 Paul from Australia who has stayed up late for our benefit. He is from the CG cookie group and he is extremely talented illustrator and Blunder user and he's going to show us how to use the Blunder grease pencil feature to create illustrations. So take it away, Paul. Hi everyone, Paul here. Yes, thanks Mo for the intro. And so what I'm gonna be doing is I'm gonna be trying to complete an illustration here and as I do it, I'm gonna be showing you a lot of the features inside of Blender's grease pencil tool and how sophisticated they've become. And you know, when you think Blender, you don't exactly think, oh, it's an illustration tool. What I've got here is a grease pencil object, okay? Okay, and I've got a camera. Let's take away with that one. I've got a camera that's pointing at it. So when we take a look through that camera, it's pretty much just like a plane that I'm drawing on. Now, if you're familiar with Blender, you know that you've got things such as object data properties. Now with a grease pencil, these object data properties can look more like a traditional 2D paint program. We've got layers, we've got some blend modes for those layers. You can add some adjustments or, you know, things to do with strokes and some more sophisticated things which I really won't touch on today. But in the main window, there's a bunch of modes and the one I'll be obviously exploring today is draw mode. So I have created this sketch layer. So if I enable that, see that at 100% opacity, it's nice and bold, but I can sort of drop that down so that I can create some inks on top. Now, just like with a 2D painting program, you've got the option to lock, unlock, view and make invisible any of these layers. Now, grease pencil is also an animation tool, but I'm not an animator, and so I can't really go into those, but I have utilized these animations tools. There's a dope sheet here in which I can actually show you that I have used this to create a few sketches. And this sketch layer is one single layer, but on each of these frames for this animation, I have reschedged something. So I'm actually using each frame to sort of house a different sketch. Here is a completed sketch to give you an idea. And this one has got these layers filled in such as inks and highlights and so on. And the other thing that is really cool about something like grease pencil is that it integrates really well with stuff in a 3D environment. So for example, I have this plane here and a light that if I zoom, okay, now we're working, right? This plane actually has a texture on it that I created. Now, I'll just show you briefly how this texture works. It's a half tone thing that I kind of rolled myself. It's just a bit of math. And what it does is it creates this half tone pattern. So if I was to take away this illustration, right? First off, if we select this light, I can move this light around and the light dynamically interacts with the shader, okay? This is pretty much just blended doing what Blender does. And so this shader is all housed in this little node group down here. So I can do things like create a very low resolution half tone effect. I can change the angle of that half tone effect. I can do things like have the light affect the color and also the intensity of that half tone can be adjusted. But this is just some shader math which isn't really sort of important into what we're going to be doing today, which of course is drawing. So let's get back to the frame that I was going to work at, work on, sorry. And where is this frame? Here it is. Now, what's going on? Oh, yes, that's right. I need to see my sketch, obviously. So I'm just going to go straight into inking here. So I'm going to go into draw mode and looking through my camera, I can zoom in. I'm just using my middle mouse wheel to zoom in and out there. And I have a couple of preset brushes as well as some custom ones that I created myself. I just briefly, I'm just going to show you that these three brushes, pencil red, pencil blue, pencil gray, are pretty much the same brush. And a brush, let's see, if we go here, can have a texture on it. So this texture here is a graphite texture that I actually created in Krita, so that when I draw, you can see that the outline is a bit rough. So it kind of looks like a graphite pencil drawing across some paper. So you have the ability of creating some custom brushes, but some of the straight out of the box brushes, such as these ink tools, are really cool. Now, again, I've created a bunch of materials that I won't need them all, but I've sort of made this my default, I've just got a bunch of solid strokes and materials that I can use. And furthermore, you've got the option to add a color attribute to that material. So for example, if I was to draw this material and not have any color attributes, so I'm just going to go into, no, I'll leave it here. Right, as normal, the stroke base color is black, but I could make that stroke base color, something like this blue or even this pink, right, by selecting a color from a palette in the color attributes menu, and it allows us to do things like change the color of a stroke without necessarily adding another material. So it's sort of like a two layer system. So it's basically grease pencil going, okay, we're going to use a material like you're used to creating material in blender. And then we're going