, do i mean be selective, or else you are in for a world of irritation. you want a scene that has naturally high contrast between your subject and your background. you want a scene that doesn’t have erratic movement, or if it does, you need to have the frame rate to support that movement. similarly, your background shouldn’t have too much movement either.
(what is erratic movement? well, let’s say your footage is 24 fps, and a character moves their arm between frame 0 and frame 12, or half a second. if the arm is moving incrementally throughout all 12 frames, or every 2 frames, that’s workable! but if you have a still image for frames 0-3 where the character’s arm is in one position, then another still image for frames 4-6 where the character’s arm is in a vastly different position—that’s erratic movement. after effects will not process that easily.)
if you’re masking out footage of a human (or humans), then for your own sanity, choose a scene that doesn’t have a lot of flyaway hair. finally, you probably don’t want a scene that’s too long! for this tutorial, i’ve got this shot of my baby boy.
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notice how he’s dressed in dark clothing against a very light background? how his hair is mostly flat to his head, and how there’s nothing really that could have erratic movement? the background is a little busy, but it doesn’t seem like anything that’ll mess up the rotobrush’s calculations. as a bonus, the subject is relatively large and details around the edges aren’t too detailed! this is the kind of footage that’ll give you an easier time.
note: when i say “calculations” btw, i really do mean calculations. the algorithm takes the brush tool set to “constant” and predicts “edges” based on things like contrast between pixels, relative position of where the brush was used, etc. this is why it can be really convenient, but also why it can be prone to error. as i said: inelegant.
step 2: isolate the scene in a separate comp, whether that be through creating a separate composition manually or just precomping your existing one. the key thing is to have workable start and end points that automatically pop up when you enter the layer so that you don’t have to wait hours for each unused frame to load. this is what i’ve got now:
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step 3: enter the layer by double clicking it in your timeline. you should see a separate panel pop up at the top here…
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and what looks like the entirety of your footage here.
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fret not! this is simply how layers work in after effects: they’re non-destructive, so you can add modify it to your heart’s content, and the original footage will not change. kind of like smart objects in photoshop, if you want a comparison. that is to say, yeah, in this layer, you DO have the entirety of your footage; in your composition, however, you’ve cut away all but 3 seconds of it. the point of step 2 will be apparent in one second when you do step 5.
step 4: equip the rotobrush tool. that’s the blue icon here on your tool bar (turns blue when you equip it).
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step 5: go to the beginning of your composition and vaguely trace the outline of your subject INSIDE the footage you want by clicking and dragging (like any other brush tool), like so:
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the line doesn't have to connect, mine just does. you’ll notice that the "rotobrush and refine edge" effect is automatically applied, and if you zoom in on the timeline from step 3, you’ll also see that the start and end points of your workspace have been automatically set to fit your composition.
after you release your click-and-drag, you should see a pink outline appear around the selection.
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you can change how you view your selection by hitting the buttons down here to toggle different alpha view settings. and if you didn’t know this already, alpha means transparency. i personally like switching between the pink outline and the alpha overlay setting—the former makes it easier to see the smoothness of my selection, and the latter makes it easier to see if i’m missing footage / provides a starker contrast.
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step 6: refine the initial selection. if you have experience with tracking, you can think of this as a “master frame” where you’re defining the parameters that will go on to be approximated for the rest of the footage. reminder that you are manipulating an algorithm when you use this tool, so you want to feed it data! this means clicking and dragging to collect any missing footage, or holding option / alt while you click and drag to remove footage. if you see jagged lines (like around his hair here), you can make it smoother by tracing inside the subject around the area and removing footage from the outside around the area—basically, telling the algorithm that This Is Where The Edge Is And I’m Moving Around It.
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step 7: click play and let footage propagate. once it’s done, it should preview and look something like this:
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if you’ve done everything right so far, then your outline shouldn’t be jumping wildly around or anything—for the most part, it should stick to a good 80-90% of the footage you want! the more solid foundation you have that doesn’t need (much) fixing, the smoother the mask is going to be.
step 8: refine the “problem” frames. you can click through frame by frame and see where things go off the rails. for me, it’s anakin’s right (so my left) shoulder. basically repeat what you did in step 6 and add / take away footage as necessary to refine the edge. VERY IMPORTANT TO NOTE WHEN REFINING: the algorithm calculates edges FORWARDS. that is to say, if you make a change 2 seconds in, that change is only going to make modifications from that 2 second point onwards. it will not make a change backwards, meaning that if a problem starts to show up, you need to fix it from the root onwards and teach the algorithm that This Is Where The Edge Is. if you don’t do this, then you will end up going backwards frame by frame fixing the same mistake over and over again, and it will look wonky because you will redraw in different places. i have had students do this and spend hours in misery. be patient: work from the start and fix as you move forward frame by frame! don’t jump forwards and backwards if you can help it.
