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Here is a breakdown. Line and color layers are basically glued together with the line fill being on top of color and having the color layers as inverse mask The setup is a little bit convoluted but it serves it's specific purpose for the shading effects #Live2D

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KDD (cоmms OPEN)

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27,098 görüntüleme • 5 ay önce •via X (Twitter)

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How to create 3D-like clothing with just 3 layers! The texture is clipped to the green mask (mask is 0% opacity) and the line on the edge is clipped to the texture, and glued to the green mask. #Live2D
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How to create 3D-like clothing with just 3 layers! The texture is clipped to the green mask (mask is 0% opacity) and the line on the edge is clipped to the texture, and glued to the green mask. #Live2D

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Net jacket breakdown 🤍🫧 #Live2D I have used multiple mask layers for this one: some are for the underfilled lineart (red), and some are for the main color (blue). Vtuber: ShoalCrestide Art and Rig by me
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Net jacket breakdown 🤍🫧 #Live2D I have used multiple mask layers for this one: some are for the underfilled lineart (red), and some are for the main color (blue). Vtuber: ShoalCrestide Art and Rig by me

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Uniform supports a global color palette that can be referenced in fill layers. This is useful for color adjustments and creating asset variations. The color palette can be edited from a single place and all textures and painted vertex data update accordingly.
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Uniform supports a global color palette that can be referenced in fill layers. This is useful for color adjustments and creating asset variations. The color palette can be edited from a single place and all textures and painted vertex data update accordingly.

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These are underfill layers! They are a solid color layer underneath another color layer, but they are slightly bigger, making it look like the outline of the layer above. This method will make it easier for riggers to give the model more range, as the underfill is easy to adjust
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These are underfill layers! They are a solid color layer underneath another color layer, but they are slightly bigger, making it look like the outline of the layer above. This method will make it easier for riggers to give the model more range, as the underfill is easy to adjust

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Eric Rohmer on the use of Colour in "La Collectionneuse" (1967) and "Claire's Knee" (1970): "I didn't use color as a dramatic element, as some filmmakers have done. For me it's something inherent in the film as a whole. I think that in 'La Collectionneuse' (1967) color above all heightens the sense of reality and increases the immediacy of the settings. In this film color acts in an indirect way; it's not direct and there aren't any color effects, as there are for example in Bergman's most recent film, his second one in color, where the color is very deliberately worked out and he gets his effects mainly by the way he uses red. I've never tried for dramatic effects of this kind, but. for example, the sense of time-evening, morning, and so on-can be rendered in a much more precise way through color. Color can also give a stronger sense of warmth, of heat, for when the film is in black-and-white you get less of a feeling of the different moments of the day, and there is less of what you might call a tactile impression about it. In 'Claire's Knee' (1970), I think it works in the same way: the presence of the lake and the mountains is stronger in color than in black-and-white. It's a film I couldn't imagine in black-and-white. The color green seems to me essential in that film, I couldn't imagine it without the green in it. And the blue too-the cold color as a whole. This film mould have no value for me in black-and-white. It's a very difficult thing to explain. It's more a feeling I have that can't be reasoned out logically." (Eric Rohmer's interview with Graham Petrie, Film Quarterly, 1971)
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Eric Rohmer on the use of Colour in "La Collectionneuse" (1967) and "Claire's Knee" (1970): "I didn't use color as a dramatic element, as some filmmakers have done. For me it's something inherent in the film as a whole. I think that in 'La Collectionneuse' (1967) color above all heightens the sense of reality and increases the immediacy of the settings. In this film color acts in an indirect way; it's not direct and there aren't any color effects, as there are for example in Bergman's most recent film, his second one in color, where the color is very deliberately worked out and he gets his effects mainly by the way he uses red. I've never tried for dramatic effects of this kind, but. for example, the sense of time-evening, morning, and so on-can be rendered in a much more precise way through color. Color can also give a stronger sense of warmth, of heat, for when the film is in black-and-white you get less of a feeling of the different moments of the day, and there is less of what you might call a tactile impression about it. In 'Claire's Knee' (1970), I think it works in the same way: the presence of the lake and the mountains is stronger in color than in black-and-white. It's a film I couldn't imagine in black-and-white. The color green seems to me essential in that film, I couldn't imagine it without the green in it. And the blue too-the cold color as a whole. This film mould have no value for me in black-and-white. It's a very difficult thing to explain. It's more a feeling I have that can't be reasoned out logically." (Eric Rohmer's interview with Graham Petrie, Film Quarterly, 1971)

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Superb artwork by painter Takuya Yonezawa using layers of "Yumekawa Pink," a pink color that changes color depending on the angle. [📹 takuyanokaiga]
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Tips: Inverted Hull Method #Live2D You can create an anime-style outline with a few simple steps. Here's how: 1. Open your paint tool and select the hair parts. Select the hair lineart and register it as the selected area. Select the hair base layer and erase the color from the selected parts. 2. Next, fill the inside with a dark color and move the lineart behind the base hair layer Repeat the same steps for the other bang strands. After adjusting the layer order, Place all hull lineart layers behind all base hair layers. 3. Export the PSD to Live2D and rig the hair motions. The result looks just like anime! Sound video⬇️
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