Lightning‌‌Boy‌‌Shader‌‌2.

1‌‌-‌‌User‌‌Guide‌ ‌
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Welcome‌‌to‌‌the‌‌Lightning‌‌Boy‌‌Shader‌‌2.1‌‌User‌‌Guide!‌ ‌ ‌
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This‌‌shader‌‌was‌‌created‌‌to‌‌provide‌‌Blender‌‌artists‌‌a‌‌better‌‌way‌‌to‌‌build‌‌their‌‌own‌‌stylized‌‌
materials.‌‌Many‌‌of‌‌the‌‌ideas‌‌you’ll‌‌see‌‌here‌‌originate‌‌from‌‌our‌‌toon‌‌shader‌‌tutorial‌‌series.‌ ‌
They‌‌were‌‌expanded‌‌upon‌‌with‌‌the‌‌release‌‌of‌‌LBS‌‌2.0,‌‌which‌‌introduced‌‌a‌‌layer‌‌system,‌‌
drag-and-drop‌‌styles‌‌and‌‌more‌‌intuitive‌‌masking.‌‌With‌‌LBS‌‌2.1,‌‌we‌‌did‌‌a‌‌complete‌‌overhaul‌‌by‌‌
repackaging‌‌it‌‌into‌‌an‌‌add-on.‌‌The‌‌shader‌‌is‌‌now‌‌faster‌‌to‌‌use,‌‌lights‌‌are‌‌more‌‌responsive,‌‌and‌‌
multiple‌‌automated‌‌functions‌‌have‌‌been‌‌added,‌‌easily‌‌accessible‌‌from‌‌the‌‌Shader‌‌Editor.‌ ‌
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This‌‌user‌‌guide‌‌will‌‌explain‌‌everything‌‌you‌‌need‌‌to‌‌know‌‌to‌‌get‌‌started.‌‌While‌‌we‌‌did‌‌our‌‌best‌‌to‌‌
make‌‌this‌‌guide‌‌as‌‌comprehensive‌‌as‌‌possible,‌‌we‌‌highly‌‌encourage‌‌you‌‌to‌‌watch‌‌our‌‌video‌‌
tutorial‌L
‌ BS‌‌2.1:‌‌Make‌‌Any‌‌NPR‌‌Style‌‌(Sketch,‌‌Toon,‌‌Outline,‌‌Hatch…)‌,‌‌where‌‌we‌‌give‌‌an‌‌
overview‌‌of‌‌the‌‌shader,‌‌what’s‌‌new‌‌from‌‌the‌‌previous‌‌version,‌‌as‌‌well‌‌as‌‌some‌‌handy‌‌tips‌‌and‌‌
tricks‌‌on‌‌how‌‌to‌‌achieve‌‌various‌‌stylized‌‌effects.‌ ‌
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You‌‌might‌‌also‌‌enjoy‌‌watching‌T ‌ oon‌‌Shaded‌‌Character‌‌Guide‌‌-‌‌From‌‌Modeling‌‌to‌‌Final‌‌Shading‌,‌‌
where‌‌we‌‌explain‌‌how‌‌we‌‌made‌‌our‌‌characters‌‌for‌‌our‌‌project‌‌Dinomancers‌‌using‌‌this‌‌shader.‌‌
This‌‌video‌‌uses‌‌LBS‌‌2.0,‌‌so‌‌a‌‌few‌‌things‌‌are‌‌out‌‌of‌‌date,‌‌but‌‌for‌‌the‌‌most‌‌part‌‌all‌‌the‌‌nodes‌‌and‌‌
properties‌‌are‌‌still‌‌the‌‌same.‌ ‌
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BLENDER‌‌COMPATIBILITY‌ ‌
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Before‌‌you‌‌dive‌‌in,‌‌make‌‌sure‌‌to‌‌be‌‌using‌B
‌ lender‌‌2.93‌.‌W
‌ hile‌‌w
‌ e‌‌do‌‌our‌‌best‌‌to‌‌adapt‌‌the‌‌