to add an attribute to it that you can have over the top of that material. So without much changing of the default ink pen, I've got some settings here under advanced and stroke under post-processing and even stabilized stroke, which I find extremely handy so that I can go in now and begin to create some inks. So I'm going to, let's see, I might whack on tablet, but I can scroll the radius of that. And so I can bring this down to something that's a little bit more manageable. Maybe that's good. So I'm just going to race those strokes and start again and begin to ink in some of these strokes. Now I'm going to work fairly fast. I was thinking of doing a video that would be like time lapsed and very well presented, but I sort of had a few obligations to get to. So you stuck with me drawing in real time today. So I'm going to try to get as much of this illustration done as I possibly can in the time permitted, which I think we're about, what, 10 minutes in? Yeah, so I'm just going to go in and get some of these lines in and sort of just talk it through as I go. So working with Blender is much like working with say a vector program like Illustrator because you're not creating bitmaps, you're creating strokes with points. So if I was to say go into edit mode and say select one of these lines, these look very much like vertices. So I can do things like subdivide that line or do things like smooth out that line. And sometimes it gets confused between the mouse and the stylus. So it's like just going, Paul, just pick one. So I'm going to use this smooth setting to smooth out that line. Basically to show you that these lines behave like vectors. So for instance, I can do things like scale the thickness of a line and using things like proportional falloff. Let's just go with connected only. I can just go say Alt S and more easily, just right click there, edit a line like this. So let's say we wanted to fix up this mouth area. So just get a sort of a more clean look now with these teeth, obviously you want those lines to join in. So I've just sort of gotten used to just putting down lines and then just adjusting them. So I'm just going to go with control J, much like other blender functions, a lot of these functions for grease pencil will allow you to do things like join lines and so on. Now, sometimes I can really muck up a line. So there's this handy little tool on the stroke called normalize thickness. What that does is just like make everything an equal thickness. And now I can kind of cheat by going Alt S, scale down that line and then maybe select a point over here. And because I've got proportional falloff, I can smooth out some of those thicknesses to basically make it look organic or like a really nice stroke of the pen. Without doing too much more, but like it's a lot cleaner that way. So then it's just a matter of just going in and inking a lot of stuff. And sometimes I've got to make some decisions as I ink. Now I am using a Wacom. So pressure sensitivity is available to me. So if I press lightly, the pen tool responds. And if I need to get a thicker line, I can do that. And of course, if I'm not happy with it or it hasn't responded correctly, I can always go in and into edit mode and just sort of adjust those lines a little further to make them look as I wanted. So these inks, I think they're gonna be fairly easy to do. So I'll continue along. Now, I was given the option that if people have questions as I'm drawing, you're most welcome to ask them. And if they're sort of relevant to what I'm doing or you've got something specific, I'll see if I can show you something a little bit more specific to your questions. So feel free to go ahead and write some in whatever chat is available to you. And I'll see what I can do while I try to get these inks done as well as possible. So this is definitely gonna need some smoothing here. But I want that to be nice, sharp. There we go. What tablet recommendations do you have? That's a good question, Emma. Thanks for that. Look, I can show you on screen if you can see my tiny little picture. I've actually got a very old Wacom Intuos Pro. I've heard really good things about the Hueon. Basically anything that allows you to have some pressure sensitivity so that you can get some variance in your line work will work just fine. It's pretty much the same as with any drawing program. So I hope that answers that question that does tend to come up a lot. Okay, let's get these. I'm just going to go and dissolve that point. Let's smooth this out a little bit so it might need some subdivision there. Smoothing, great. So I might have to just focus on maybe one piece of this illustration and then I'll sort of show you how a finished one looks so that I can sort of show you some of the method techniques for certain parts of the illustration. So I tend to like a simpler style just because it is easier to demonstrate and I sort of worked on a sketch that would look good first before doing the inks and colors and whatnot for this. So the inking process can be fairly time consuming but it is probably one of the more satisfying parts of the process. Okay, we're gonna get this. And I like space buns. I like characters that have this kind of hairstyle. It's a lot of fun to draw. And as I go, I can always do a little bit of adjustment online work. So the way I work is instead of drawing and