Grease Pencil Sketching Blender
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Download Grease Pencil in the new release of Blender
We are very exciting about the new tool Grease Pencil, now a full 2D drawing and animation system for 2D-3D Workflow. This unprecedented integration of 2D tools in a 3D environment will enable you to create next-level concept art, storyboards and animations.
Drawing 2D Animation in Blender
Grease Pencil Sketching in Blender by Jama Jurabaev
Download Grease Pencil Sketching in Blender
New Grease Pencil Cutter & Guidelines Blender
Space Suit Blender demo by Jama Jurabaev
HERO – Blender Grease Pencil Showcase
Blender Grease Pencil Tutorial
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Click here for more information about the new version of Blender
How to setup Blender EEVEE Auto focus
Grease Pencil in Blender - Introduction [ENG]
In this tutorial for Blender in english we will see how this tool has changed in the passage of Blender from version to The Grease Pencil at the beginning was only a tool to draw small notes in the 3D View, to provide explanations about the project that was being realized, but later it was enriched with new features, concerning both the drawing and the animation, which transformed it in a real 2D drawing tool within a 3D modeling software.
In Blender , in the current release, the Grease Pencil tool has been divided into two parts, from a logical point of view, a simpler one for making annotations only and a more "rich" one that allows you to create real cartoons.
We therefore try to describe the main tools available.
The Grease Pencil as a tool for creating annotations:
In the instrument panel on the left, which can be recalled by pressing the T key, you can select some basic tools, including the "Annotate" tool
We will then be able to use
- The simple annotation, which allows you to draw or write freehand texts,
- The line tool, also useful for tracking reference lines
- The polygon tool, to more easily create figures or polylines
- The eraser function will be used to cancel and correct what is written.
After using the Grease Pencil for the first time, in the panel with the properties of the "Tool" on the right, which can be recalled by pressing the N key, by clicking on "Note" a drop-down menu will appear to manage the layers, color and thickness of the pen stroke.
Sometimes you feel the need to write annotations on the entire page, as if it were a sheet of paper, sometimes directly on the object, for this Blender provides the "Placement" option (which you can also find in the panel on the right in the "Tool" tab)
The Placement View allows you to create annotations that will be positioned orthogonally to the view, all on the same plane.
Surface enables drawing directly on the faces of the object, useful for better explaining certain operations
3D Cursor is similar to View, but it gives the possibility to position the plane perpendicular to the view in the position defined by the 3D Cursor
The Grease Pencil object:
Most of the new features of the Grease Pencil, including those inherited from previous versions of Blender, can be found in the new grease pencil objects, which can be recalled by clicking on "Add" in Object Mode, or using the SHIFT + A shortcut
Stroke allows you to create a predefined pen stroke, Monkey draws the usual Suzanne but in drawing format, blank instead creates an empty object, similar to empty, into which the actual drawing can be inserted.
With the Grease Pencil object we will be able to perform all the operations that could be achieved with the Annotate tool, but with the added possibility of having additional tools necessary for drawing and 2D animation with Blender.
To access all the Grease Pencil tools you can select the "2D Animation" workspace ("2D Full Canvas" is similar to 2D animation, with less clutter of menus and panels)
or by creating a new "2D Animation" file
Which will provide the user with a real 2D drawing and animation suite
The 2D Animation suite:
From the beginning, the suite opens in draw mode that allows us to immediately draw on the screen.
A tool panel will appear on the left
in which, in addition to the function to position the 3D Cursor, there are:
Draw, which allows you to draw freehand
Fill, the bucket tool that allows you to fill closed areas with color.
- Erase, which allows you to erase lines previously drawn in a hard, soft way with a rubber, the single points of which the curve is composed or a complete line
- Cutter, the cutter tool that allows you to delete areas of a drawing by selecting
- Line, which draws a straight line. Click on the starting point and drag the mouse (by pressing also the E key for the extrusion a broken line is created) by clicking on the Enter key it is confirmed
- Arc, draw an editable arc. Click on the starting point and drag the mouse to the second anchor point, drag the curve to adapt it to your needs, press the enter button to confirm. Extruding with the E key, before confirming, you can continue to draw.
