 This show is brought to you by these awesome people. Hey there, you beautiful people! Today's highlights. Walt Nodes, well, it happened. Le Mans 1955, a tragic and true story. And Genshin Impact Style Tree Fulllage. Welcome to the BNPR show, a celebration of stylized and non-photoreal rendering. As per usual, first, the news. Wu Yiming and the Grease Pencil team made a few very visual improvements to the Grease Pencil line art modifier. Now, you can make hair from floating edges. These are edges without a face. This doesn't work with particle hair though, but it will work if you convert the particle hair into a mesh object. They also made floating edge chaining much better, resulting in a much nicer hair appearance. And now, just like the face smoothness feature in freestyle, line art modifier now has a smoother edge detection. This fixes inconsistencies with line thickness on meshes with a higher face count. Line art also now supports freestyle face marks. So you can freestyle face mark faces along with marking edges for line drawing. Line art modifier also supports intersection filtering within collections. So it is now possible to make these colorful intersection lines. We heard you like speed. The intersection detection has gone through multiple speed ups as well. Closer to that of real-time line rendering. That's quite a bit. Keep up the good work, guys. Miguel Pozo has been working on a more visual approach to coding malt shaders in the form of nodes. At this moment, only mesh shaders are available, but more will be available soon. With a new node tree, we have a new window called Malt node tree. In it, we have all the built-in shader functions. This is keeping true to the goal of BEER being an NPR feature first, rather than a purely atomic shader building approach. But this is not a dumbed-down version of the powerful GLSL programming interface like in EV. For advanced users, you still have the full GLSL programming interface that you can link in as nodes. To add flexibility, you can overwrite shader properties on the properties window on materials using the same node tree. This is true to how shaders are coded and used in practice like in game engines. If you look at the node tree closely, it is 100% like GLSL code in the shader examples. This is, however, a double-edged sword. One, to use the node, you will have to understand the shader code structure. Two, to make more advanced shaders, you will have to learn code. With the shader examples and the shader library available, everyone can code shaders when they have seen the shader code enough times. And coding NPR shaders is easier than most people think. You can learn shader programming in Malt and the knowledge is usable in other places. If you want further support or more malt node development, go to Malt's Patreon page and drop a few dollars a month to get endless NPR goodness. As for the beer project, there will be updates when there is more to show, so please stay tuned. Here are a few wonderful tree-making tips by Pedro Domicino. The first tip is getting the shape of the foliage right. The most common shape is like a sphere with a cut-off bottom. Second, to add color variety, use a vertex color data transfer modifier. Now the foliage isn't just a single hue. The third tip is using a normal transfer data transfer modifier on more than one sphere for the best shading effect. Fourth, use this shader setup to enhance and solve the shading problem. This is basically a vertex color with a fixed normal. Feeding it, the subsurface scattering and foliage alpha texture. And with that, you have a convincing NPR tree similar to that in Genshin Impact. The steps are very few, so why not give it a try? Now for something hueful, that is creating a gradient grease pencil brush by Sophie Gentak. A note, to use this brush, you will need a pen tablet with pen pressure. Here are the steps to making the gradient brush. First, enable vertex color paint mode. Second, enable stroke randomize. Third, change the hue value to the amount of hue variability you want. At 1.0, the hue change is the full circle, meaning it can be any hue. At 0.5, the hue change is half the hue circle from the hue you selected. Four, enable stroke random. This randomizes the hue in the stroke level. And fifth, enable use pressure. The hues will change with the different pen pressure. With this simple setup, you can make colorful calligraphy, colorful line art, and use strokes as fill. And yes, yummy cupcakes. You may have seen Gaku's spectacular 3D looking sketches featured in this show. And now, he's giving away his secrets. First, the line setup. With your mesh ready, add a solidify modifier. Then create two materials. Set the second material with back face coaling enabled. On the solidify modifier, flip the normal. Then assign the second material to it. Second, to get the more organic silhouette lines, add a displacement modifier. Change the scale of the displacement, then add a cloud texture. Third is the first material hatching setup. Now add a basic tune shader combined with a hatching texture. To get an interesting hatching, place a few lower powered point lights. Fourth, change the background of the scene to the same color of the first material. Fifth is the human touch portion. Now use grease pencil ink brush. Set the stroke placement on the surface with a big offset. Dry your extra hatching and lines. To optimize your lines, sculpt the strokes to your liking. With the secrets known, you're ready to make a 3D sketch using any organic models that you may already have. It's Hall of Fame time. Let's see which artworks got selected. Dayoto Madachi has an original animation. Hamster face fan and his abs have to fend off against two of three ninja assassins sent by the emperor to prevent the end of the world. And McDonald's was somehow involved. Hamunculus Overworld 1 is a grease pencil animation by Rory Carson. It's short but showing great storytelling potential. It reminded us of the whimsical story from the Discworld series. Le Mans 1955 is a tragic motorsport history animation directed by Quentin Belieu. Produced by Eddie and Windy Production with the participation of Canal Plus. Please watch it for the art style and storytelling. It's really good. It's not over yet. The wise among us will advise you to visit the show notes for an extra dose of NPR greatness. There are a few more tutorials, artworks, and copyrighted animations we can't show here for obvious reasons. And this show is made possible by these awesome people. Please thank them kindly. Before we go, one final question. What sort of animations will the BNPR Studio make?