redrawing, I tend to draw a line and then correct it. That's sort of my method. Now, I think there's something wonky here. I can see it. I'm pretty sure you can see it. I'm going to hit control one and flip it. So I can see that already, wow, that's not looking great. So I'm going to do a lasso select on that mouth. L to select linked. And let's just move this mouth a little bit more central so that we can adjust some of these features so that they're a little bit more balanced. This is a technique that a lot of artists use or should use because we all tend to have a bit of a bias when we're drawing. Whether it's sort of more left or right. And so flipping an image or mirroring the image is something that I tend to do. And if you're just sort of starting out, it's probably a good idea because it will make you very aware of where your bias is so that you can better compensate for that. So I'm just going to keep that there. So I'm just going to go back and that's already looking better. So if I will say to remove that sketch that face is looking a lot more balanced and I'm really liking what's going on there. Question from David, how does erasing half of a line works in grease pencil? Half of a line, hmm. Well, there's a number of ways you can do erasing. So I'm just going to go over to the erase tool here. Now, the erase tool has got some presets like all the other ones and they fall under basically erase hard, erase point, erase soft and erase stroke. I tend to have this on erase stroke so that if I don't like a line, I can just go bang and the whole line erases. But you want to erase part of that. Remember that this, if I go into edit mode is made up of lots of points. Now, depending on the density of those points or that line, you can say lasso select them in edit mode, something like that. Go delete like X and points. Or if you don't want to change from draw mode, go over to something like erase point. And now we can just sort of erase each individual point. And so it will erase just the parts of that line based on the points that you're working with. So obviously, let's just go ahead and undo this. Let's say for instance, let's get a bit of density in here. Let's go subdivide a few times. So now you can see how that line is very, very dense. I'm gonna go back into draw mode on erase. And now if I erase those points, it looks a lot more organic. That's because the resolution of that line, although the point density is a lot bigger. So it's going to look or feel more like erasing out pixels or a bitmap. So that's one way of doing it. And of course you've got things like erase soft, which kind of plays around with some of the opacity as well. So it feels more like an eraser. But for my purposes, because I do generally like to paint in vector, I tend to have it on erase stroke because I'm definitely working with strokes a lot. So I'll just continue to get these inks in here as much as possible. Oh, it's my favorite keyboard shortcut. Oh, let's see now. Do I have one? I'm gonna have to get back to Isabella. If I find myself one using one over and over again, that's probably it. When it comes to grease pencil, I kind of go backwards and forwards because a lot of them are with the mouse. And just a fun fact, I got one of these things, which is called the tour box. And this allows you to assign any keyboard shortcut you want to. And it's sort of like an organic controller. And you can sort of use this instead of a keyboard or a mouse. And sometimes I like to use that. And I kind of completely forget what that shortcut is. So in terms of keyboard shortcut, hmm, I'll think about that one. If you see me using one over and over again, I guess that would be it. Okay, so let's get some of these lines in here. Yeah, but I do highly recommend using something with pressure sensitivity. Now, I know that a lot of sculptors are good with things like grease pencil because it does share a lot of features with the sculpting brushes that you find in Blender. So for instance, let's say I've got this line here. I tend to be a fan more of going into edit mode so that I can do things like Alt S. I guess Alt S might be one of my favorites. Alt S because it adjusts the line of the thickness. But you go to sculpt mode, right? We can get something like, let's see here, thickness, right? We've got a thickness thing. And if you stroke over, if you draw over it, right? Well, that's kind of intense. So I'm going to make the strength of that a lot less and the radius a lot smaller because I'm actually working on a fairly small scale. But in sculpt mode, basically you can do things like, okay, I'm gonna just gently thicken this line by drawing over and over and over again. I may have to go into edit mode and make this a little bit more dense. Let's go back into sculpt mode here. And maybe if I go subtract, I can etch out the thickness of that line. But I tend to go a little bit overboard so it never really works out great for me. And on a drawing like this, I do prefer to say go into normalize thickness and cheat, cheat. Can I say it's cheating? Cheat it a little bit and just sort of just scale those points down to make them look like they were made organically. Okay, so yeah, so there's that. And so, but sculpt mode is definitely an option. Can you tell us a little bit more about the toolbox hardware you just showed off? A little bit