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Outlines! We've discussed them a little bit
at different moments throughout the course.
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Here we wanted to bring a bunch of different ways
to create outlines all together into one section
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to make it easier to reference, so let's get into
it. As I record this the official blender version
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is 2.92 that we can download here. But if we come
over to the download page and scroll down a little
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bit further to where it says go experimental
we'll see that we can get access to 2.93 alpha
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for various different operating systems and
from there we can launch into 2.93 which you
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can see i've got open here and i've got a simple
scene with a few basic primitive shapes and we're
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going to need 2.93 because it's got a cool new
very useful feature for us and probably the
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easiest and fastest way to get started for
some decent outlines and that's the grease
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pencil outlines. So the way we get started here is
just simply go 'Shift A' to add in a grease pencil
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and we've got these three new options down here
at the bottom don't worry we can actually change
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this after the fact so for now i'll just click
on 'object line art' and now we have a new grease
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pencil object added into our collections here. I'm
going to put that into its own collection actually,
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i'm going to press 'M' and then move that to
'grease pencil stuff' and click on OK. So this works
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off of a camera and we don't have a camera in the
scene. So i'm going to have to go 'Shift A' and add
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in that camera and as soon as we do that we can
see we actually get something show up in the view.
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Let's turn on our viewport overlays just so that
we can see everything and what i'm going to do is
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press 'ctrl alt and 0' to snap the camera to about
this position and i'll come over to the settings
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of this camera actually and just reset a little
bit of the rotation on this and also a little
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bit on its Y position there just to straighten it
out a little bit. To track the camera straight back
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a little bit we can just double tap G and move
the mouse a little. And here now we can see our
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grease pencil outlines. If we come over to the 'line art' we can see actually this is simply a modifier
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and we can see our source object is the cylinder.
We could instead of setting this to object set it
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to the whole scene and now we can see that we're
getting outlines on everything. Or we could be
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a bit more specific and say potentially this
shapes collection (which probably makes the most
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sense in this case) this creates its own layer here
called 'Lines' and also gives it a material called
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'black' which is just a simple stroke material. Come
over to the modifier again we can see that layer
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and material plugged in here so we can change
quite a lot of these settings after the fact. Now
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as mentioned it works off this camera position
so if we were to jump out and take a look from
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this angle we can see the illusion breaks quite
a lot especially on these more curved objects
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but jumping back into the camera everything looks
smooth in fact i can go Shift ` (the accent grave)
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to enter into a kind of fly mode
and use WASD to zoom around the view here and
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we can see it is actually updating perfectly fine.
I'm going to right click though to reset the view
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back to where we had it and before moving on we
can just take a little bit more look at what the
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options are here, nothing too exhaustive just the
main beats. So disabling all of this all of these
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options we can see that essentially our lines the
category of lines are all summed up in this bit.
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The contour would be the outline, the silhouette
i should say, the material borders are fairly
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straightforward should we select this cube for
example and press 3 to select this front
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face, 'I' to inset it a little bit like this and then
let's come over to the materials click on the plus
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icon to create a new material, i'm going to start
off by slotting in that second material but i'm
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going to click the assign which currently doesn't
make too much sense because it's actually just
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the same material but as you can see now we do
actually have at the border of those two materials
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a nice little outline. Typically though that would
be a different material so if i just click on the
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6 there and change this to some other color
that's typically how we would be using this.
