 This show is brought to you by these happy patrons. Hey! It's the BNPR show, number 10, a celebration of stylized rendering. Today's highlights, first, the beginner's guide to texture painting, second, grease pencil for 2D motion graphics, and third, community revealed NPR secrets. But now, time for the news. Raymond Cripps shows the details of how to create the ILM map. As a recap, the ILM map is a single texture consisting of the following data, red channel, specular intensity, green channel, ambient occlusion, blue channel, specular occlusion, and alpha channel, surface line art. This can be done in any painting software. Some of the channels you have to get from the baked texture channel in Blender. Storing shading information in multiple color channels is very common in video games. If you're not doing real time, you can separate all this information using different grayscale textures, just to let you know that there are some more ways to get the same result. Now cue the chicken noises, it sounds like the next news item is hatching. Sorry, not sorry. We love good hatching. Watching the hatching process gives everyone a powerful insight, and often, we can confirm, is very therapeutic. Tony Mortero has given us just that. Layering a few of the texture patterns, things can look complex, yet still remain a coherent style of hatching. What is more satisfying, the blend file is available for you to tinker with. What you cannot avoid learning from the video is some awesome pixel math. Check out our wildly popular pixel math ebook. But seriously, go watch this video, it's pretty awesome. The final news item is rigging grease pencil objects. We have seen grease pencil rigging by level pixel level previously. This time, we see and analyze how to rig facial features. What are the key highlights in this new video? First, the grease pencil layer masking is used to hide the teeth, tongue, and the pupils. Second, a lattice for the jaw reshaping when talking. The same is done on the eyebrows and the eyes. There are tons of grease pencil tricks in this video, so make sure you watch it at the end of the show. All the links are in the show notes. Two tutorials. Let's start with something very fun and easy. My Sam Hussaini made a 2D motion graphics walkthrough video. The composition is made of primitive shapes that will end up forming a face. The video shows the workflow of organizing layers of grease pencil objects, as well as organizing grease pencil layers. If making vector-like characters is all you need, the bulk remainder of the video is all about rigging. There are many simple rigging tricks you can pick up from the time-lapse. To level up the grease pencil a notch, near the end of the video, there are more tips and tricks to add textures to grease pencil fills. It's a fun video to watch and very easy to follow for beginners. Southern Shadi made a beginner's guide to texture painting. He starts with the basic modeling of an onion character. Then he proceeds to UV unwrap the model, or un-peel the onion. Anyway, now for the important part which other tutorials don't often show. That is, setting up the viewport for texture painting. If you do not set up the viewport correctly, you will paint the wrong colors. The shading details will limit your ability to see colors painted. Make sure you get this info right before you start painting. After that, he shows a few of the painting tools and how they work. Since you are painting in 3D, you can go back to modeling like how he adds leaves to enhance the model. There are a few more details of what you should do, like saving the painted texture because Blender will not auto-save textures for you. We totally recommend that you watch this video. As a whole, this tutorial is a solid beginners guide to explore texture painting. As someone who uses a lot of grease pencil, YNX Animation found many tips and tricks to color a grease pencil character. Isolating layers helps with the color filling. Leaving all grease pencil layers visible when filling color will cause all sorts of errors. It will limit the fill area when other grease pencil objects are visible. Fill tool quirks. When zooming in too narrow, the fill tool will only fill the area or it will fill the whole view since it sees the line art broken in the viewport. To solve that, zoom out to see the whole area needing filling and then click the area. Another method, with the fill tool active, hold the control key to sketch a fill, then fill the remaining area like normal. This way, the area terminates to a smaller area. The fill tool will work better that way. The fill tool fills lines. The fill tool also draws a line around the filled area. You can turn the stroke off, but if you decide not to do that, be careful not to have the thickness set to too thick or else it will dilate over your original line art. There are so many workflows for grease pencil. Some people do the line art first, some using the tool like the lasso fill, some just use it like a pencil and some use it like a paintbrush. In this case, we see the line art workflow and the fill tool quirks. We're sure these quirks will be solved soon, however. But wait, there's more. We also have three bonus tutorials. First is Smoke and Fire by Marius Oberholster. Second, the tune workflow by a longtime friend of the show, a version of reality. That tutorial is long and very detailed. And third, Watercolor, a Chinese ink tutorial by Kiskit3D. If you're interested in these, please go to the show notes to find them. And now this is something new. BNPR is about the community, and the community has a lot to give. So on the Facebook group, we asked, what are the NPR secrets that should not be secret? And this is what they said. LightBWK wrote, do you want people to like your artwork? Master Color. Matthew Corbett wrote, when modeling stylized NPR, model with the shaders on. Good-looking models without the shaders do not always translate to good-looking with the shaders and vice versa. McClellan Lee wrote, I share my recipe. If people put in the effort, they can make the sauce from my recipe. I'd say my biggest secret technique is to realize that you're going to have to hand-edit stuff in post if you want to produce something of high quality and high complexity in any reasonable amount of time. So plan accordingly. Tushant Folkarona wrote, if getting a model to look just like an illustration is either difficult or impossible, feel free to cheat. Just turn the illustration into a simple boxy model, and it just works efficiently for that one shot. Isu Isima wrote, here's the secret. NPR is an artistic approach of producing 2D, so keeping that in mind, it relies heavy on style and artistic ability. So relying on shaders to do all the work is where a lot of failures come from. So the secret sauce is art skill. And that is some pretty wonderful insight. If you want to read the full secrets, go to the link of the discussion in the show notes. Now that I've had my fill of secret sauce, it's time to see some of the awesome sauce. Let's get into it. Kozo made this fan art of the Hollow Knight. The initial result was not as good. So we gave him some advice. First, use hues that will make you feel the artwork more. Second, use a better value range. A value range from 0 to 20%. You'd reserve that for only a very dark scene. A value range of 90 to 100% reserve for effects like sparks and glares. Remove shapes that will make design noise to the render. And the end result is perfect. By the way, you can find all these color tricks in our Color eBook, Soul-Stirring Digital Color Mastery. Also learn how to master colorist design and plan colors. Time to see a couple of sweet, sweet animations. DC Turner made most of this music video for Devon Townsend. Why? Using grease pencil. With powerful music and powerful graphics, the synergistic combination is mind-blowing. You really have to watch this one. The Balloon is a grease pencil animation by Boonsack Watana Visit. It's a combination of frame-by-frame and puppet technique. The animation is gorgeous. Both of these animations are entries in the Susanna Awards 2019. You can go to the entries page to watch all of them, and we already featured a few of them in the show. Who won? Well, we don't know. The show is written a few days before the Blender Conference, and since you're in the future, you should actually know the results. So tell us in the comments section below. Ah, the end of our show. This would be the sad sauce. But don't go yet. Please subscribe if you have not. You can also find us in these places. More importantly, please go to our Patreon page, where we plan to create a stylized documentary when we reach 200 patrons. And these are the good people funding the creation of this show currently. Before we go, one last question. Have you tried the new texture painting tools?