without sort of making this a sales pitch for it, I actually did some testing for tour box. It's called T-O-U-R-B-O-S-X. And it's basically a controller and all these buttons, you can assign whatever combination of shortcut keys for a number of programs to it. So I'm left-handed. So if you're seeing me, my hand swapped, I tend to use this with my right hand. And basically it sort of fits on the palm of my hand so I can actually use like these knob controls and so on and assign various functions to them. So say for instance, I wanted to do things like toggle the brush thickness. Well, I can say assign it to this wheel here and on the fly as I'm drawing, I can just go, okay, I'm gonna increase, decrease that brush and I just keep drawing or assign a button to go. Okay, I'm gonna go to eraser from this button and then toggle back to pencil, things like that. It's a pretty good tool, but I tend not to demonstrate it too much just because a lot of people are sort of coming to Blender as beginners anyway, and then to sort of spring them into grease pencil and then say, oh, and by the way, I use this tool. It's sort of like another thing that I have to demonstrate. So yeah, look, it's a great tool and the company reached out to me a few years ago to demonstrate this little project of theirs. And yeah, look, I've got a pretty good relationship with them. They do some pretty good work and yeah, look, it's something that I'd probably recommend but I would definitely start with maybe getting yourself, if you haven't got one already, a good drawing tablet that's affordable and like I said, has enough pressure sensitivity on it to allow you to do some really good line work. Okay, so where are we at for time? Okay, so we're at almost at the halfway mark. So what I might do is I'll just finish inking part of this drawing so that I can get onto the coloring component because I sort of wanna show you some other methods of drawing here because line work, yeah, you get it. You're basically working with strokes but you can also work with fills and you can also work with textures as well. So I'll see what I can show you now. These arms, let me just flip this again to see if I kind of like the balance there. I'm just going to disable my camera from view but not disable my camera from selection. I'm just gonna go here to my object types of visibility. There's a whole range of things that you can toggle on and off and I'm just gonna toggle the camera off there and look, that's looking okay. What I might do is let's just join up those. So now this becomes one consistent line and we'll just smooth this out a little bit. Sometimes the ends of strokes don't do exactly what I want and so I go in and I just sort of re-edit them a little bit so that their thicknesses are a little bit more consistent. And so, yeah, look, I can spend hours doing cleanup and I haven't got hours so what I'll do is I'll probably just say, okay, look, these inks are good enough. Why don't we get to some coloring? Obviously she needs some irises, doesn't she? So while we're here, let's go to a circle tool and let's work with a solid fill. Now you'll notice that this solid fill material has got this base color of gray but I'm going to give it a color attribute of this black so it looks like a solid ink. This material is going to draw your attention to this. Just going to bring this up here. If you can see it on your screen, there are always two components to a shape or a stroke. Let's call it a shape, okay? There's stroke and this fill and under both of these, you can select a line type and a style and the style can be toggled between solid and texture as well. Just working for solids right now. So if I just have a fill material and no stroke, draw out a circle, okay? The first circle that I draw out, hang on, I'm just going to zoom in here so I can really make it visible for you guys. Draw out a circle, right? It's got the color attribute that I selected which is this black from the palette that I've made and I can grab these two handles and further edit that circle and then I can hit enter and it commits it but this is a shape and it sits on my inks layer. So I'm just going to make this sketch layer invisible and I can go into edit mode and I can further manipulate that and this is why I really like proportional editing on because I can say take a point and I'm just middle mouse scrolling and can you see that circle? That's the area of influence and I've just got the basic setting which is just a smooth fall off but you actually do have a range of fall offs depending on what you need it for. The smooth works pretty good for this kind of style and I can sort of further manipulate that and if I even scale it it's going to do some really nice things but this is supposed to be the iris. So I'm going to need an iris and a pupil. I did that with a solid, why don't I do that? I don't know it but it gives me a good option to then say, okay, you know what? I made a mistake there. So I'm going to switch over in my materials properties to solid stroke. I'm in edit mode. Now you might have done this blender users with a shape or a shade or that sort of stuff. If you imagine that this is just a list of materials that can be applied to an object. These selected points, I can select a different material and I can hit assign and now those points or that shape has been assigned