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If we did instead for example want to do that so
'I' again to inset there and rather than using the
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same material as a different material slot so
let's select our 'line art' instead of using our
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material borders we could just use our edge marks
instead. So we would select our cube come in here
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and with those four edges selected we can go 'ctrl
E' and then mark a freestyle edge. We can see they've
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gone a slightly different color there and if we
'Tab' back into object mode we can clearly see our
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extra outlines. Let's select our 'line art' again to
get back to the options, the next option we've got
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are intersections. Now these are pretty interesting
because if i move this sphere to intersect with
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the cube we can see the extra outlines that
we're getting there but if we take this cube,
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in fact i'm going to make a new one by tabbing
into edit mode and then going 'shift A' and adding
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in a cube but let's take this cube over here and
intersect it and then tab back into object mode we
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can see we are actually getting some intersection
so that's even within the same object. Let's scale
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that up a little bit larger and place it on the
left side, tab into object mode we see that's still
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working. Let's go over to our line art and turn on
the next setting which will be our creases this is
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essentially our internal lines so the two main
ones kind of top and tail this, so the contour
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and the crease and we can control our crease
with the angle that we've got here so as soon
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as we pass 90 degrees we're going to see all
these pop in. In this area of the modifier
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we have a little bit more option for example
the style so we can increase the thickness
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or decrease the opacity in this section, i think
this can get a little bit confusing because we do
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also have an opacity for the layer itself we also
have the same again for the actual material but
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to make things a little bit more interesting, (let's
just move our sphere back over there a little bit,
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zoom in a touch more) here in the modifier for our
line art (let's just turn off the overlays again
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over a moment) we could actually collapse this
modifier here and then instead add a new modifier
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for example the thickness modifier. Let's set it
to uniform thickness and now we can control our
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overall thickness from here but we can also add a
custom curve and create some difference like this
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so i believe the start of a stroke would be very
thin and then at its thickest in the middle and
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then at the end of the stroke would be thin again.
This is probably a little bit easier to see if
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we were to go 'ctrl tab' move into draw (mode) and then
let's take our strength setting all the way up
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and then let's just left click and drag in the
view there and hopefully we can see there that
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is exactly what's just happened so it's thinnest
on both ends and thickest in the middle. So with
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this modifier i'm going to turn off the visibility
of that in the render and in our viewport here and
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also take a look at the noise modifier and turn
off the randomize here and this is going to allow
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us to create some variation so lots of position
variation or we could create different opacity
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variation by increasing our strength or thickness
variation again by turning up this influence
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slider for how we want the noise to affect our
various properties. The noise scale at zero is
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quite large noise but we can crank that right up
if we find that we need a little bit more points
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for which to create our noise with we can actually
add a subdivide modifier and left click and drag
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that above the noise, and let's turn up the amount
of subdivisions a little bit and now we can
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see we're getting things pretty fuzzy indeed, so
let's turn down the amount that that is happening,
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and maybe the amount of thickness as well. By
default we can see that our subdivisions are set
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to 'Catmull Clark' which is why things are rounding
out on the more angular surfaces over there but we
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can just set that to simple. That gives it almost
like a nice organic wobbly but human feel to it.
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I had a go at putting together a very basic
scene, something with a lot of simple shapes
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nothing much beyond basic insets and extrusions
and then use these very same ideas for the grease
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pencil outlines here so making it a little thick
in the middle there, giving it some extra points to
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work with and then just throwing some noise at
it, mostly on the thickness but a little on the
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position there. i think it's come out pretty nicely,
this is just the simple solid shading workbench
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engine but I tinkered with some lights as well
so that in the rendered view we get a little bit
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of high contrast going with that extra lighting
but either way i think it works pretty well,
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and although it is a little bit sluggish in the
viewport, certainly without the grease pencil being
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baked, i think it's, uh, overall it's pretty workable.
So outside of the modifiers we could just jump
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back into our materials and change say the color
of our outline, this way, we could actually change
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the style from a solid to a texture. We don't
really have any textures in the scene though
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so i'm going to jump over to the texture paint
workspace and in here just create a new texture,
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I'm just going to call this 'square' and click on the
color swatch and make the alpha all the way down
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so that when we press OK we're going to get an
image which is completely blank so far, and here
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i can just draw in a little square, well it's not
looking particularly square right now, i'm going
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to press 'F' to scale up this brush just to cover
more distance, and as i draw this very, very rough
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square in, i'm leaving the edges of it completely
free and with that done i'm going to click on the
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image there and just pack it into this blend file,
and then let's switch back to the layout, and then
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over here now we can find our square texture, and
as you can see, it's now like a dotted line. We can
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adjust how much we want to blend in that
original base color, and we've also got the UV's
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that we can scale up or down to our satisfaction.
Let's turn off the 'line art' by left clicking
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dragging across the eye and the render-ability
there, actually let's find our 'shall we see it in
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the viewport' option and also disable it there that
way, when we press 'alt H' it won't keep popping up
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in our view. So in a similar way, something that we
can do is just simply add in our own grease pencil
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object set it to blank, create a layer for it,
create a material for it, and then 'Ctrl tab' into
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draw mode, and then as we draw in the view here we
can get some grease pencil strokes going, however,
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i'm going to undo that and set the origin to be
the surface, and set the offset all the way down.