- Curve, draw a "double arc" and you can drag the first piece of arc in one direction, the second in another, to better adapt them to your needs
- Box, draw a rectangle, holding down the shift key creates a square
- Circle, draw an ellipsoid, holding down the shift key creates a circle
The top header menu:
If we try to draw with the freehand instrument, we immediately notice that the color is not black, but gray because by default the strength (with which the virtual pencil was pressed) has no value 1 but
By changing this value to 1, drawing later we will get a pure black.
As we can see, in the menu it is also possible to modify the dimensions of the stroke (radius), the material (by default set to Black), and the type of brush (by default set to Draw Pencil, that is similar to a pencil).
The Grease Pencil drawing tool already contains predefined brushes
- Draw Block, similar to a highlighter
- Draw Ink, similar to a fountain pen
- Draw Marker, similar to a felt-tip pen
- Draw Noise, similar to a quill
- Draw Pen, similar to a ballpoint pen
- Draw Pencil, similar to a pencil
However, we can modify the stroke of our drawing either using the Options panel, whose parameters allow you to modify the curves that interpolate the set of points that form the curve of the drawn lines, for example by applying more smooth, thus rounding up a sketch made with a hand maybe not very firm
or you can use the Curves panel, which allows you to change the sensitivity of the stroke, useful for those who use a tablet and want to get special effects.
In the Display panel you set the brush icons, the Origin panel instead, as already explained for the annotations, allows you to specify where the lines will be placed ("Stroke" indicates that they will be inserted in the same plane of a drawing already drawn). "Front X-Z" indicates which view we are in
Very useful are the Guides, which can be activated by pressing on the button representing a grid, as they help in drawing by guiding the artist's hand (like a ruler, or the small nail and a string, or the elastic, used by the illustrators), but also allow you to create "suggestions" to keep on an underlying layer, using as a reference the 3D Cursor (cursor option), a point defined by the coordinates (custom) or an object
Circular allows you to create circles around a point
Radial of the lines starting from a point
Parallel, draw parallel lines
Grid, draw lines like a grill
By placing the results on multiple layers, we can combine them together to use them as a basis for creating, for example, a network or the interior of a space colony
or drawings in perspective
If we watch the Properties Window, we notice that it is divided into two parts: a top panel that specifically concerns the Grease Pencil tool and the common property panel.
The upper panel contains all the management of the layers, which allow you to organize and keep all the parts of a drawing separate, and show how they are related to each other.
There is also the management of the Onion Skinning, which helps in the animations as it displays the drawings of the previous and following frames, of the Vertex Groups as in the 3D models, of the Strokes visualization, whose thickness can be improved if they are close or far away.
Even the usual property panel is customized based on the specific characteristics of the Grease Pencil, with interesting differences in the following tabs:
Active Tool, contains all the display properties of the pen with which we are drawing
Material, allows you to set the border and fill colors for the drawing we are creating. The stroke (optional) can be continuous, in dots or squares, made from a line or a texture, the filling (optional) instead can be uniform, a gradient, a checkerboard pattern, or made with a texture
Modifiers, modifiers are also present to help develop projects with Grease Pencil:
Array, to duplicate drawings, Build, to create drawing animations in progression, Mirror, to create mirror drawings, Simplify, similar to Decimate for 3D models to reduce the number of vertices of the curve, Subdivide is similar to the function for models 3D. Furthermore there are deformation and animation modifiers, associating together vertexes or complete drawings to armor, hooks or lattice grids, and finally modifiers to manage the hue, the saturation, the opacity
Visual effects (Object visual effects):
In addition to the other functions, similar to those applicable for 3D models, the drawings made with the Grease Pencil can be associated with visual effects, which can help both in the drawing and in the animations. Many of their effects are viewed in render mode.