shader‌‌to‌‌work‌‌with‌‌new‌‌Blender‌‌versions‌‌as‌‌they‌‌release,‌‌using‌‌Blender‌‌2.93‌‌is‌‌the‌‌best‌‌way‌‌to‌‌
ensure‌‌everything‌‌works‌‌as‌‌intended.‌ ‌

1‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
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HOW‌‌TO‌‌INSTALL‌‌THE‌‌ADD-ON‌ ‌
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To‌‌install‌‌the‌‌add-on,‌‌go‌‌to‌‌‌Edit‌‌>‌‌Preferences‌‌>‌‌Add-ons‌,‌‌and‌‌click‌‌‌[Install…].‌‌‌Using‌‌the‌‌browser‌‌
window‌‌that‌‌appears,‌‌locate‌‌the‌‌Lightning‌‌Boy‌‌Shader‌‌zip‌‌file.‌‌Then,‌‌find‌‌the‌‌addon‌‌using‌‌the‌‌
search‌‌bar‌‌and‌‌check‌‌the‌‌little‌‌box.‌‌It‌‌will‌‌now‌‌be‌‌activated‌‌whenever‌‌you‌‌start‌‌Blender!‌ ‌
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USING‌‌THE‌‌ADD-ON‌ ‌
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All‌‌of‌‌the‌‌add-on‌‌options‌‌are‌‌found‌‌in‌‌the‌S ‌ hader‌‌Editor‌.‌‌One‌‌
way‌‌to‌‌access‌‌it‌‌is‌‌to‌‌extend‌‌the‌‌bottom‌‌timeline‌‌upwards‌‌and‌‌
change‌‌the‌E ‌ ditor‌‌Type‌‌‌to‌S‌ hader‌‌Editor‌i‌n‌‌the‌‌top‌‌left.‌‌Once‌‌
you‌‌have‌‌it‌‌open,‌p ‌ ress‌N ‌ ‌‌to‌‌toggle‌‌the‌‌sidebar‌‌on‌‌the‌‌right.‌‌If‌‌
the‌‌add-on‌‌is‌‌installed‌‌correctly,‌‌you‌‌should‌‌see‌‌a‌‌tab‌‌called‌‌
LBS‌‌with‌‌some‌‌buttons.‌‌We’ll‌‌only‌‌look‌‌at‌‌two‌‌of‌‌them‌‌for‌‌now:‌‌
Set‌‌Up‌‌Base‌‌Scene‌‌‌and‌B ‌ ase‌‌Material‌.‌‌The‌‌others‌‌will‌‌be‌‌
explained‌‌at‌‌the‌‌end‌‌of‌‌this‌‌guide‌(‌ Additional‌‌Options,‌‌‌p.22)‌.‌ ‌
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Set‌U
‌ p‌B
‌ ase‌S
‌ cene‌ ‌
Whenever‌‌you‌‌start‌‌a‌‌new‌‌scene,‌‌click‌‌on‌‌‌Set‌‌Up‌‌Base‌‌Scene‌.‌‌
A‌‌collection‌‌called‌L‌ ightning‌‌Boy‌‌Shader‌‌‌will‌‌be‌‌imported‌‌
containing‌‌useful‌‌lights‌‌and‌‌objects,‌‌your‌C ‌ olor‌‌Management‌‌
settings‌‌will‌‌be‌‌automatically‌‌optimized,‌‌and‌‌the‌‌world‌‌
material‌‌will‌‌change‌‌so‌‌it‌‌doesn’t‌‌interfere‌‌with‌‌the‌‌scene’s‌‌
lighting.‌‌Any‌‌other‌‌lights‌‌present‌‌in‌‌the‌‌scene‌‌will‌‌also‌‌be‌‌
disabled‌‌as‌‌they‌‌are‌‌not‌‌compatible‌‌with‌‌this‌‌shader.‌ ‌
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2‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