step 9: fiddle with the effect settings. now that you’ve basically gotten your mask as neat as possible, you can play with the actual effect itself. just quickly, i’ll explain what i think to be the most important things (and the other settings, you can experiment with on your own):
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version: 2.0 is their latest and ostensibly “most improved” version from the 2020 update, though if you don’t have the hardware that can take it, you’ll end up propagating frames for Hours. version 1.0 is perfectly adequate, and at times even more efficient than 2.0. up to you!
invert foreground / background: select the footage around your subject rather than the subject itself. can be very useful!
reduce chatter: chatter is the shakiness of your outline from frame to frame. when things get ugly—say, when you use the refine edge tool—is when your outline is jerking around every frame, seemingly unable to find an edge, like so (to the extreme—yours will likely be smaller twitches):
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(also, this is me warning you right now. if you use the refine edge tool, you will triple your workload trying to actually refine it, and it will still look weird. if you insist on using it, be sure to work with a tiny brush size and stick as close as you can to the edge of your selection. this thing sucks and does not behave like it does in photoshop. LMAO.)
for the luke gifs, i had my feather at 10, my contrast at 90, my shift edge anywhere between 10 and 40%, and reduce chatter set to 100. these will vary greatly depending on the look you’re going for and also how neat your existing selection is. (at vague claims like this, i often hold a blinking neon sign at my students that says "REMEMBER MARSHALL MCLUHAN? THE MEDIUM IS THE MESSAGE? FORM AND CONTENT ARE INEXTRICABLY LINKED? CONSIDER THAT AND BE PURPOSEFUL IN YOUR DESIGN CHOICES PLEASE")
overall, the effects controls you see are very much like the select and mask feature in photoshop! you can play around with it and see what the other settings do, but those under roto brush matte are the main ones imo. and that’s all there is to it! you can render out your composition, or you can nest it in another composition if you’re working all in after effects, or whatever. for those who are slightly more advanced in ae: i wouldn't recommend using twixtor after masking to slow down the footage (if anything, risk the compression and add twixtor before, then render and import back and mask), but you can definitely adjust the time keyframes without impacting the quality of your selection. or you can sit and admire your genius and the power of c++.
THE PEN TOOL METHOD
this method is less a pain in the ass and more just.. very tedious. also jsyk, it works better with animated content (cartoons, anime, etc) and less so with live action just because of like, hair. i totally recommend being in a discord call with friends while you do this method because it is an absolute vibe and distracts you from how mind-numbing and boring editing actually can be lol
step 1: select your footage, and be selective. maybe not as particular as you had to be for the rotobrush method, but it should still have mostly the same elements. erratic movement isn’t so much an issue. i’m using the same scene as above for convenience.
step 2: isolate the scene in a separate comp, whether that be through creating a separate composition manually or just precomping your existing one. this is mostly for workflow reasons, but some people hate working with a lot of compositions, so it’s up to you if you want to work in the original composition with your whole footage.
step 3: duplicate the layer. you should have something like this now:
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step 4: equip the pen tool, highlighted in blue here (turns blue when you equip it)!
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step 5: on the top layer, create a mask around the very edges of your subject, starting from the beginning of your selected footage. you should end up with something that looks like this. i wouldn’t bother with curving your lines, just because it can be harder to move around (especially when you’re making video edits and masking out action sequences and whatnot). if you toggle the visibility off and on your bottom layer, you’ll see that you’ve masked out the rest of the footage, and everything else is transparent. woo!
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NOTE: if you haven’t already, go to your preferences and make sure that this is toggled off. you want to be able to add and delete vertices at will without changing the mask path in previous frames!
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step 6: hit “M” on your keyboard, or use the dropdowns on the uppermost layer to reveal the mask 1 dope sheet.
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step 7: create a mask path keyframe at the first frame by clicking on the stop watch. your station should look something like this:
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step 8: go forward frame by frame until the image changes. this may be by one frame, two, or sometimes three.
step 9: deselect your layer, then select it again. the mask outline should change from square vertices to circular ones.