the solid stroke material and the properties of the solid stroke material happen to be only stroke and no fill. Now the thickness obviously is too thick so I'm just going to go alt S and scale that down and I might even get a little bit of variation in here. Yeah, I think it's usually thicker on the top, right? And it's going to hit L, going to hit shift D and S to scale, scale this down, this is going to be our pupil and I'll do the reverse. With those selected, solid fill 100% assign and now I've got my solid fill on that virus. Shift, select one of these points, hit L, now I can duplicate all of this, bring it over here and with the R key, just rotate that slightly and so sometimes you can fix up inks just by duplicating stuff like that. So then back into draw mode, let's just get the rest of this hair in. Well, I'm still in solid mode so I can either change the material from this dropdown over here or my material settings and let's just go back and just bring those in. Now I'm just going to do a few of these little contour lines to show you sort of like that the space buns actually are made of hair and that there are hairs of texturing here. Right, okay, there we go and there, there. Ah yes, now I'm going to obviously need some of that for definition. Instead of trying to draw an extra line here, delete that point and bring this down back here. Maybe I will delete these points, join these together, let's subdivide that a couple of times and let's smooth out everything, maybe dissolve that point. You know, I don't mind that, it's kind of nice the way it's doing that but this will probably have to be down because if you can imagine, this is almost like the sleeve of the jacket and so I'm just going to bring in a little bit of extra detail there. Now this was supposed to be a zipper so I'm just going to try to quickly ink this in how we fit time. Oh yeah, we're doing good, we're doing good. Okay, so let's get on with some colors, shall we? So I'm going to leave this open-ended. I would have gone on and inked all of this but I do sort of want to demonstrate how everything is working. So I'll just take off my sketch over here and I'm going to lock off my inks and I'm going to unlock my colors layer. I tend to make these layers as part of a pre-send so something like an illustration template, let's say. I will already have preset layers on there but you can add or subtract layers as you go. So for example, we won't need this refine layer. So I can unlock that and I've got a plus and minus here. I can remove this layer, bang. But if I made a mistake and I do want to revise some of those lines, I can hit the plus, makes a new layer here and let's call that, that find sketch, right? And that sits there. Now I can also move the order of those layers up or down not by dragging it in the conventional way that you might see in something like Photoshop or Krita but with these two arrows, I can bring a layer above or below another layer and that layering system works just like in a 2D program with one small thing to note and that is that the stroke depth order by default is set to 2D layers which means that whatever is at the top of the layer stack will automatically be set on top but there is another setting here in the stroke depth order and that is 3D location. Let's put in color here to demonstrate what happens when we change that stroke depth order because this is where we kind of, we can forget that we're working with 3D application. So I'm going to use this pinky tone for her skin and let's go to solid fill. I like to use ink pen for this especially with stroke stabilize on and let's just etch out a shape here. Right, there we go. Oh, hello. I think I've got a, yes. I was going to get to the effect at some point but let's just etch out some colors here. Right, again, I'm sort of going to rough out this stuff. Is that everything I needed for that? Yes, it is. And of course she's got some pink hair so I'm going to etch out the hair. Now, I could, if this was cleaner on the inks use the bucket fill tool. I tend to default to this method of coloring just because from my own sort of personal experience that sometimes just wrangling the bucket fill tool is a little bit more trouble than it's worth but if you're good with, if you've got nice clean inks then it's a lot more, let's say pleasurable. Okay, I'm just going to go and edit mode here because as you know, these are shapes. Now, I'm just going to close off that shape by hitting F because sometimes they're left as open shapes and so I'm just going to grab that and I can sort of, if I've roughed out a shape I can get fairly close with my estimation of these color what are they called, flats, right? And then I tend to just adjust them to where they've got to be and so my artworks can sort of take hours just because I prefer to have areas of block color especially for stuff like this. But you can sort of see that it works okay and because our lines are very thick, let's say it's fairly easy to manipulate these points and I dynamically increase or decrease the range of proportional fall off in edit mode using my middle mouse button. So let's say we grab that, I hit the G key, I can increase and I can grab a bunch of those points to move into place, right? So I think you get the idea. All right, so there's that. Now, for example, let's say this jacket's supposed