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So here now we could actually start to draw on
objects and create our own outlines to match.
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That's going to be tricky for these kinds of
things where we need to determine where the
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border should actually be, the actual outline,
the actual silhouette, the contour as the other
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'line art' option was categorizing it as, but in certain
circumstances, probably more angular options, this
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could actually be quite a nice effect, depending
again on the overall message or the general style
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or mood that is trying to be created. Again keeping
within the grease pencil realm we can go 'ctrl tab'
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to switch into object mode. Let's select this
object here and let's come up to the object menu
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and come down to convert and we can convert this
to a grease pencil object. Let's come over to our
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options here and we can click on 'keep original' and
here we can find another object in our view, so i'm
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just going to bring it down here a little bit and
here we'll notice that we have the cube stroke and
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we have a couple of materials, 2 fill materials
which means we can come over to the fill material
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and color this and then we're getting
that different hue that we had before.
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The problem with this is that we're not really
getting any intersection lines, in this example,
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and also every single edge has been converted to a
stroke so we would have to go through and manually
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alter what we want to keep and what we don't. But
generally speaking grease pencil has a lot of
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potential for this kind of stuff, especially with
the new options that we've got down here in our
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grease pencil add menu. With the grease pencil
side of things out of the way i've jumped into
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blender 2.92 so for this recording we're back
in official land and what i'm going to do is
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just disable the grease pencil collection here, we
don't need to see that now and for this next way
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of generating outlines in blender it's going to
be pretty much the most simplest, the most basic,
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the least customizable, and it's probably just
worth quickly highlighting here, and that's in
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the solid shading view we can turn off the x-ray
let's make this flat actually, give it a sort of
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super basic toon shading, which we could set to
a particular color, so for example let's set all
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the objects to a slight blue and - as we can see
down here - we have our outline. Now it's tricky to
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see because our world background is quite dark so
let's take our viewport here and just make this a
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little bit lighter and then we should be able to
start to see our outline. It'd be probably more obvious if
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we just come down to our outline color swatch
here and make this a much more obvious red for
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example and that means that we can now take our
background a little bit darker again to be able
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to see it even so it's still quite slight and
it's only just about creating the contour,
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the silhouette for us and we can see there's no
intersections happening here between these two
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cubes of the same object but as soon as we start
overlapping different objects we can see we are
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getting various intersections. So depending on the
project the solid shading view this most basic of
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work bench renders might actually do in some cases.
Aside from using the flat lighting we also have
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mat cap options and to pair with this maybe we
would probably use this little toon matcap which
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might help or we could use our own matcaps.
It's actually worth pointing out that if we had
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a matcap which looked a little like this or like
this one where just at the edge of the sphere was
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dark then we're gonna get at least a little bit
of a kind of outline that we can use depending on
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the falloff that we've got of course. That helps
us segue into another option which is a shading
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option which is basically doing the same thing
as that matcap but perhaps in a way we could
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argue that it's even simpler than that which is
simply using our fresnel. So if we use the input layer
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weight node and ctrl shift click on this thanks to
the node wrangler add-on it'll automatically hook
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it up to an emission shader for us so we can see
it clearly in the view and here i'm going to take
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a math node and drop that in afterwards and in
fact i'm going to take the facing instead of the
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fresnel and let's take that down to zero so
it's not actually doing anything and the reason
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i'm using the facing is because it's just going to
take the very very center the face that is exactly
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in alignment with the camera it's gonna make that
zero and at the very very edges it's gonna make
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that 1. So it's basically pretty easy to get
a clean result. Switching the math node to power
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means when we change the exponent value we can
control the falloff (the way that it goes from
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black to white) giving it a much softer transition
through those values or if we'd rather have a fast
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sharp transition between our black and white we
can do that with a math node set to 'greater than'
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or 'less than' and keep our value between 0 and 1
and we should be able to control the thickness.