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If‌‌you‌‌change‌‌the‌V ‌ iewport‌‌Shading‌‌‌to‌R ‌ endered‌,‌‌in‌‌the‌‌
top‌‌right‌‌of‌‌your‌‌screen,‌‌you’ll‌‌notice‌‌that‌‌the‌s ‌ ky‌‌has‌‌
transformed‌‌into‌‌a‌‌blue‌‌gradient‌.‌‌You‌‌can‌‌modify‌‌those‌‌
colors‌‌at‌‌any‌‌time‌‌by‌‌going‌‌to‌‌the‌‌top‌‌left‌‌of‌‌the‌S‌ hader‌‌
Editor,‌a‌ nd‌‌change‌‌the‌‌data‌‌type‌‌from‌O ‌ bject‌t‌ o‌W‌ orld‌.‌‌
You’ll‌‌see‌‌a‌‌bunch‌‌of‌‌nodes‌‌there,‌‌but‌‌the‌‌only‌‌important‌‌
part‌‌is‌‌the‌M
‌ ix‌‌‌node‌‌with‌‌the‌I‌s‌‌Camera‌‌Ray‌‌‌input.‌‌The‌‌
color‌‌ramp‌‌itself‌‌can‌‌be‌‌changed‌‌to‌‌anything‌‌else.‌ ‌
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Base‌M
‌ aterial‌ ‌
To‌‌get‌‌started,‌‌you’ll‌‌first‌‌need‌‌a‌‌material.‌‌You‌‌
can‌‌use‌‌the‌B‌ ase‌‌Material‌b ‌ utton‌‌from‌‌the‌‌
add-on‌‌panel‌‌to‌‌quickly‌‌replace‌‌any‌‌object’s‌‌
active‌‌material‌‌with‌‌a‌‌basic‌‌LBS‌‌material.‌ ‌
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Making‌‌Unique‌‌Copies:‌‌‌The‌‌changes‌‌you‌‌do‌‌
to‌‌a‌‌material‌‌will‌‌be‌‌applied‌‌to‌‌all‌‌the‌‌objects‌‌
sharing‌‌that‌‌material.‌‌To‌‌make‌‌a‌‌unique‌‌copy‌‌
of‌‌a‌‌material,‌‌create‌‌a‌‌new‌‌material‌‌slot‌‌with‌‌
the‌+‌ ‌‌button‌‌and‌‌select‌‌an‌‌already-used‌‌
material‌‌from‌‌the‌‌list.‌‌Then,‌‌click‌‌on‌‌the‌‌
numbered‌‌icon‌‌next‌‌to‌‌that‌‌material’s‌‌name‌‌
and‌‌rename‌‌it.‌‌Doing‌‌unique‌‌copies‌‌of‌‌an‌‌LBS‌‌
material‌‌like‌‌this‌‌will‌‌allow‌‌you‌‌to‌‌build‌‌different‌‌styles‌‌for‌‌different‌‌objects.‌‌ ‌
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Now,‌‌let’s‌‌look‌‌at‌‌the‌‌LBS‌‌material‌‌in‌‌the‌‌Shader‌‌Editor,‌‌as‌‌it‌‌works‌‌a‌‌little‌‌differently‌‌than‌‌usual.‌ ‌
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Node‌S
‌ ockets‌ ‌
Normally,‌‌green‌‌node‌‌sockets‌ ‌are‌‌used‌‌to‌‌connect‌‌
Shader-type‌‌BSDF‌‌nodes.‌‌In‌‌the‌‌case‌‌of‌‌this‌‌shader,‌‌
however,‌‌green‌‌sockets‌‌are‌‌used‌‌for‌l‌ayers‌.‌‌While‌‌the‌‌
colors‌‌are‌‌the‌‌same,‌‌the‌‌internal‌‌logic‌‌of‌‌the‌‌nodes‌‌is‌‌
completely‌‌different.‌‌Thus,‌‌it‌‌is‌‌important‌‌to‌o ‌ nly‌‌use‌‌
LBS‌‌nodes‌‌when‌‌connecting‌‌green‌‌sockets‌‌together‌.‌‌All‌‌LBS‌‌nodes‌‌have‌‌a‌‌red‌‌title‌‌bar‌‌and‌‌a‌‌
