 This show is brought to you by these awesome people. Hey there you beautiful people! Today's highlights. Traditional like painting with grease pencil. Yoro no Kuni is grease pencil galore. And the five essential procedural textures to build a medieval town. Welcome to the BNPR show. A celebration of stylized and non-photoreal rendering. Diving right in, the first tutorial is by Kristoff. For a very dynamic battle scene, like in the anime Attack on Titan, it's almost impossible to hand draw the background frame by frame. To make such a large scene possible, we need to make dynamic textures. We need the dynamic textures to avoid the town looking the same everywhere. To do that, we need five types of dynamic textures. They are brick texture for brick walls, the floor and castle walls. Weathered painted wall texture, a roof texture for tiled roofs, wood texture and a wall texture for the walls on most buildings. Let's look at them one at a time. For the brick texture, add a noise texture to vary the mortar size between the bricks. To add highlight or shadows, offset the position of the texture with the mapping node. To add variation to the bricks, add a smooth veroni texture and blend it to your liking. For weather painted wall textures, add a noise texture into the smoothness of a smooth veroni texture. Add a mapping node to the smooth veroni, scale the texture to resemble a painted wall texture. Just like the brick texture, the texture can be duplicated and offset to create a more complex texture. And the weathered painted wall is done. You might want to add shading information to this as well. For the roof texture, we need three brick textures with smooth veroni on each. The first brick texture is for the roof main tile colors with the mortar at zero. The second brick texture is for the shadow part which is done using the mortar alone. And the third brick texture is for highlights. Slightly offset to be close to the shadow of the second brick texture. Add a diffuse shader to add some shading information and then add a gradient texture for a smooth transition. And the roof texture is done. Now for the wood texture, add a wave texture in wide direction with some distortion and a noise texture for variation. Then add a second wave texture as a highlight using a color ramp with a little offset. Here a smooth veroni texture put noise into the smoothness parameter. Then add a gradient texture in the Z direction for a smoother transition. Like before, add a diffuse shader to add some shading information. And that's the wood texture. Lastly, we have the wall texture. Use a smooth veroni with a noise texture controlling the smoothness parameter. Use position to map the veroni in 3D space. To add variation, add a musgrave texture. Then use a gradient texture to make a smooth transition and add diffuse to add shading information and we're done. Those of you who followed along, you'll notice a pattern emerging. All of these textures use simple procedural textures with another texture to change their default shape. Then we limit the colors with color ramps. Next, stack a few of them on top of each other using blending modes. Follow that by a gradient and a diffuse shading as well. If you get all that, you're on your way to making almost any procedural texture. What if we want a much simpler roof? This tutorial is by Levi Mogoni. The shader setup is quite simple. First, UV unwrap the roof. Second, add a texture coordinate node. Set to UV mapping node. A vector math node set to scale. Another vector math node set to fraction. Chain it with another mapping node. Then share the output with a separate XYZ node and a wave texture node. Then merge them with a math node. Set it to less than. Change the mapping node parameters and the rest of the setup to make them look like waves. Now duplicate the last four nodes and merge them with a greater than operation and offset the position of the texture. Add a color ramp to the color of the roof. And last, to make the roof look more organic, add a noise texture to the wave texture. Just like that, you have a simple roof texture. Now let's go full stylized with the traditional looking artwork with a watercolor feel. This tutorial is by the illustrator Sophie Jantac. First, go to her download page and download the four brushes she used in her tutorial. Then append the brushes into Blender. A side note, you will need a drawing tablet to use these brushes as the strength and size are controlled by pen pressure. So get a relatively cheap pen tablet and enjoy the process. It can actually be pretty relaxing. Now set up a paper texture as the background of the painting. This must be done on the viewport to get the maximum impact. Each step of the painting process primarily uses one brush. For the line art, she uses the rainbow line art brush. To get a more dynamic looking line art, vary the pen pressure. You can do hatching as well. Step two is the watercolor using the watercolor brush. For more transparent, lighter and softer colors, press softer on the pen pressure. Press harder for more opaque, darker and more saturated colors. Step three is the pencil crayon layer using the color pencil brush. In this step, we're handling the highlight and the shadows of the piece. This adds more opaque colors on top. This is like a pencil or a crayon on top of a painting in real life. This adds depth and refines the contrast. The final layer is the spackle layer using the dirt brush. This adds an organic feel to the painting. Sophie mentioned she cannot get the exact color after rendering. So we think this is caused by two things. One, the color management's look. When you change this, the contrast will be dynamic to what is shown on screen. And two, the lighting of the scene. The lamps do interact with grease pencil. Or there might be a bug in color management. We have experienced weird color picker behaviors while working in Blender 2.92. The second tutorial by Sophie is about making 3D masks with grease pencil. You need a 3D mesh, decimated to a lower poly count, then convert the mesh to grease pencil. You might ask, why do this? That's because grease pencil mask only works on grease pencil objects. Wouldn't it be great for a 3D mesh to mask grease pencil objects as well? That's a dream. Anyway, the process to set up the mask is very simple. Click the mask on the layer, enable the mask panel, and select the mask object to mask the strokes or fill. For an animated 3D mesh, you have to bake the animated mesh to grease pencil. And yes, your animation must be final, since baking means it will be pretty hard to change the animation later. That is, unless you bake the animation again and do the grease pencil again from scratch. Which is a tedious and bug prone process. Be sure to watch her videos as she gives a lot of art tips in them. Oh, and there are way more tutorials in the show notes. So please have a look to see if anything might be of your interest. On to community updates. We have a special one this time. Epic Night Studio interviews Christoph Dedain. It's pretty cool to know that he started making NPR tutorials inspired by the BNPR show. If there's one thing to get away from the interview, is to always be experimenting and doing studies. Doing them more means more chances to encounter, well, happy accidents. We used to do it a lot back in the days, and those were happy times. If doing it alone is hard, find a like-minded friend to go on the journey together. We're sure you'll get good very quickly. Okay, goggle up. It's time to open the gateway into the NPR heavens. There are too many excellent NPR animations released this month. Aang vs Korra, Avatar, The Last, Catbender by Dylan Gu and Team. This animation has temple fight shots, flying shots, underwater shots, tons of destruction, and stylized effects. Okay, that may be too many spoilers, so next. The Chase is an advertisement commissioned by Head and Shoulders. Produced by Cyop and directed by CRCR with Wiz at Quad Group as the animation studio. Again, a lot of grease pencil work here. The mixture of 2D and 3D is very well done. A must watch for a second and a third time. Well, it's over. What a show, right? But we know you want more, so please head over to the show notes and experience two times more. This show was brought to you by these awesome people. Please thank them kindly. Before we go, one final question. Watermelon or dragon fruit?