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This is a lot more effective on more curvy shapes
as you can see with our torus donut and the
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sphere but it's not working so great on these flat
planes that we can see within the cylinder and
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these cubes. This might work in a pinch though if
all we're looking to do is create a mask of some
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kind and that allows us to create a color mix rgb
node, slot this into the mix and then we can choose
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which two colors that we want to mix between. Or
of course we could add our own textures into here
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instead for different sorts of effects. The next
method is a pretty popular one which is generally
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referred to as the inverted hull method i'm going
to ctrl shift click this principled shader again
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though to start us off. Now we're still in our
material preview and i'm going to come over to
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the materials and click on the little plus icon
there to add in a new material. I'm going to switch
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it to the emission shader and i'll take that down
to be pretty close to black then i'm going to come
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over to the modifiers and then add a solidifier
modifier. With that done all we need to do is tell
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it to use the second material that we just created
our material.003 in this case but just to keep it
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clean i'm going to call that 'mat hull outline' and
then come back over to the modifiers and then
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set this to number one so we don't even need the
name of it here actually. Zero would refer to the
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first material and one the second and so on and so
forth. The thickness of our outline is going to be
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controlled by the thickness slider here but at the
moment we can see that it doesn't really look like
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much is going on we're getting a slight increase
in the size of the sphere but not much else.
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So what we need to do is come over to our normals
we need to flip them and now everything seems to
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have turned black. The final thing we need to
do is to just come over to our materials again,
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come over to the settings that we have down here
and just select 'backface culling' also while we're
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at it we don't want this to cast any shadows. Now
we can see the outline taking effect and we can
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hold 'shift and left click' and just see whether
we want this to be an outline growing away from
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the sphere or kind of giving the effect that the
sphere is shrinking inwards. The interesting thing
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about this technique is that we can pair this with
other modifiers so i can click 'add modifier' and
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give this a displacement modifier, click on the 'new',
create a new texture, press this button at the end
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to jump over to the image settings and i'm going
to set that to a clouds texture and then jump back
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to the modifier. The strength is pretty strong at
the moment so i'm going to turn that right down
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and now we're getting some interesting noise and
variation to the outline. One main issue that we
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might be having at the moment is that not only are
the outlines being displaced but the whole object
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itself, so for that we just need to come over to
our vertex groups and click on the little plus
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and for this we'll call it 'outline' and then jump
back to the modifier and then when we create our
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solidify shell that we're using to invert we can
just tell it to output into a particular vertex
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group. So in here in the shell section we can just
select our 'outline vertex' group and then within
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the displacement modifier we can tell it to only
use that 'outline vertex' group. with that done now
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we can control the strength of our outline, we
can control the mid level and for the size of
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the noise we just click our little button here on
the right and that jumps us over here and we can
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adjust the size. This isn't a perfect method of
course we can't do intersections, let's just copy
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this over to another object so we can see what's
happening here, so let's turn on our overlays.
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I'm going to select our cubes and then shift
select the one we've got working and go 'ctrl L'
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and then make a link for the modifiers and then
also 'Ctrl L' to link the materials and here now we
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can see we're getting a little bit of an effect.
It's working better on the sphere because we've
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got way more geometry to work with so in this case
we might be tempted to come over and give this a
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subdivision surface modifier to put at the top
of the stack, so i'm going to left click and drag
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that all the way to the top there. We don't want
it to have sphere envy and try and smooth itself
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over, so we're just going to switch to simple and
then give this a few extra subdivisions. Finally
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if we're using the displacement idea we can see
the red 'outline' screaming at us there so we need
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to come over to our vertex groups and give it a
vertex group called 'outline'. Those are the steps we
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would need to do if we were to copy this technique
around. We are getting some internal contouring,
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some localized overlapping of silhouettes
happening a little bit but it's not really an
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ideal method for every case. Another basic option
we've got which we can use within our modifiers is
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the wireframe modifier that we've got down there
and we'll uncheck 'replace original' and then we'll
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increase the thickness. Again we can see here we've
got the opportunity to create a material offset
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so in the materials i'm going to click on the
little plus and give that to the 'mat_hulloutline'
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again and then let's jump back to the
modifier and set this to one, so in this instance
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what we're basically doing is just creating some
geometry for each of the edges in our meshes.
