 This show was brought to you by these happy patrons. Hey there, you beautiful people! Welcome to the BNPR show! Today's highlights. Hatching Shader like you've never seen before. Malt Version 1.0. And the original story of Gohan Black. Let's jump into the show. Let's start the show with the celebration of your artworks. This is part one. Tutorial time! The first tutorial is about creating simple parallax by feline entity. Here are the steps to create a simple parallax. 1. Add a 2D texture, in this case a 2D Veroni. 2. Add a mapping node and a geometry node. Link position into vector and incoming into location. 3. To create that sense of depth, slot in a vector multiply using a vector math node to the incoming output of the geometry node going to the location of the mapping node. To control all three values together, we add a value node. 4. To solve the projection problem, which will ruin the texture projection, we need to find the tangent for all three axes. For the x-axis, use tangent node in UVMapMode.product with mapping output. For the y-axis, use tangent cross product with the normal from the geometry node then dot product with the mapping output. And for the z-axis, use the normal dot product mapping output then combine them with a combined XYZ node. 5. To offset the texture direction, add a vector math and add an offset value to each axis. 6. Duplicate the whole node setup a few times but change the depth value using the value node. And with that, you can fake depth on flat surfaces. Remember the Spider-Man into the Spider vs. Skyscraper windows? They use pretty much a similar method. Now, go wild with parallax in your scene. The second tutorial is creating mid-ground foliage by Christophe de Dan. There are a lot of steps to create these 2D plant fullages but here's the bird's eye view of the process. 1. Create a spherical gradient with object mapping, a vector curve node to change the shape to the foliage shape. 2. Create a noise texture and multiply it to the gradient. 3. Now create a foliage texture in any program you have. Since Photoshop's brush system is very similar to Blender's brush system, the foliage texture is very doable inside Blender. You will need rotation jitter, position jitter, axis flip, and a scale jitter. Set these in small amounts to avoid extreme variations. We don't want leaves pointing to the zenith which is not how most tree leaves look. Use the tiling tool to make the texture seamless. Paint a few of them, then save the foliage textures. 4. Mix the foliage texture with the noise texture. 5. Add transparency the usual way. 6. Now colorize the foliage with a color ramp. 7. A flat foliage won't look nice so we'll need a lot of layer shading on top. 8. Randomize the foliage texture using an object info nodes location input into the location input of the mapping node. Add a few sapling tree trunks and you're ready to save the world. Give this one a try because the steps are very similar to Kristoff's other tutorials. This next tutorial is creating a hatching shader by Ocean Quigley and it's very interesting. Here are the steps. 1. You need a gradient texture for this stripe with camera coordinate and insert it into an emission shader. 2. For the tiling use a value node inserted into the scale of the mapping node. 3. The next is shading. Here we use the diffuse shader and convert it into color using the shader to RGB. 4. Combine the lighting info with the hatching lines. We subtract the line from the diffuse. 5. Now is the fun part. That is conforming the lines to the direction of the surface. And for that we need camera space normal. To do that we need a vector transform node and transform from world space to camera space. To make the normal gradient into a circle gradient, note this is not a sphere gradient. We add the separate xyz node and pipe in the x and y to the math node with Arctan 2 operation. To make the circle gradient into negative 1 to 1 range we need to divide the output by pi. One more step before it is usable as a color, we need to map the range from 0 to 1 using a map range node. 6. That last step will be inserted into the rotation of the mapping node for the line texture, but only rotating the z axis. 7. To make the smooth circle gradient into steps, multiply it by 8, truncate the decimal points, then divide it by 8 to get the range back to 0 to 1. Next is to multiply the output by some value to make the lines point to a better direction. 8. To cap the center point of the hatching and avoid every line converging into a single point, get the facing data from the layer weight node with a color ramp and multiply with the circle gradient. 9. To make the lines look more organic, a noise texture is inserted into the location of the line mapping node. 10. To fix the border between the hatching patches, add a Veroni texture to the rotation of the line texture mapping. Add a paper texture, and the hatching material is ready. The result is pretty nice, am I right? Bonus! These are a few more bonus tutorials which we think will be of your interest. The first bonus tutorial is Ghibli Nausica inspired shaders by Kristoff. In this, Kristoff shows a few more shading tricks for the scene in Nausica. Second is an illustration shader by Alan Wyatt on Sketchfab. This is an easy one and has quite a nice controllable result. Third is a tutorial by Paul O. Kogegi on how to mix 2D into 3D scenes. If you watched the other tutorials mixing 2D into 3D from the last show, this one will add more depth into the technique. See what I did there? Time for some community updates! Beer updates! Malt, the back end of beer, has been going through a major refactoring. As the final week of malt development, here are the improvements. For the refactor, we have pipeline properties and support for material as pipeline parameters. We also have a new and improved NPR API and lighting code. The curvature shader quality has also been improved. For performance, a massive speedup on mesh loading and material editing. We also have faster instance drawing. Switching speed to render mode in the viewport has increased. The new features are multiple pipeline material types, multi-material objects and transparent materials. Transparency is a major feature for us. It has caused a huge rewrite on the whole rendering pipeline and how data is handled. For release features, BlenderMalt now ships packaged with all its dependencies and can be installed as any normal add-on. We now distribute Blender with malt builds for macOS users as well. By the time you watch this, our contract with Miguel on coding malt has ended. This is not the end of development, though. Further plans on the back end will be announced when we have more details. The next step for the beer project as a whole is finding a UI developer that is versed in the shader coding pipeline to help make the layering system. Fundraising will start to help with the development cost. We would like to thank Miguel for his hard work and the funders who waited eight years to make beer a reality. You guys made this possible. Thank you. Another fun thing, we reached out to GitBook, a documentation service to see if they can help us host all of our project documents. And hey, they're giving us free unlimited access to the full features that GitBook has to offer. Here's the plan with GitBook. First, to document the fleeing gems from online discussions, we started an NPR wiki. There are a few articles on the wiki already and more are coming. We are inviting writers to contribute to the wiki. Ping us on social media and we'll give you access. Second, we will also document all open source projects funded by you. The two spaces are ready for beer and abnormal documentations. Not much to see yet on these docs as we just got unlimited perks unlocked. GitBook has the most user friendly UI and UX to make writing fun. It's kind of love at first sight for us and I think you'll enjoy it too. Thank you GitBook for trusting us with unlimited perks. You guys are kind of the best. The links to these wikis are in the show notes. Here's a tiny footnote. The treasure in the treasure hunt in the BNPR show number 21 has been found. Congrats to Sai and Lois for finding it. Now, an announcement. We will be taking a month off from the show. This also marks the end of season 2. The next show will arrive at the end of January 2021. It might be an overdosed show. And speaking of overdosed, you need the second dose of artworks. Prepare to get high with some awesomeness. Here they come. Pi Studio. It tells the imaginary journey a fat cat took to reach his food. Epic. A Dragon Ball Gohan vs. OVA. History of Gohan Black by Daiya Domodachi and team. This is the first Dragon Ball Gohan vs. OVA that explores the El Hermano incident and how it formed the being that is Gohan Black. It cuts deep, it's intense, super tear-jerking, but no more spoilers. You really have to watch it. You have more cool animations in the show notes. Hit it after this show. Well, that's a wrap for this artwork overdosed show. Not that you can have too much, but now for the dessert. This show was brought to you by these awesome people. Please thank them kindly. And before we go, one final question. Do you want a show dedicated to artworks?