Let's see the list of visual effects in Grease Pencil and some examples:
Blur, more or less blurs the drawing
Colorize, redefines the colors of the drawing, giving them an effect of gray scale (Gray Scale), sepia (Sepia), bicolor (Duotone), making it more or less transparent or overlapping a color
Flip, mirrors the drawing compared to the 3D cursor, moving it both vertically and horizontally
Glow, generates an inner and outer glow
Light, if we assign an empty to "object", we can use it to light up the drawing
Pixelate, modifies the drawing as if it were low resolution, like old electronic games
Rim, with which it is possible to create internal shadows
Shadow, which allows you to create external shadows
Swirl, create a vortex around an empty assigned in "object"
Wave Distorsion distorts according to a certain amplitude, period and phase
As for the 3D models, also the Grease Pencil has its sculpting tools, in Sculpting mode, very useful both to improve the drawings and to position the various elements of an object during an animation
Smooth, rounds the stroke and eliminates roughness
Thickness, thickens or reduces the thickness of the stroke (depending on whether the + or - button has been pressed)
Strength, increases or decreases the strength of the stroke (depending on whether the + or - button was pressed), useful for creating light or shadow effects in the drawing, but without erasing the stroke, as an eraser would do
Randomize, makes a line flickering (useful for creating tree branches, lightning, wavy hair etc.)
Grab, stretch the drawing, to be used when you want to improve the shapes of a drawing already made, or change the position of the elements of a subject during an animation
Push, similar to the grab when we are considering a single line, but different when acting on several elements, since the grab favors the dragging of the first focused stretch, while the push acts more on the other adjacent elements
Twist, twist the selected elements
Pinch, like a pinch, brings together the elements present within the instrument's range of action
Clone, in edit mode we select a part of the drawing, then we return to sculpt mode and where we click will be copied the piece of the memorized line
When we select the Blender Edit Mode display mode for the Grease Pencil tool, by pressing the A key we discover that the drawing we have created is nothing but a set of vertices and curves that interpolate the drawn line. Also in this case there are tools that can help us in the work;
in fact, in addition to the usual selection, displacement, rotation and scale tools, there are:
Extrude, which helps extrude selected vertices through an interesting handle marked "+"
Radius, which expands and contracts the radius of the selected vertices
Bend, which distorts the selected object, rotating it around the 3D cursor
Shear that distorts the object along the axis
Together with Shear, To Sphere is present, which rounds off the selected drawing
Weight Paint mode:
To realize animations, it is possible to associate the armature to the drawings, it is therefore also present for the Grease Pencil a weight paint function, with its paint tool that colors the vertices of a drawing stroke from blue to red, to manifest the influence that the bones must have on the element
It concludes here this little introduction to the Grease Pencil in Blender in english, in which we have tried to illustrate some of the most important tools available. Many features have been omitted and will probably be explained in the next tutorials on this topic.
How to convert a line drawn with a grease pencil into a 3D model.
Blender has a pen function called Grease Pencil.
In addition to writing notes and creating 2D animations, it is also possible to convert lines drawn with Grease Pencil into 3D models.
In this article, I will show you how to convert lines drawn with the grease pencil into a 3D model and how to create a decorative mask.
▽Blender version used in this project:
Lets try using a grease pencil
Using a grease pencil, you can create objects with complex lines in a sensible way.
Download the original model
I used this copyright free model from a 3D model sharing site called cgtrader.
smile mask Free 3D model
Click on the Free download button to download the model.
Note that this site requires you to register a new account (or log in) and wait a few tens of seconds for the download to start.
Wait a few tens of seconds and the download link will appear.
Load the model in Blender
Launch Blender and delete the cube placed in the center by pressing [X] key.
Click Import from the menu in the upper left corner, and select the model that you just downloaded.
The model we will use is .fbx, so select this one.
Note that the data name is different from the one displayed at the time of download.
The loaded model is small, so resize it a little.
Then, select and delete the unnecessary cameras that are included.
Press [S] key, move the cursor to enlarge, select, and press [X] key to delete.
Adjust the position of the 3D model.
Select View→Viewpoint→Front to switch the viewpoint to the front.
Select Object→Set Origin→Origin to Geometry from the top menu to reset the center point of the model.
Origin to Geometry
Click the < button in the upper right corner of the main screen to display the menu, and move the models location to the XYZ origin.
Set all Location values to 0.
Drawing a pattern with a grease pencil (Preparation)
Click anywhere on the screen to deselect the model.