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For a lot of curved objects this isn't really
going to be a very good method but it can work
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for some more boxy shapes like this but even in
this case it's going to struggle a little bit so
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if we just clear the modifiers from that and then
shift select our cylinder and go 'Ctrl L' and link
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the modifiers. We can see that on this object we've
got all those supporting edges which we might
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not want and there isn't a clean way to exclude
particular edges even with the vertex group option
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since that's at the vertex level and not the edge
level. The same kind of limitation would occur if
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we go really old skool to create some outlines
and that's to jump into our UV editing options
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and then with this object i'm going to select
everything and let's just do an automatic unwrap
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let's go 'U' and 'smart uv project' basically and
click OK then from there what we could do is go
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'UV' and export our uv layout save this anywhere it
makes sense, we've got a few settings here on the
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side which we can toggle on and off with our N key
for the sidebar or use this little cog icon and
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we can even dictate the format. The simplest
option would be to just use our png and i'm going
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to take down the fill opacity so it's just the
lines themselves, click export uv layout then i'm
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going to jump over to the shading options and then
'Shift A' to add in a texture > image texture and then
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click 'open' find that uv layout, open that image up
and then let's just ctrl shift click on this
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and it's not going to make much sense on a lot of
these other objects but on this one we should get
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an outline for every edge. Let's just click on the
uv layout png that we can see there and actually
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before we take a look at the texture i've ctrl shift
clicked the principled shader as we won't see what's
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on our texture yet because the geometry the
wireframe modifier is creating is in its way so
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we'll need to remove that, and with our uv layout
image we can control shift click on this. Instead
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of the color output i'm going to go and click on
the alpha output and now we can see our outlines.
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I'm going to just use a color ramp node, drop this
in, click on the little down chevron and flip the
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color ramp and then we can kind of squeeze this in
and make it a little bit more prominent if we want
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and then otherwise we could then jump over to the
texture paint, click 'N' to open up our sidebar and
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i'm going to switch this to be erasing the alpha
as we can see there and then zoom in on here press
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F to shrink the brush down and i'm just going to
left click across this area and as you can see
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here the line is being erased. Now it is showing us
the complete alpha here so what we might want to
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do is switch over to our material preview and then
we can see a bit more of what's really going on
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as well as painting in the 2d window we can paint
in the 3d window to remove certain edges too. This
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old skool technique i include here just because
it might help out in some other obscure way for
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a more interesting result you could take the uv
export out of blender completely especially if you
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use the svg format and convert that into dashed
lines in krita for example then when using those
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results back as a texture in blender then things
might start to get a little bit more interesting.
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So from here i'm going to jump back to the shading
workspace ctrl shift click on the main shader that
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we've got here, select this and just remove the
modifiers, same on this one and jump to the next
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probably best but also actually happens to be the
slowest option and does require a little bit of
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experimentation. So i'm going to jump over to the
layout workspace give ourselves a little bit more
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room here, if we jump into the camera we can see our
lineup here. If we press F12 at the moment we get
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this render result. To make things a little bit
easier on us i'm gonna just add in a light and
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a sunlight double tap R to just rotate it so
that it's illuminating from almost a 45 degree
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angle. F12 again which isn't bad. I'm just going to
jump over to the light settings and just change
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this to about 5. One more render with F12 and
i think that's looking mostly clean enough for us.
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Now to press F11 to take a look at that render
we just made we can't have failed to notice that
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clearly by default no freestyle lines are being
shown here and if we want to see them we're going
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to jump over to the render properties tab come
over to freestyle down at the bottom here and
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just enable it there. Then when we press F12 we'll
see it render and it just takes a second and it'll
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add our freestyle lines on top. So essentially it's
going to take our regular shading that we've got
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in the viewport, so we might want to have a toon
shader on here or just simple flat shading or
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whatever we want and the freestyle engine is
going to create lines based on whatever inputs
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we give it and the settings we have for them and
it will generate those lines, so freestyle really
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is all about them lines! Up at the top here we
can see we've got a combined and depth and a
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'view layer' so there's a few extra options that
we could throw into this and for that i can jump
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over to the compositing workspace select 'use nodes'
and we can see our render layers here, Ctrl shift
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click on this to auto generate a viewer node so
we can see the results in the background here.
