 This show is brought to you by these lovely people. Hey there you beautiful NPR enthusiasts. Get ready for a torrent of non-photo realness. Here are the highlights. First, how to grease pencil like a pro. Second, malt major speed up. And third, inco colors too. It's here. Welcome to the BNPR show. A celebration of stylized and non-photo real rendering. Let's go ahead and start with dessert. Your favorite part of the show. Feast your eyes on these and juicy bits. Malt, the back end of beer, has gone through some performance polishes. On the heavy test blend file, the startup time has decreased from 14 seconds to less than two seconds. The GLSL parser has been rewritten in C++ and the shader preprocessor is replaced with MCPP. Texture and mesh loading speed also improved by four times. To improve viewport performance, the rendered frame is sent to blender viewport in eight big texture instead of the full 32-bit depth texture. At 4K resolution, the viewport response is much snappier and even better in full HD. Communication between blender and malt is much faster and more robust. As a result, F12 renders are much faster. Other sweeteners, for malt nodes, the metadata is added to GLSL properties. The results are colored sockets by data type, tooltips and default values for all GLSL properties. To reach malt version 1.0, one more big improvement is required. That is the user experience. The list of proposals are on this discussion thread in GitHub. Please give feedback so that we can build the best NPR engine for everyone. Plus, don't forget to drop a few dollars on Miguel's Patreon so that he can spend more time working on malt. Direct donations to him are much encouraged as well. Here are some tutorials you just have to watch. Adding noise filters and screen tones to Grease Pencil by Sophie Jantek. Photo reel renderings are always trying to remove noise from renders. In NPR, we always use noise as an artistic decision or as an element to enhance the artwork. In this tutorial, Sophie creates a texture. The texture can be just a transparent noise or anything with transparency to enhance the Grease Pencil strokes and fills. The first step is to create a new Grease Pencil material. Fill the camera view with the Grease Pencil fill, preferably larger than the camera view. And then parent the Grease Pencil object to the camera and we'll use this later. Second, change the fill style from solid texture and load your texture. Set the blend to zero. Scale the texture and make it more visible. Third, in the Grease Pencil layer, change the blend mode and opacity to fit your art style. Fourth, animating the texture. This is easy. Just key frame the texture's location X and Y and set the interpolation to linear. The rate of change is up to your texture style. So play around until the animation makes sense artistically. For the screen tone texture effect, you have to watch her tutorial video. With these simple steps, you can enhance your Grease Pencil style greatly. Please give it a try. All right, here's a quick one. Grease Pencil draw mode shortcuts by Dauntee. Do you ever wonder how to work with Grease Pencil like a pro? Well, here's how. Utilize the quick change menu, Q. Change the brush radius with F. Change the brush strength with Shift F. Change the active material using U. Change the active Grease Pencil layer with Y. Insert a key frame with I. Hide the active Grease Pencil layer with H. Hide inactive Grease Pencil layers with Shift H. Unhide everything with Alt H. Bring up the context menu with W. While drawing, hold Alt to draw straight, horizontal or vertical lines. While drawing, hold Ctrl to erase points. Lasso erase with Ctrl Alt and drag. With the line drawing tool selected, hold Shift to get perfectly straight lines. Holding Alt plus Shift while in the line tool will extend the line. Holding Shift in the circle and box tools will constrain to the perfect shape. Holding Shift plus Alt and drag, the drawing will start at the center and in the perfect shape. Press Enter after drawing in any line primitive tools to commit the drawing. Camera Control. Scroll the mouse to zoom in and out. Shift plus Middle mouse to pan the view. Press the dot in the Outliner to switch to the Grease Pencil object and draw on it. You can find some of these shortcuts in the header menus. And now you can Grease Pencil like a pro. Procedural Stylized Meteor by Simon 3D. There are three parts to this Stylized Meteor. The Meteor Tail, the material for the Meteor Tail and the front parts of the Meteor and its material. Step one, the Meteor Tail. Add a high poly sphere. Add the whole mesh to a vertex group. Add a vertex weight proximity modifier. Add the vertex group from before and set the target object to an empty. Change the proximity mode to Geometry. Now tweak the lowest and highest weight limit. To displace the mesh, we need a displacement modifier. Add a cloud texture. Set the vertex group to the only vertex group we have. Change the strength to your liking. To animate the cloud texture, add an empty. Animate the rotation and keyframe the empty, then set interpolation to Linear. Set the displacement coordinate to object and the object to the rotating empty. Step two, the material of the Meteor Tail. Add a spherical gradient, object texture coordinate with the first empty as the target. The first empty will both control the shading and the mesh displacement. Next are the common steps we usually do with texture shading, so we'll be brief here. Distort the texture, add a color ramp to colorize the texture and animate the noise W value. Step three, the front part of the Meteor and Material. Add a dense UV sphere again. The material setup is simple as well. First, the mask. Add a spherical gradient, add a noise texture, rotate the direction of the mask in front of the Meteor. For the whooshing texture, add a noise texture like before and tweak the scale to make it appear directional. Add a color ramp to add contrast. Animate the Y position and the rotation of the texture. Now combine the whooshing and the mask texture and colorize it. A math node with greater than operation as the factor between transparency and emission. Finally, connect the colors to the emission color input and we're done. This setup can be useful in other applications as well. See if you can name a few. If you're still super curious with the setup, please get the blend file from his Gumroad. Now for something fun. Making grease pencil characters for blown apart by tiny media. You will listen to the explanation of how the drones, we mean animators, and how they create the characters and bring them to life. Even for expert grease pencil users, the explanation is very well put together and might give some new insights to how you might want to explain grease pencil to someone that is new to it. We don't want to spoil the brilliant explanation in this video, so be sure to watch it after the show. Time to set frames moving with NPR animations. Naruto, 3D fight animation by Nutty Art. This short fight scene has all the impact shots done extremely well. The close-ups are on point with the sound. The camera work helps lead the eye to the next shot as well. We want a 10 minute fight scene, please. Pull Indie Game Devlog 1, Package Time, by LouVenous Studios. A lot of grease pencil work on these models. We love the tiny guy speaking Mandarin. This devlog is just pure fun. Time just flew by watching it. Yubisaki Literacy, a new single by Sunset Swish. And the animation done by NikaMia Yodaka. We featured an animation by NikaMia Yodaka earlier this year. But this time the collaboration with Sunset Swish has pushed their animation to new heights. Just look at this behind the scene, near the ending of the song. Complex camera work, complex scene setup, and seamless grease pencil animation. Great job. Inco Colors 2, by Mine Ichinose. We, the BNPR team, have been eagerly waiting for this. The line art choices on the birds are exquisite. The voice acting made the animation feel very professional. It's extremely wholesome, so go watch it if you have not. What you'll miss out if you're not in the show notes. First, adding 2D animations to a 3D scene. Second, how to have fine controls on 2D elements in 3D space. And third, SVG quirks and many more. And the show was made possible by these kind-hearted people. Please thank them kindly. Before we go, one final question. What elements do you remove from photo reel renders but you add in NPR renders?