Then use [Shift+A] to select Grease Pencil→Stroke to add a new grease pencil.
Delete the added line as it will not be used.
Press [Tab] key to enter edit mode, and press [A] key to select all points.
Then press [X]→Points to delete the vertices.
Delete a vertex
Change to Draw mode from the icon in the upper left corner.
Now you are ready to go.
Change the settings of the grease pencil
|Radius||Pen thickness (1 to px)|
|Strength||Pen transparency (=% transparency)|
|Surface||Draw along the surface of the model.|
Radius and Strength depend on the pressure of the pen tab or mouse when the icons next to them are turned on.
If you turn them off, you can draw lines of uniform thickness and transparency.
If you change the Origin to Surface in the top center menu, you can draw lines along the model.
Drawing lines by dragging
If you want to draw a symmetrical pattern like the model we will create, use the Mirror modifier in the Modifier Properties.
Mirror is a modifier that allows you to model symmetrically around the X, Y, or Z axis.
Add a tool from Add Modifier
Drawing a pattern with a grease pencil (production version)
You can add another view besides the main screen to see the depth and work easily.
You can add more windows by dragging from the upper right corner of the main screen.
Now you can draw lines as you like.
Since Mirror is applied, just draw on one side and the same line will be reflected on the other side.
I used a Google image as a reference for this project.
Drawing while changing the angle
Turn the grease pencil into an object.
After the line is drawn, change the mode to object mode from the upper left corner.
Then click Apply in the Modifier to apply Mirror.
Select Convert→Bezier Curve from the top menu Object.
The line drawn with a grease pencil has been converted to a Bezier curve.
You can hide the Stroke by clicking on the eye and camera icons, or you can delete it.
Lines=Bézier curve, Stroke=Grease pencil line
Click on Lines to select it, then change the value of Object Data Properties→Bevel to add thickness to the Bezier curve.
Depth is the thickness of the Bezier curve, and Resolution is the resolution of the curve.
Check the Full Caps checkbox to close the edges of the Bezier curve.
Switch to edit mode to shape the curve.
Use the [G] key to move the handles and the [X] key to delete unnecessary parts so that the model will not be bumpy.
Select a vertex -> [G] to move it
Click → [X] to delete
Once formed, click Object→Convert→Mesh in the upper menu to convert it to polygons.
Convert to Mesh
To improve the quality, it is recommended to add other materials and change the thickness of the lines.
By changing the base model, you can apply it to various model making.
Please give it a try.
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Hello! I’m Sophie Jantak, and I’m an illustrator. I first started using Blender to create 3D scenes that I could use as reference for my 2D drawings, never intending to make any “final” works with it. But then I started using grease pencil and I never left.
Today I’ll be breaking down the process of my newest 3D grease pencil illustration:
I have a long history of Red Riding Hood retellings they’re all different, but for some reason they always involve a giant tree wolf.
I made this illustration at the start of
I’m still very proud of it, but since then I’ve studied animal anatomy a lot more closely and… well, let’s just say I can see how much I didn’t know at the time. So in addition to recreating this piece in 3D with grease pencil, I also used dozens of reference images to try to get a more realistic tree wolf.
SCULPTING blocking in big shapes
My sculpting process is constantly changing, but for this piece all the meshes started as spheres and I sculpted using dynamic topology. I used the snakehook tool and would hold shift to occasionally smooth out areas.
I focus on big shapes, as detail will be drawn on top with grease pencil. In fact, looking back, I added too much detail to the fur of the neck.
I always add extra views of my scene the top right window is looking through a second camera with a scale value of -1 on the X axis, so that I could keep in mind how my piece looks mirrored flipping your canvas is a helpful trick for drawing and I wanted to use that here!
The bottom right window is looking through my main camera, and this is the view at the start of the illustration. My vision was for the scene to start at an angle that would trick the viewer into thinking these were just trees on a hill, and then it would turn and reveal that it’s a wolf with a tree tail. And so I kept this goal in mind as I sculpted, wanting the legs at that angle to read as three tree trunks.
SCULPTING knife projecting the foliage
I’ve had this idea for a while of making foliage from deformed spheres and grease pencil.
