 This show is brought to you by these lovely people. Well, hello there, NPR enthusiast. We have a wholly alluring unrealness for you. Here are the highlights. First, Malt has AOV's support. Second, creating grease pencil ink brushes. And third, Gohanverse Movie. It's over 30 minutes long. Welcome to the BNPR show. A celebration of stylized and non-photoreal rendering. But let us not linger. Here come the gems. Grease pencil line art has a few new features and optimizations. The dash modifier stroke animation issue is solved. Second, the curvature support for the length modifier was added. Third, the line art shadow line in the line art shadow branch now has proper occlusion calculation. So it's very usable now. Fourth, clean line termination at the margin beyond the camera view was added to make multiple render stitching possible. And last, the multi-thread intersection stage is being completely overhauled. And it's still a work in progress. If you want to know more, please check Wu Yeming's development log. The link to that is in the show notes. And here are some exciting Malt updates. Malt now supports arbitrary output variables, or AOV's, meaning you can output any passes as files. This exposes render passes commonly used in anime production for use in external compositors, which is the same way Pencil Plus outputs render results. This development is sponsored by, at PopRec, the lead of Hurray team. Malt now has the industry standard render dock integration. Render dock is a standalone direct 3D, 11 and 12 Vulkan and OpenGL graphics debugging tool. This makes debugging every single stage of the rendering pipeline more visual and easy. Malt also now has signed distance field rendering. Signed distance fields are basically a field that are assigned to a mesh. This can be used in many situations from AO to superfast boolean operations. This feature is sponsored by at Casey basic is. Malt has the initial support for procedural textures. These are noise texture, buroni texture and fractal noise texture. There is also performance improvement for order independent transparency. The option to compute tangents is also added in the pixel shader. You can download these updates on Malt's development branch. If you want to boost NPR development directly or to sponsor a special NPR feature, please contact Miguel on Twitter or hit his Patreon. And now it is tutorial time. City Plants, grease pencil and pixel art experiment by Kevin Dramm. His process video is very well put together, but let's go over the key points. For the midground plants, they consist of pots from mesh objects and the plants are from grease pencil objects. The pot stands and stools complete the furniture pieces. For the background, the mesh objects are the windows. Then the buildings are done using geometry nodes. The grease pencil objects are the clouds, curtains and large transparent grease pencil planes for building atmospheric effects. For the foreground plants, they are all grease pencil objects with a blur effect added. The butterflies are grease pencil objects parented to the mesh, then to an empty for animation. The light streaks are blurred grease pencil lines with hard light blending. Opacity is animated along with a noise texture. And now for the final touches. A rim modifier is added to all grease pencil objects and a glare done in post. For the pixel art version of the artwork, the scale pixel 8 scale sandwich node setup is applied in post. What a delightful scene. A nice color palette choice as well. And also go check out his Final Fantasy teacups ride process video. Tune mouth rig with shape keys by Ape of God. There are times when you see someone making something that looks special. You will ask, what is their special sauce? What is their secret recipe? What is the magic dust? Oftentimes, the secret is just the most common tools less explored. Ape of God's tutorials is one of those. So here are the three secrets to make mouth shapes, be it extreme or within the common limits. There are three major steps. One, setting a shape key. Two, making the bone to control the shape key. And three, making the driver to drive the shape key using the bone. Let's look at each step carefully. The first step is making the shape keys. We start with the basis, which all shape keys are based on. Then we add a new shape key and go into the edit mode to make the shape. If you slide the shape key value, you will see the mesh deforming. You can also refer to a shape key to other shape keys as base keys. The second step is to add a bone control to the shape key. Remember to rename the bones and turn off deformation. Third, now for possibly the most non-visual part, select the mesh, right click on the shape key value and add a driver. A pop up will appear, now assign the bone and which axis transition of the bone will affect the shape key. Now open up a graph editor, change the expression rate by multiplying the variable. You do this so that you don't have to move the bone too far before you see the change in the shape key. Now do this to all the shape keys. For more extreme shape keys, multiply the expression with another variable, which is the base key. Unfortunately, you have to add it via Python expression as shown here. And just like that, you can set up shape keys with a bone as a driver. To understand setting up a driver is to do it enough times to become second nature. If you find that this tutorial is skipping too much information, please seek other tutorials for a more thorough explanation. Traditional ink brush for grease pencil by Sophie Jantak. This is more of a resource than a tutorial. But if you're eager to understand how dynamic grease pencil brushes are made, then you're at the right place. First, the old fountain pen. This brush behaves like a calligraphy pen, meaning the angle of the brush will determine the width of the stroke. The opacity of the stroke is controlled by pen pressure. Second, the old leaky pen, as the name suggests, is a pen with an unpredictable ink output. The stroke radius and jitter is affected by pen pressure with custom pressure curves. The leaky pen is an opaque brush that will bank a big stroke when pressed harder. The blobby pen is more stable when compared to the leaky pen. It works similar to leaky but with milder changes in the custom pressure curve. The old blobby pen works similar to blobby with a twist. The difference is the opacity is controlled by the pen pressure. And the old gel pen brush resembles the real world old gel pen. The stroke will start out very opaque and will create a darker dot. Then the opacity slowly trails off. To reach these effects, at low pen pressure, its radius and opacity is high. At mid to high pen pressure, the radius slowly reduces along with the opacity. If you are into making brushes, please watch this video to see which settings to tweak to create dynamic brushes. There are also stamping brushes. But for that, you have to watch her video for the details. A Dragon Ball Gohanverse Movie, Android 21 by Dai Tomodachi. Here's the summary. In his first Dragon Ball Gohanverse movie, Slick Goku fused with Emo Gohan to battle Android 21. However, unknown to Emo, this event will thrust him deeper into the Gohanverse. This whole production took over six months. Congratulations to the whole team. If you have not watched it, please do so after the show. Magic Sciences Episode 1, Meditation. This is a mock documentary, a mockumentary, in NPR style, talking about the art and the science of meditation. This is fun to watch, so we won't spoil it more. The Dinosauria series trailer by David James Armsby. Yes, we are featuring a trailer. It is good. Dinosauria is an animated anthology, paleo-art series of the short films covering the lives of dinosaurs. There will be five films in the series and will range from three to eight minutes in length. The models are detailed and the color palettes are very nice. Go support his production. Well, unfortunately, the show is ending. But there is more NPR goodness in the show notes for you to chew on. And this show is made possible by these kind-hearted people. Please thank them kindly. Before we go, one final question. What other interesting brushes can be made from the real-world counterpart?