light‌‌blue‌‌background‌‌so‌‌they‌‌are‌‌easy‌‌to‌‌recognize.‌ ‌
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Grey‌‌ ,‌‌Yellow‌‌ and‌‌Purple‌‌ connectors‌‌will‌‌work‌‌as‌‌usual‌‌and‌‌with‌‌any‌‌kind‌‌of‌‌Blender‌‌
nodes,‌‌as‌‌they‌‌contain‌‌the‌‌same‌‌type‌‌of‌‌value,‌‌color‌‌and‌‌vector‌‌information.‌ ‌
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3‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
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Layers‌ ‌
The‌‌Lightning‌‌Boy‌‌Shader‌‌is‌‌unique‌‌because‌‌of‌‌its‌‌use‌‌of‌‌layers.‌‌Much‌‌like‌‌in‌‌Substance‌‌Painter‌‌
and‌‌Photoshop,‌‌they‌‌act‌‌a‌‌bit‌‌like‌‌sheets‌‌of‌‌acetate‌‌stacked‌‌on‌‌top‌‌of‌‌one‌‌another,‌‌letting‌‌you‌‌
see‌‌the‌‌layers‌‌underneath‌‌where‌‌left‌‌transparent.‌ ‌
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You‌‌can‌‌change‌‌the‌‌number‌‌of‌‌layers‌‌at‌‌any‌‌time‌‌by‌‌clicking‌‌on‌‌the‌‌number‌‌at‌‌top‌‌of‌‌the‌‌
Lightning‌‌Boy‌‌Shader‌‌node‌.‌‌Either‌‌type‌‌in‌‌the‌‌number‌‌of‌‌layers‌‌you‌‌want,‌‌or‌‌use‌‌the‌‌left‌‌and‌‌
right‌‌arrows‌‌to‌‌add‌‌or‌‌remove‌‌layers‌‌one‌‌at‌‌a‌‌time.‌‌ ‌
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The‌‌layers‌‌we‌‌will‌‌be‌‌stacking‌‌are‌‌more‌‌than‌‌mere‌‌layers‌‌of‌‌paint,‌‌however:‌‌they‌‌are‌‌full-fledged‌‌
features‌.‌‌Each‌‌of‌‌them‌‌is‌‌a‌‌self-contained‌‌shading‌‌module—Specular,‌‌Outline,‌‌Occlusion—and‌‌
each‌‌one‌‌comes‌‌with‌‌unique‌‌properties‌‌you‌‌can‌‌play‌‌with.‌‌By‌‌stacking‌‌features‌‌on‌‌top‌‌of‌‌one‌‌
another,‌‌and‌‌choosing‌‌in‌‌what‌‌order‌‌they‌‌are‌‌stacked,‌‌you‌‌can‌‌achieve‌‌precise‌‌control‌‌over‌‌your‌‌
stylized‌‌materials.‌‌ ‌
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Features‌ ‌
By‌‌default,‌‌you‌‌can‌‌see‌‌that‌‌the‌‌LBS‌‌material‌‌already‌‌has‌‌
a‌‌few‌‌features‌‌connected‌‌to‌‌it:‌‌a‌C ‌ olor‌‌‌in‌‌layer‌‌1,‌‌a‌K
‌ ey‌‌
Light‌‌‌in‌‌layer‌‌2,‌‌and‌‌a‌S
‌ pecular‌‌‌in‌‌layer‌‌3.‌ ‌
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There‌‌are‌‌two‌‌ways‌‌you‌‌can‌‌adjust‌‌those‌‌features:‌‌either‌‌
in‌‌the‌‌M
‌ aterial‌‌Properties‌‌‌panel‌‌on‌‌the‌‌right‌‌of‌‌your‌‌
screen—you‌‌just‌‌have‌‌to‌‌expand‌‌their‌‌content‌‌first‌‌by‌‌