I use the grease pencil to draw the edges of the leaf masses and then I convert these strokes into paths, and use the knife project tool to cut these areas out of the meshes. It’s an interesting look!
I also recently discovered that, in solid view mode, you can give all your meshes a flat shader, and this ended up being incredibly helpful to see how the outlines of everything looked together. I was able to make sure that this 3D piece read well, even as a 2D piece from any angle.
GREASE PENCIL: convert meshes to grease pencil
Happy with the meshes, it was time to convert them to grease pencil. I gave them a solidify modifier and a decimate modifier (to reduce the face count as much as possible!)
Then I converted them to grease pencil objects, while also checking the option that says “keep original”. The wolf, foliage, mountain and water are their own grease pencil objects. I deleted the stroke layer that got created, and gave the fill material a colour that would be the base colour of each section of the piece.
I also had a vision of giving the wolf glowing red eyes, and so I quickly placed two point lights in the eye sockets and made them vibrant red. Having active point lights in the scene really slows my files down, so I created a new collection for them. Now I can make this collection visible when I want to see how the piece will look with them, but I keep it hidden for the majority of them time I’m working with grease pencil.
GREASE PENCIL: Draw on the meshes
Something I wanted to try with this piece was to emulate how light would actually fall on the scene. So I added a light and set the type to “Sun”. I made it that purple colour just to help me see the shapes of light. I won’t keep this light in the final render, but use it as a guide for when I’m adding textures with grease pencil strokes.
The reason that I keep my original meshes is so that I can draw on top of them with grease pencil, with the stroke placement set to “surface.” For some of the areas, like the wolf and the island, I keep the meshes even in the final piece, so that they hide the strokes on the other side. But for the foliage I hid it, because I thought the chaos of it gave a really unique and interesting look.
At this point I realised I didn’t like the composition of the piece, particularly how the island is shaped. I was following a course on Realism and after a lesson in which we talked about composition and how you can lead the eye around a piece, I knew (with a heavy heart) I needed to scrap the island I’d sculpted and drawn.
Here is my new version after really considering composition. I still have lots of study to do on the topic, but I think there’s a big difference already, just from giving SOME thought to composition instead of sculpting and drawing strokes with no thought to it at all.
It was painful to admit that I had dived in too quickly and needed to redo so many hours of work, but every day I practice being more mindful in my work, not going on “autopilot”, and I’m proud that I took the time to start over.
GREASE PENCIL: “floating” strokes
This scene has a variety of strokes that were drawn on no surfaces. The leaves and the stars were drawn with the stroke placement at “3D cursor”, and then moving the 3D cursor to draw at different planes in middair. The branches of the wolf’s tail and the trees on the island were drawn with the stroke placement at “stroke”, so that they literally get built from the ground up.
And our little red riding hood was also drawn with the stroke placement at “3D cursor”, so I placed the 3D cursor at the top of the hill and drew her pleading with the wolf.
ANIMATING AND FINALIZING
Although I’m not an animator, I still enjoy adding animated elements to my scene using Blender’s 3D animation tools and grease pencil modifiers.
I encourage you to watch the video to see all the animations, but with the Build Modifier I have the text and the leaves on the ground get “drawn in”, and the leaves of the wolf’s tail disappear. I used keyframe animation to move and rotate the leaves so that they’d swirl around the scene.
A blur effect on the grease pencil object helps to sell this effect, and this is keyframed so that it becomes more intense in the middle of the swirl as the leaves move fastest.
I also keyframed the rotation and location of the camera so that we rotate around the scene.
A noise modifier makes all the strokes dance a little bit, to add a bit of movement to even the static areas. And our red riding hood strategically disappears from the bottom and appears at the top just as blowing leaves cover each spot, so that I have her climb the mountain without having actually animated it.
Thank you for reading and thank you to the 3D Blendered team for reaching out to me to share my process. I enjoyed putting this together, and I hope it was helpful.
