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【Ohdake Customizable Model】 (Work in progress!) We're planning to have a seperate outline/shadow color slider for the hair, here's a small look of how much of a difference it makes even without changing the base color👀

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Ohdake

3,276 subscribers

15,129 просмотров • 7 месяцев назад •via X (Twitter)

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Isa's Customizable Model v.1.01 a small update~ ✦ color sliders for human, elf, wing ears ✦ color & opacity slider for blush ✦ opacity slider for nose shine ✦ eyelash types can be combined ✦ eye size slider ✦ opacity slider for neck shade ✦ face texture moves with mouth
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Isa's Customizable Model v.1.01 a small update~ ✦ color sliders for human, elf, wing ears ✦ color & opacity slider for blush ✦ opacity slider for nose shine ✦ eyelash types can be combined ✦ eye size slider ✦ opacity slider for neck shade ✦ face texture moves with mouth

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the outline is a vector too so you can adjust the weight of the brush and such. the base color is separated from the outline
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the outline is a vector too so you can adjust the weight of the brush and such. the base color is separated from the outline

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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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This color reminds me of my hair a few months ago, but it is indeed darker than the color in the video😅
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This color reminds me of my hair a few months ago, but it is indeed darker than the color in the video😅

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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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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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During the whoop japan osaka fansign, OP asked Baekhyun about changing his hair color. He mentioned he will dye his hair the day after tomorrow but still hasn’t decided on the color yet 👀 👤: So, oppa, how are you going to dye your hair? Are you going to change your hair color? 🐶: Dye my hair? What? 👤: Red hair! 🐶: Red? 👤: Yeah! I’ve been asking you to do red hair for over a year now. It’s about time you do it! 🐶: I’m not sure yet. 👤: Boo~ 🐶: If I dye it red, I won’t be able to do another color after that. 👤: Wait, do you even have another color planned after that? 🐶: I’ll have to choose something first… 👤: Ah, so you’re not going to do it then! 🐶: No, I really do have something in mind. I’ll dye it the day after tomorrow, but I haven’t decided on the color yet.
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During the whoop japan osaka fansign, OP asked Baekhyun about changing his hair color. He mentioned he will dye his hair the day after tomorrow but still hasn’t decided on the color yet 👀 👤: So, oppa, how are you going to dye your hair? Are you going to change your hair color? 🐶: Dye my hair? What? 👤: Red hair! 🐶: Red? 👤: Yeah! I’ve been asking you to do red hair for over a year now. It’s about time you do it! 🐶: I’m not sure yet. 👤: Boo~ 🐶: If I dye it red, I won’t be able to do another color after that. 👤: Wait, do you even have another color planned after that? 🐶: I’ll have to choose something first… 👤: Ah, so you’re not going to do it then! 🐶: No, I really do have something in mind. I’ll dye it the day after tomorrow, but I haven’t decided on the color yet.

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🐰 about personal color…i don’t think i’m sensitive to the tone 🐰 according to me personally, for things like hair color, the tone does make a difference but when it comes to clothes, no matter what i wear…yup i don’t think color matters much, i think everything looks good on me 🐰 then within that, there might be a color that suits me the best and maybe a color that’s a bit disappointing
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🐰 about personal color…i don’t think i’m sensitive to the tone 🐰 according to me personally, for things like hair color, the tone does make a difference but when it comes to clothes, no matter what i wear…yup i don’t think color matters much, i think everything looks good on me 🐰 then within that, there might be a color that suits me the best and maybe a color that’s a bit disappointing

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olivia changing the color of that mural to a new shade everyday
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I've made a tutorial on how to color specific parts of the customizable VTuber model 煎卷 CustomizableModel OUT NOW💗 made since I was asked about it a bit! Let me know if it was helpful! 💜
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I've made a tutorial on how to color specific parts of the customizable VTuber model 煎卷 CustomizableModel OUT NOW💗 made since I was asked about it a bit! Let me know if it was helpful! 💜

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Gene Kelly makes it look easy. Gene Kelly performing "I Got Rhythm" from AN AMERICAN IN PARIS (1951). The film went on to win the Oscar for Best Picture, Writing, Music (Scoring of a Musical Picture), Costume Design (Color), Cinematography (Color) and Art Direction (Color).
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Gene Kelly makes it look easy. Gene Kelly performing "I Got Rhythm" from AN AMERICAN IN PARIS (1951). The film went on to win the Oscar for Best Picture, Writing, Music (Scoring of a Musical Picture), Costume Design (Color), Cinematography (Color) and Art Direction (Color).

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🟢Substance Painter Tip With "Anchor Points" you can link layers together (e.g. use one layer as a mask for another), which makes workflows much faster. Example: You have a shadow layer and want to add an outline around it. Instead of repainting the outline every time you change the shadows, use an Anchor Point: 1. Add an Anchor Point to the shadow layer 2. Add a Fill Filter for the shadow outline layer 3. For the Fill grayscale, select the Anchor Point 4. Add a "Mask Outline" filter 5. If you paint new shadows now, the outline will adjust automatically!

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Everyone's support of our customizable model has been so encouraging and pushes me to learn more, not just as a 3D artist, but also as a programmer! 🩷 Unlike a live2D customizable model, there's no existing framework for a customizable 3D model. I had to learn how to code in each slider, parameter, color picker, and asset selection menu. I continue to push myself with every update I post here! -^u^- Now, the body sliders no longer cause clipping, each individual clothing item has their own parameters to prevent clipping! 💕 The arms, shoulders, and wrists are also now more effected by the plus size slider.✨ And I made a slider for the face/neck, but I haven't coded it in yet. These new features (along with a lot more!) will all be available for free in our first update!🩷
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Everyone's support of our customizable model has been so encouraging and pushes me to learn more, not just as a 3D artist, but also as a programmer! 🩷 Unlike a live2D customizable model, there's no existing framework for a customizable 3D model. I had to learn how to code in each slider, parameter, color picker, and asset selection menu. I continue to push myself with every update I post here! -^u^- Now, the body sliders no longer cause clipping, each individual clothing item has their own parameters to prevent clipping! 💕 The arms, shoulders, and wrists are also now more effected by the plus size slider.✨ And I made a slider for the face/neck, but I haven't coded it in yet. These new features (along with a lot more!) will all be available for free in our first update!🩷

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Back to work on my Extinction mod for Halo Reach. Crashed Covenant Carrier for Blue team's base, makes the map look much nicer. Very work-in-progress.
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Changing the color of a texture is pretty lame, so I've been experimenting with different techniques and have stumbled upon a really interesting way to tint the color while preserving perceived brightness.
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Changing the color of a texture is pretty lame, so I've been experimenting with different techniques and have stumbled upon a really interesting way to tint the color while preserving perceived brightness.

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Black isn’t a color, rather it’s the essence of what makes every other color.
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Black isn’t a color, rather it’s the essence of what makes every other color.

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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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