clicking‌‌on‌‌the‌‌little‌‌arrow—or‌‌you‌‌can‌‌edit‌‌them‌‌directly‌‌
in‌‌the‌S‌ hader‌‌Editor‌‌‌by‌‌revealing‌‌their‌‌properties.‌ ‌
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4‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
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Revealing‌P
‌ roperties‌ ‌
When‌‌you‌‌create‌‌a‌‌new‌‌feature‌‌in‌‌the‌S ‌ hader‌‌Editor‌,‌‌it‌‌will‌‌be‌‌closed‌‌down‌‌and‌‌appear‌‌as‌‌a‌‌
single‌‌red‌‌bar.‌‌If‌‌you‌‌wish‌‌to‌‌reveal‌‌all‌‌the‌‌hidden‌‌properties,‌p ‌ ress‌H
‌ ‌w
‌ ith‌‌the‌‌node‌‌selected.‌ ‌
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While‌‌revealing‌‌properties‌‌is‌‌useful‌‌to‌‌make‌‌adjustments,‌‌closing‌‌them‌‌back‌‌down‌‌when‌‌you’re‌‌
done‌‌can‌‌help‌‌reduce‌‌the‌‌clutter‌‌in‌‌your‌‌workspace,‌‌and‌‌better‌‌see‌‌what‌‌layers‌‌each‌‌feature‌‌is‌‌
connected‌‌to.‌‌At‌‌any‌‌time,‌‌you‌‌can‌‌select‌‌any‌‌number‌‌of‌‌features‌‌and‌‌press‌‌H‌‌to‌‌close‌‌them‌‌all‌‌
down‌‌at‌‌once.‌‌Notice‌‌how‌‌only‌‌a‌‌few‌‌select‌‌inputs‌‌and‌‌outputs‌‌are‌‌visible‌‌in‌‌that‌‌state.‌‌Once‌‌
you‌‌are‌‌more‌‌familiar‌‌with‌‌the‌‌Lightning‌‌Boy‌‌Shader‌‌and‌‌its‌‌many‌‌features,‌‌you’ll‌‌be‌‌able‌‌to‌‌
quickly‌‌connect‌‌nodes‌‌together‌‌without‌‌revealing‌‌their‌‌contents.‌‌For‌‌instance,‌‌left‌‌grey‌‌sockets‌‌
are‌‌always‌‌used‌‌for‌M ‌ asks‌‌‌and‌‌yellow‌‌sockets‌‌for‌C ‌ olor‌—they‌‌are‌‌generally‌‌the‌‌two‌‌you‌‌are‌‌
most‌‌likely‌‌to‌‌want‌‌to‌‌connect.‌‌ ‌

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Global‌S
‌ ettings‌ ‌
Anytime‌‌you‌‌see‌‌a‌‌feature‌‌with‌‌an‌‌asterisk‌‌(*),‌‌it‌‌means‌‌it‌‌
contains‌‌Global‌‌Settings.‌‌While‌‌the‌‌basic‌‌properties‌‌on‌‌a‌‌LBS‌‌
node‌‌will‌‌only‌‌affect‌‌that‌‌node‌‌locally,‌‌editing‌‌Global‌‌Settings‌‌
will‌‌let‌‌you‌‌affect‌‌multiple‌‌nodes‌‌at‌‌once.‌P‌ ress‌T
‌ AB‌‌‌with‌‌the‌‌
node‌‌selected‌‌to‌‌toggle‌‌Global‌‌Settings‌‌visibility‌‌on‌‌or‌‌off.‌ ‌
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What‌‌features‌‌the‌‌Global‌‌Settings‌‌will‌‌influence‌‌is‌‌always‌‌
determined‌‌by‌‌the‌I‌ nstance‌‌‌name‌‌at‌‌the‌‌top.‌‌The‌‌field‌‌is‌‌