I tried to break everything down by process, by I also made a video where I broke things down by time, going through every version of this Blend file I saved. It’s a different look at the creative process, and if you’re curious to get a different perspective you can watch it here:
Watch Sophie 3D Grease Pencil painting workflow in Blender
Links to Sophie Jantak
Other works by Sophie that we love:
- Living Field Guide: BOTW horses Artstation
- Living Painting: Travelling Merchant Artstation
- Getting a Watercolor Style with Grease Pencil! Blender Youtube Tutorial
- Blender 3D Grease Pencil tricks Youtube tutorial (Build modifier, parent layers, mask multiple meshes)
Art blender grease pencil
I am Dedouze, that’s my artist name but you can call me Andry. I am a self-taught illustrator and animator. Alongside my full-time job as a web developer, I was doing art as a hobby, which included many mediums—from acrylic painting to 3D modeling and animation. The art hobby started to take more and more of my free time and I began to get nice feedback on my social networks. When I even got contacted by professionals in French TV and movies for short projects, I started to believe I could do this professionally. I really liked my job as a web developer, but I really wanted to develop my art and try to bring something new that would inspire other artists.
So now I am a freelance illustrator, and I'm trying to focus most of my time on my own projects and universe, hoping I can make a living out of it someday. I am now based in Paris, where I live in a very small apartment because I don’t yet make a lot of revenue from my new art activity. But I hope to have a big studio of my own someday ahah.
My first take on 3D was in 3DS Max where I did some pieces of animation when I was in high school. That was not part of my studies, though—it was also a hobby back then. I discovered early versions of Blender, but at that time the software was so confusing to me, and I didn’t try to learn more. The reason I gave it a new try was because of the Blender team’s “Hero” movie trailer that teased about the new features of Grease Pencil, with mixed 2D and 3D animations in the same scenes. As a big fan of both traditional art and 3D, I was so excited. So I started to test it while it was still in development. Thanks to my background as a web developer, I could download the sources and build it on my computer and start drawing with Grease Pencil!
Besides making paintings and short animations, I like telling stories inspired by my own life to make fun of sad or annoying situations I witnessed or lived. So, I had already made some comics before, but not animated.
And because I like animation and creating my own music, too, I thought it would be nice to make something between comic and animation and put some background music on it. I discovered the concept of animated comics on YouTube, and I really liked it, so I decided to try this format for my next webcomic.
For my art style, I am really inspired by both manga style and old French comic style, so I think that is why my characters have these round faces, big eyes, and flashy colors.
Drawing and Modeling
I start the drawing in 2D. I use Clip Studio Paint for that. It could be done in Blender, but my computer is too slow, and I need to sketch with very fast strokes to feel like I am drawing on paper. I also experiment a lot with colors and composition, so the first sketch is really faster for me in 2D. The draft doesn’t need to be really accurate. Actually, I never completely respect my drafts, I just use them to have an idea of the proportions, composition, and color palette.
Then, I import the image as background for the active camera in Blender, and I start redrawing the scene properly with Grease Pencil.
The modeling part is very basic, I mostly use primitives and just draw the extra parts over it with Grease Pencil. In this case, there is only a cube and a plane!
The animation is the most fun part for me. With Grease Pencil, I could make traditional 2D animation, drawn frame by frame, mixed with auto-tweened frames for some parts. I think it’s better to mix both, and not try to make a completely smooth perfect animation for the whole scene, because it would lose the charm of retro animation.
So, there are moments where the characters jump from one pose to another, and some moments where they move smoothly. See in the gif below, I use tweening for moving the girl’s arms up to her face, and then, I just cut to another keyframe when she opens her hands.
Compositing and Rendering
You can notice in old 2D animations that the lineart ink sometimes smears on the colors. I tried to recreate this effect in the compositor by extracting the lineart color (the darkest color, in this case) and adding a blur filter on it, then adding it again over the final image. I also used the lens distortion noise to make a very subtle chromatic aberration effect on the borders, to recreate the look of old anime.
I also use the compositor to separate the texts in the bubbles, so that they did not get the exact same effect as the animation. There is no standard rule for this actually, because obviously there is no text in bubbles for anime, so I had to find myself the best way to display it without losing the retro look.
About the Author
Andry Douze, I'm a self-taught freelance animator and illustrator, focusing on making retro-style art with modern tools.