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But we can see we're only getting image alpha and
depth if we come over to our layers tab here (let's
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just pull this out a little bit) and scroll down
we'll see here's all our freestyle options. There
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are two main modes that we've got here, we've got
the parameter editor mode and the python scripting
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mode so really if you're familiar with python we
can go crazy with all these lines. But i'm just
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going to stick to the parameter editor to show a
few basic things here. There's essentially just a
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few sections here we've got the overall freestyle
settings at the top, we have our 'line set' and then
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at the bottom we have the actual 'line style' for
that 'set'. We can interpret this as being kind of a
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generator and then a style for what has just been
generated. To see this as a render pass we're going
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to need to enable this checkbox here and now we
can see that the freestyle has popped up. If we
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ctrl shift click down our outputs here we're not
really going to see anything until we re-render
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again with F12. With that done we can now jump
over to the view layer and we can see our various
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potential outputs, so we've got combined depth
and freestyle so here it gives us the chance to
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be able to use this as a separate render pass and
use any number of compositing tricks, so blurring
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or using it as a mask for something else. The
options are kind of endless really, to join
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these together though i'm just going to simply
use a color alpha over node, drop that in there,
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take our freestyles output and then plug that into
the second socket of this alpha over node then when
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we ctrl shift click we can see a more expected
result in the background there. We've also got this
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factor slider so we can decrease the overall
alpha that we have there. At this point we could
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also colorize it but we also have a lot of those
settings within the freestyle options themselves.
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So with this first line set we can see we're
taking the silhouette, the creases and we can also
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see things like the contour and the edge marks so
if we were to jump over to the layout, take this
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cylinder right here, press 2 to select this edge
'Ctrl E' to mark a freestyle edge and then come
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back over to our compositing and hit F12. Notice
that we still don't get any edge there but once
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we enable our edge marking and press F12 again we
should see it pop up. As i say i'm not going to go
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over absolutely every option but we will take a
look at changing the style to just a few of these.
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So to change the actual thickness of this we're
going to need to jump over to the thickness tab,
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let's just crank that really high to 10 and then
render again and we see the obvious changes there,
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here i'm going to come over to the layout actually
and jump over to the layer properties in this view
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as well just so that we can see it all opened up
in this window, give that a little bit more space
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and then also i'm going to take this object double
tap R and just rotate that around so we can see a
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little bit more of it and then we'll render again.
I'll set that thickness back to 3 though, we've
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got these modifiers that we can add for example we
can add some noise and then if we scroll down we
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can see the settings for that and then press F12
again and we get some cool effects. So as you can
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tell this is pretty powerful stuff with all the
options available to us but we do need to keep
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hitting render to be able to see the results. Just
before we move on i'm just going to select 'strokes'
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and just come down here to the dashed line section
and you can see we've got 'dashes' and 'gaps'. I'm just
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going to use this first group, so let's set this to
be about 15 pixels long and then a gap of 5 pixels.
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Press F12 and we can see where all our lines were,
they're now dashed. Something pretty impressive here
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is that we can actually combine things together
so for example we can add an additional 'line set'
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and set this to 'hidden' instead. For example come
over to the 'color' set this to be something else,
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something like this and then come back over to the
strokes set this to be a dashed line, so 15 and 5
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for example and then come back over to the first
'line set', disable the dashed line on that one, maybe
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make this a little bit thicker at 5 and then
come back over to 'line set' 2, so we have this one
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which are all the lines we can see and then the
second 'line set' will be only the lines that are
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hidden. So we go F12, now we start to get this kind
of effect. Other options include other versions of
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blender, so for example at this link right here
at graphicall we'll notice that there's this 'line
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art' build for windows 64 at least, i haven't
personally tried this build but seeing how
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this is a chapter on 'line art' i think we should
probably include it. Even the main developer for
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the grease pencil stuff is making a comment here
so it's great to see this kind of interactivity.
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Speaking of other builds of blender this section
wouldn't be complete without discussing the
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ongoing BEER development and the Malt render
engine, we have a chapter showing how to set
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that up and get started and a key feature of this
engine is its ability to create real-time outlines.
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That is looking super promising and it's
recommended to stay tuned to the NPR show and the
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website in general actually for more options and
updates on the non-photo realistic rendering scene.
46781
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