blank‌‌by‌‌default,‌‌which‌‌means‌‌every‌‌similar-type‌‌node‌‌will‌‌
share‌‌the‌‌same‌‌Global‌‌Settings.‌‌If‌‌you‌‌type‌‌a‌‌different‌‌
Instance‌‌name,‌‌it‌‌will‌‌now‌‌be‌‌available‌‌in‌‌the‌‌drop-down‌‌list‌‌
for‌‌other‌‌nodes‌‌to‌‌use.‌ ‌
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5‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
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Creating‌N
‌ ew‌F
‌ eatures‌ ‌
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If‌‌you‌‌press‌S
‌ hift-A‌‌‌in‌‌the‌‌Shader‌‌Editor,‌‌you’ll‌‌notice‌‌a‌L
‌ BS‌‌‌section‌‌at‌‌the‌‌bottom.‌‌It‌‌contains‌‌a‌‌
library‌‌of‌‌nodes‌‌built‌‌specifically‌‌for‌‌this‌‌shader.‌‌Simply‌‌click‌‌on‌‌any‌‌of‌‌them‌‌to‌‌start‌‌adding‌‌new‌‌
features.‌‌The‌‌following‌‌sections‌‌will‌‌explore‌‌each‌‌of‌‌them—how‌‌they‌‌can‌‌be‌‌used‌‌to‌‌stylize‌‌your‌‌
material,‌‌and‌‌what‌‌kind‌‌of‌‌unique‌‌properties‌‌they‌‌have.‌ ‌
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FEATURE‌‌1.‌‌L‌ IGHTING‌ ‌
The‌‌first‌‌set‌‌of‌‌features‌‌control‌‌lighting:‌‌they’re‌‌used‌‌to‌‌control‌‌which‌‌materials‌‌receive‌‌light,‌ ‌
from‌‌what‌‌direction,‌‌and‌‌how‌‌that‌‌light‌‌reacts‌‌on‌‌the‌‌surface.‌‌There‌‌are‌‌two‌‌main‌‌types‌‌of‌‌
lighting‌‌nodes‌‌you‌‌can‌‌use‌‌with‌‌the‌‌Lightning‌‌Boy‌‌Shader:‌‌Key‌‌Lights‌‌and‌‌Virtual‌‌Lights.‌ ‌
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Key‌L ‌ ight‌ ‌
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Key‌‌Lights‌‌are‌‌the‌‌only‌‌type‌‌of‌‌light‌‌which‌‌can‌‌cast‌‌shadows.‌‌When‌‌
you‌‌make‌‌a‌‌Key‌‌Light‌‌node,‌‌it‌‌will‌‌be‌‌linked‌‌to‌‌one‌‌of‌‌the‌‌light‌‌
objects‌‌found‌‌in‌‌the‌L‌ ightning‌‌Boy‌‌Shader‌‌‌collection,‌‌under‌M ‌ ain‌‌
Lights‌.‌‌Exactly‌‌three‌‌lights‌‌are‌‌available:‌C‌ haracter,‌‌Background,‌‌
and‌‌Extra‌.‌‌To‌‌change‌‌which‌‌light‌‌the‌‌Key‌‌Light‌‌node‌‌links‌‌to,‌‌use‌‌
the‌‌drop-down‌‌menu‌‌at‌‌the‌‌top.‌ ‌
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We‌‌recommend‌‌using‌‌one‌‌light‌‌for‌‌Characters‌‌(or‌‌important‌‌
foreground‌‌objects)‌‌,‌‌the‌‌other‌‌to‌‌light‌‌the‌‌Background‌‌(such‌‌as‌‌the‌‌
ground‌‌plane‌‌and‌‌the‌‌surroundings),‌‌and‌‌the‌‌last‌‌for‌‌Extra‌‌lighting‌‌