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step 10: click and drag to move the vertices so that they align with the edge of your subject again. feel free to zoom in and out as necessary! you’ll notice that keyframes are created automatically when you make changes, so don’t worry about manually inputting them.
repeat steps 8 to 10 until you’ve finished :) this is why it’s time consuming and annoying :))
bonus options: you can shift the edge of your mask by fiddling with mask expansion. mask feather will feather around your mask, and mask opacity will change the transparency of the footage outlined inside the mask. less sophisticated than the roto brush matte settings, but they work great!
annnd 3000+ words later… that’s it! that’s how you cut footage from a scene using after effects. i hope this was informative! if you have any questions, feel free to send an ask to usergif.
xo ames, signing off 🖤
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cassiopolegatto · 10 months
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Logan Roy, patriarch of the Roy family and founder of Waystar Royco. Masterfully portrayed by Brian Cox. From HBO series "Succession," created by Jesse Armstrong Digital painting made in Adobe Photoshop. Based on a photograph by Macall Polay.
Get a print -> here <-
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raphyart · 10 months
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TEAM RAPH©
Illustrated by Me in Adobe Photoshop
Based off Team Rocket as made popular from the Pokemon series, These illustrations feature myself in exchange for James with Jesse bearing the new S2Y2K Pro Logo in the style of the Team Rocket “R”.
RAPHYART© 2023. All Rights Reserved.
WWW.RAPHYART.TUMBLR.COM
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calocera · 2 years
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i really want to make a ds9 ytp i have ideas itd be a waltz ytp but itd be called the watltzer white and thered be an extended bit where sisko is walter white and dukat is jesse but i CANT do it bc my school locks our adobe subscriptions over summer break >:/
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generalmalfeasance · 2 years
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graphic designers walter and jesse be like “jesse we need to kerning.” and then their high tech lab explodes because they accidentally opened two adobe programs at the same time 
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adragonthatwrites · 10 days
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hey! i want to have my favourite fanfics in bound form; do you have any resources i can learn bookbinding from? I’m already learning to make art so that i can add smol illustrations; however, i can’t pin it down to clearly defined forms instead of a puddle of values (i don’t work with digital art). how do i work with all of that?
Personally I learned from a bunch of videos on YouTube and various Google searches! I recommend checking out these videos;
Bookbinding Tools and Materials- beginner friendly, by bitter melon bindery. (Their channel has several very helpful videos, including one on making book cloth!) This one gives you a good rundown on the tools and stuff you'll need.
Turning Fanfiction Into the Hardcover Book it Deserves, by Less Jess. This one I recommend for learning how to copy over the fics and format them into a printable form! Trust me, you'll want that Adobe trick; formatting it all by hand is a real pain in the ass!
Rajiv Surendra's Bookbinding Guide for Beginners | Into to Bookbinding, by HGTV Handmade. This one's good for more fundamentals and learning extra techniques and tricks!
French Link Stitch Bookbinding Tutorial, by Sea Lemon. They also have lots of nifty videos; this one in particular goes into depth on my preferred binding stitch.
Beyond that, I encourage you to do lots of research, and experiment a little! There are actually lots of ways to bind books, and don't be afraid to try different things and see what works best for you! I personally prefer the French link stitch for the back, and bind it in bookboard covered with handmade book cloth from various fabrics I find.
Hope his helps, and don't be afraid to ask any followup questions!
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grimsae · 2 years
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I was busy thinkin’ ‘bout boys,💅🏼,boys,💅🏼,boys 💅🏼
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Love letter recap from our Native event!
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Illustration by Aly Miller @aly_illustrations
It's safe to say that February's event was truly special. Our community gathered at Coffee Makes You Black, a neighborhood staple for over 20 years in Milwaukee's 53206 zip code. The same zip code our speaker, Sinceree Dixon, happened to grow up in, just a few blocks down. 
CMYB is co-owned by Djdade Denson, who took the stage to welcome everyone and share the exciting things their business has in store. Soon, CMYB will serve as a financial and business incubation hub to aid in their mission of economically uplifting the Black community. If you're interested in learning more or want to get involved, feel free to email Djdade. 
Before we took our seats, we enjoyed chicken & waffles, prepared by CMYB and sponsored by Islands of Brilliance (thank you both!), grooved to our thematic playlist, hugged, and high-fived. 
"Today I am going to discuss my experience as a Native American and Black woman, who is also Native to Milwaukee. I want to help dispel the myths that perpetuate the idea that Native People everywhere are monolithic and the notion that the Black experience is homogenous. My story is not only one of survival, but about reclamation and representation."