to be this lovely yellow color or is it? Oh, maybe we're gonna go with this blue because we want blue and then a yellow top or no, actually, let's go yellow and then we'll go blue for the top or maybe we'll just choose a different color altogether. Now, I could just fill in those areas but this sort of sits behind these other shapes and there's a couple of ways we can manipulate grease pencil to make that a lot easier. Now, let's see, is there a draw strokes on back? So there is a draw strokes on back function. If I click here, now what happens is if I etch out this shape with the yellow, right? I can just rough this out and then let that go. And what's happened is that it sits behind all the other shapes that we're on. This is all on one layer, but if anyone has ever used Illustrator, you know exactly what's going on. Each of these areas is its own clearly defined shape and they can all live on the same layer. You can separate them out by layers if you wanted to but I tend to like to work in a more illustrative style. So I'll have inks on one layer, flats on another layer, shading and so on. That's one way of drawing. The other one is let's say, for example, I'll just go edit, say I wanted that block of color for argument's sake in front of everything else where you can actually arrange those strokes by bringing each forward one layer at a time or do a nuclear option, bring to front and then now this sits on top of everything else and the reverse is also true, send to back. Now this sits behind everything else. And so depending on how you wish to work or what blocks of color you need above other blocks of color, then it could be easier to work in a variety of ways. But again, this is where it really shares a lot of similarities with vector style programs. So I guess inkscape might be one. Now, I had mentioned there was a layer ordering, stroke ordering, sorry, a depth order that by default it's set to 2D layers. So just to remind everyone, we are in 3D space. And so what I'm gonna do is I don't want that point light. Whichever direction we're looking at, everything that is on a higher layer or at the top is going to appear on top of everything else. But if we change that stroke depth order to 3D location, now we're going to see something interesting. First off, we're going to see a lot of what's known as Z-fighting, you've seen Z if you're in that part of the world. And that's because all of these shapes occupy the exact same Z coordinates. So they're all sort of zeroed at the same coordinate system. And this does have its functions and the only way you can really fix this is let's say we were to select in edit mode this jacket color, right? We would physically have to, or physically, it's all virtual, have to go G and I'm gonna hit Y. I'm gonna have to move that back, right? In the depth for the object. Now I'm just gonna make this fairly obvious, right? So now that object is behind all the other objects in 3D space. Looking through the camera, the illusion is old but if I was to say, let's say, arrange that and bring to front, it's not going to have any effect because now the stroke depth order is overriding that layering system. So I'm just gonna undo all of that. Let's see, yeah, we're flat there and keep it there. So I tend to work in 2D layers for each grease pencil object. Okay, so let's throw in a few more colors here real quick. Look at this arm in here. And sometimes I don't mind being too rough, especially if something is supposed to be on top or behind something else. Now, the way I think this is interesting because I've put cut fingers on that one but this one seems to be an entire glove so I'm gonna go back, edit those inks. Let's bring in that solid stroke. Let's go one, two, three, four and five. Okay, question, how has your approach changed over time as Blender's features have changed or improved? Can you think of any big changes we should be aware of? Actually, yes. Let's see, a lot of the improvements are under the hood type stuff. So the way that you can join a stroke seems like a no-brainer but a few versions ago, let's say we come over here, I go into edit mode and I wanna join these two strokes. Couple of versions ago, what would happen is that the order or where the front or back of that stroke depending on how you drew it would affect where those two points would join. Now it's a little bit more intuitive. So if I do my control J, it should do this correctly. So I like little things like that because they're not entirely obvious. They're generally the improvements that I like the most. Are the other ones? Well, obviously the really big one is the color attribute. A few versions ago it was known as vertex color but color attribute seems a bit more fitting. When Grease Pencil was sort of just starting out, you literally had to create a different material with a different color for any of these areas. And so for example, this skin tone here, instead of having a palette, I would have to have one base color with this color and then another one for the hair and my materials properties would fill up, huge, but I can just have a couple of materials here and as many colors as I want in a palette. Now the default palette looks more like this, right? And so you can select at any point, okay? Let's go back to the one that I created. I can also select a color swatch here and using my HSV