Blender Grease Pencil Scripting and Generative Art
What: learning the basics of scripting for Blender Grease-Pencil tool, with focus on generative art as a concrete playground. Less talking, more code (commented) and many examples.
Why: mostly because we can. Also because Blender is a very rich ecosystem, and Grease-Pencil in version is a powerful and versatile tool. Generative art is a captivating way to showcase the tool potential: if you love Python and don’t feel like learning Processing, or are still unsure about venturing with p5.js or Three.js, here you will find the perfect playground.
Who: Python≥ and Blender I took inspiration from other resources on generative art, in particular the book Generative Art by Matt Pearson and the Kadenze online course Generative Art and Computational Creativity.
Where/When: right here, right now. Can also find the complete code here (and Blender utils here).
In Blender, you can work with code from the Python Console Editor (be sure to make good use of the Autocomplete function)
Or you can more easily run .py scripts from the text editor. Always toggle the system console so you can check the Python output. Useful shortcuts are for running the script and for reloading the file content. Unless you are just playing around or experimenting, I suggest to code in a dedicated IDE and get back to Blender just to verify results.
That’s all needed to get started. So here the code for getting our Grease-Pencil (GP) instance ready.
The hierarchy works like this: each GP object can have multiple layers, which is an abstraction to organize your work. In a layer you can then create strokes, which are a series of points associated with a material. Different strokes in the same layer can have different materials. Strokes live in frames, which is the temporal dimension of a GP object. We’ll see more about frames later in the animation section, with static content we just need a single target frame where to draw our strokes.gp_layer = init_grease_pencil()
gp_frame = gp_layer.frames.new(0)
With this single reusable frame we can start drawing.
A GP stroke is just a collection of points with properties. For example here the method to draw a line.
For a given GP frame, create a new stroke, define the length (number of points) and set each point 3D coordinate. You can then have your stroke on screen (in 3D space and editable, thanks to the flag) and at frame 0 viagp_layer = init_grease_pencil()
gp_frame = gp_layer.frames.new(0)
draw_line(gp_frame, (0, 0, 0), (1, 1, 0))
We can draw a square by reusing the previous method or we can more nicely compose our square from scratch by computing coordinates and adding more points. Similar, moving to 3D shapes, to build a cube.
The following code is instead to draw a circle. Notice the flag to close the loop (connect first with last stroke point).
A GP is now a first-class citizen, and as such can rely on any higher level utility/method of a common Blender object. For strokes is not the same, but that gives us the chance to learn/understand a bit more about basic mechanisms of Computer Graphics and, consequentially, Mathematics.
We can for example rotate our circle (which is just a bunch of points) using a rotation matrix.
With these two methods one can obtain a sphere viadef draw_sphere(gp_frame, radius: int, circles: int):
angle = math.pi / circles
for i in range(circles):
circle = draw_circle(gp_frame, (0, 0, 0), radius, 32)
rotate_stroke(circle, angle*i, 'x')
From these basic components and steps, you can assemble a practically infinite variety of results. Here follow some basic examples I obtained using this code with some mathematical models to generate the data itself.
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Blender Grease Pencil Tutorial
This tutorial covers different Blender Grease Pencil techniques I use to speed up my 2D-3D workflow.
I`ve been using Grease Pencil for my professional work on movies for quite some time.
And it is AWESOME.
If you are trying to speed up your 2D workflow, like using 3D block-outs for perspective or 3D mannequins to pose your reference, grease pencil will help you a lot.
If you are trying to draw over your designs to speed up your 3D workflow, grease pencil is the way to go.
It is a tool that seamlessly closes the gap between 2D and 3D workflow.
- Grease Pencils Basics
- Grease Pencil stroke placement
- Using boxcutter add-on with Grease Pencil
- Grease Pencil sculpt mode
- Using Mannequin Poser as a reference
- Mixamo + Grease Pencil combo
- Grease Pencil Orthographic projections
- Narrated video tutorials ( minutes)
- Photoshop files
- Blender files
Suitable for all levels.
I`m a professional art-director/concept artist working in the film industry.
Recently, I`ve worked on such movies as Starwars, Jurassic World 2, Ready Player One and many others.