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Video by the incredible Jesse & Natalie from Create & Capture.
Sinceree Dixon is a programs coordinator and grant writer at Victory Garden Initiative. She's also a mother of two, a model, and a phenomenally generous storyteller. 
Sinceree opens her talk by telling us about her mother and father, who are from Ojibwe & Menominee and Black descent respectively. But like all our stories, Sinceree's begins well before her and her parents: her story begins many generations ago. 
This month's event was generously filmed by Create & Capture. We invite you to cozy up and watch Sinceree's talk, Native in Layers. You're sure to leave feeling inspired to learn more about the stories that make up America and of your own lineage. And maybe, just maybe, you'll shed the stories people have tacked on to you. As Sinceree demonstrated, maybe you will define yourself. 
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Victory Garden Blitz
Victory Garden Initiative builds communities that grow their own food to create a community-led, socially just, environmentally sustainable, and nutritious food system for all. Get involved!
Volunteer registration form 
Purchase a raised garden bed
Sponsor a garden
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CreativeMornings is about shining the light on our communities. And one way to do this is via 30 Second Pitches. This is where we invite a few people from our community to come up to the stage and share a pitch with our audience. It could be that they are looking to hire, need collaborators, have an upcoming event they’d like to promote, or who knows? Maybe even looking for a date! Our 30 Second Pitch Nomination Form is always open!
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Jeff Ganger is the marketing director at Islands of Brilliance, a learning experience developed specifically for children and young adults on the autism spectrum.
They are currently seeking Summer Mentors! As a Design Mentor, you have the opportunity to work 1:1 with students to help them bring their ideas to life. From the initial stages of sketching and designing through to project completion, Mentors guide students through the process while teaching basic skills in creative software and technologies.
If you...
Are looking to do something meaningful, impactful, and positive for the community
Like inspiring others to be creative
Appreciate differentness and unique perspectives
Have fun sharing and playing with creative tools
And are inspired by the student’s creativity and willingness to learn...
Then being an IOB Summer Mentor could be right for you!Design Mentors should have some experience with Adobe Creative Cloud software, such as Photoshop and Illustrator. Procreate and Blender is a plus. 
Any questions? Email Jeff!
Become a Mentor
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Dominic Inouye is the internship director at Teens Grow Greens, whose mission is to��develop teens through transformative experiences that cultivate belonging, life skills, and connections to opportunities that grow leadership.
Dominic announced their newest paid internship program: Leading the Way | Exploring & Rethinking Milwaukee. Interns will see themselves as knowledgeable Milwaukeeans able to experience and express their city in new ways!
If you know a teen who wants to...
Discover Milwaukee's history, both positive and challenging
Explore on foot, bike, and kayak, through its water, parks, culture, food, and more
Engage in conversations with residents and business owners
Recognize community assets throughout the city
Create your own guide to Milwaukee's present and future
Encourage them to apply! Applications are due April 19, 2024. 
Explore Teen Internship Opportunities
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Event day photos by Holly Schisler. Lots more love captured in our Flickr gallery.
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Big thanks to our local partners:
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See you next month!
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tamarovjo4 · 1 month
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Adobe launches AI Assistant in Acrobat in beta, to summarize PDFs, answer and recommend questions, and more, letting paying users "easily chat with documents" (Jess Weatherbed/The Verge)
http://dlvr.it/T311s2
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coolcatteacher · 1 month
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10+ Ways to Use Adobe Express in the Classroom
Today we're talking about some free tools with AI built in and some fun ways they can be used in the classroom.
In this episode, Jesse Lubinsky, a former classroom teacher and education evangelist for Adobe, shares 10 awesome free ways that teachers can use Adobe Express in their classrooms. From using Animate from Audio to create animated reflections to using Text to Image to create generative AI art, Jesse provides practical tips and ideas for teachers to empower their students through creativity.…
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View On WordPress
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jessmation · 2 months
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About Me
Jess is a London-based animator and filmmaker who's work has encompassed 2D/3D, stop motion, compositing, rigging and motion graphics. She is currently completing her Masters in Character Animation at Central Saint Martins. Drawing inspiration from a range of animated and illustrated media from films, games and TV shows, her films often convey surreal and absurdist undertones. Jess is familiar with a range of software, spanning from Dragonframe, the Adobe Suite; such as Photoshop, Illustrator, After Effects, Animate, InDesign, as well as TVPaint and Autodesk Maya.
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