tool, I can say, okay, well, let's say I wanted a top that's more of a light teal, okay? Oh, that's too close to that one. Maybe I make this. Yeah, look, maybe you'll make it orange. Orange, it looks, pick something, Paul, okay? So let's desaturate that. No, actually, we'll increase the saturation. We'll increase the value and let's pick a hue. Let's go with a very light blue, almost white. Actually, yeah, let's go for a very pale blue, right? So I can do that and then I can hit this little plus sign, bang, this color has been added to my palette. You can also do things like bring in an image and extract a palette from it. It's really sophisticated that way. Also, there's always the eyedropper function so I can say select this yellow here or I can select this background blue and use that color and so on. So using that, I think that is one of the biggest game-changing tools in GreasePencil that I definitely noticed. Another question, can you export those drawings to SVG? Yes, you can, let me see now. I think there is simply a GreasePencil to SVG tool. Let's get out of draw mode, go into object mode, export. Export, yep, there it is, GreasePencil to SVG. So let's see this, just in case it's gonna crash something, I'm just gonna go export, GreasePencil to SVG. You get the dialog box, you can save that and then this SVG will be created. So you can bring that into something like Inkscape and further edit it. Milage may vary in terms of color or whatnot now. I've got this object selected, active, selected, visible. So if you've got multiple GreasePencil objects and you set that to visible, all the GreasePencil objects should be exported as in SVG. But I would try this out a few times just to see what that SVG looks like in another program, how it structures layers, colors, strokes, fills, what have you. It may have problems with say a texture or things of that nature. So yeah, so that is something that's come along. I also saw that GreasePencil's PDF is there but I don't think it's great just yet and I still have to play around with that to be honest. Another thing that I really like is that GreasePencil objects also respond to lighting. So I'm just gonna grab this light. Can I see the light here? Yes, yep, there's the light. Just gonna increase the, do I need to increase the radius? Just gonna grab it here. This is a fairly intense light. So it's intense in terms of the power of closeness. But what I like about lights is, let's say we're taking a look through this camera, I can grab that light and you can sort of get this nice airbrushed look by sort of just bringing that light close to the GreasePencil object. You can also toggle which layers are affected by lights and which are not. So for example, if this light is affecting things like the inking layer, I can take this inks and I can use lights or not use lights on individual layers on a GreasePencil object. I'm just gonna undo this a little ways because the other thing that I really wanted to show, let's go a few more steps back, right? Is that I have this plane here, right? And so what it really excels at is when I do stuff like this, you can now grab this light and I can adjust it to look more like this. So let's go ahead and go forward a couple of frames. Now this piece is finished. It's a different pose obviously and there are things like shading. The shading has got a blend mode. This is set to hard light and I can change the opacity so I can adjust that shading. Got one for highlights. I've got a blend mode set to add and again, I can sort of adjust the opacity of that to make it look a little bit more subtle. And also you can add things like effects. So this is a glow effect, right? Now this is sort of what gives it that nice kind of anime glow and you can really go to town with various effects. So there's a few in there as well as things like modifiers but I didn't really have time to go into that. Rendering I tend to do with the compositor so as always, you can just click on the rendering tools over here and using the compositor, I can also add in nodes. I like this one because what it does is it sort of does this nice little soften tool. So I'm just gonna take that away. Look on my screen, it's very, very crisp. And so using this little soften filter, I think it's just on the filter. Yeah, that one just gives it a little bit more almost like de-reses it, makes it look a little bit more, I don't know, copy of a copy and you can always add other ones like an extra fog glow in there if you wanted to so that it can really blow out. I'm just gonna drop that threshold right down or let's just bump that up a little bit. So it works overall. And sometimes it does it sort of like a bit of a strobing effect here as well. But yeah, by adding extra nodes in a compositor, you can then really finish the work. And so that's basically a rundown of how I illustrate using Blender's Grease Pencil. So I hope you guys got a lot out of that. Yeah, okay. Thank you so much, Paul. We had a lot of excitement and enthusiasm about this and honestly, I'm like ready to go draw now on Grease Pencil. So this was so great. Thank you so much for staying up with us and taking us through this. Oh, it was great. No, thank you for inviting me though. And like it's really a pleasure to be part of this and the lineup that you have is just amazing too. Awesome, bye. Cool, see you later.