(rim‌‌lights‌‌or‌‌special‌‌effects).‌‌This‌‌workflow‌‌allows‌‌you‌‌to‌‌light‌‌the‌‌
characters‌‌from‌‌an‌‌exaggerated‌‌frontal‌‌angle—creating‌‌flatter,‌‌
more‌‌pleasing‌‌shadows—while‌‌still‌‌having‌‌your‌‌character‌‌cast‌‌a‌‌
top-down‌‌shadow‌‌on‌‌the‌‌floor.‌‌But‌‌feel‌‌free‌‌to‌‌use‌‌the‌‌three‌‌sets‌‌however‌‌you‌‌prefer!‌ ‌

6‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
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The‌‌way‌‌light-linking‌‌is‌‌achieved‌‌with‌‌this‌‌shader‌‌is‌‌by‌‌having‌‌lights‌‌cast‌‌only‌‌one‌‌of‌‌the‌‌three‌‌
RGB‌‌colors,‌‌and‌‌then‌‌filtering‌‌out‌‌that‌‌color‌‌channel‌‌internally‌‌to‌‌isolate‌‌them.‌‌This‌‌is‌‌why‌‌lights‌‌
are‌‌disabled‌‌automatically‌‌when‌‌you‌‌click‌‌on‌S ‌ et‌‌up‌‌Base‌‌Scene‌.‌‌Otherwise‌‌they‌‌would‌‌add‌‌their‌‌
influence‌‌to‌‌each‌‌color‌‌channel‌‌unevenly‌‌and‌‌the‌‌Key‌‌Light‌‌features‌‌would‌‌not‌‌work‌‌correctly.‌‌ ‌
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Below‌‌is‌‌an‌‌overview‌‌of‌‌each‌‌property‌‌on‌‌the‌‌Key‌‌Light.‌‌These‌‌properties‌‌are‌‌quite‌‌common‌‌and‌‌
will‌‌be‌‌found‌‌on‌‌many‌‌other‌‌features‌‌as‌‌well.‌‌We‌‌will‌‌only‌‌explain‌‌them‌‌once‌‌for‌‌brevity,‌‌unless‌‌
there’s‌‌a‌‌difference‌‌in‌‌how‌‌a‌‌particular‌‌feature‌‌uses‌‌that‌‌property.‌ ‌
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Color:‌‌‌This‌‌property‌‌controls‌‌what‌‌color‌‌the‌‌feature‌‌casts‌‌on‌‌the‌‌object.‌‌If‌‌you‌‌don’t‌‌want‌‌to‌‌use‌‌
a‌‌pure‌‌color,‌‌you‌‌can‌‌also‌‌connect‌‌an‌‌image‌‌texture‌‌or‌‌paint‌‌one‌‌in‌‌Blender‌‌using‌‌masks.‌‌
(Painting‌‌Textures‌‌With‌‌Masks,‌‌‌p.11)‌.‌ ‌
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Softness:‌‌‌This‌‌property‌‌determines‌‌how‌‌sharp‌‌or‌‌soft‌‌the‌‌feature‌‌looks.‌‌A‌‌value‌‌of‌‌1‌‌will‌‌make‌‌
the‌‌feature‌‌very‌‌diffuse,‌‌while‌‌a‌‌value‌‌of‌‌0‌‌will‌‌make‌‌it‌‌sharp‌‌like‌‌a‌‌cel-shaded‌‌anime.‌ ‌
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Range:‌‌‌This‌‌property‌‌controls‌‌how‌‌much‌‌the‌‌feature‌‌covers‌‌the‌‌surface.‌‌A‌‌value‌‌of‌‌1‌‌will‌‌extend‌‌
the‌‌area‌‌as‌‌much‌‌as‌‌physically‌‌possible,‌‌while‌‌a‌‌value‌‌of‌‌0‌‌will‌‌reduce‌‌the‌‌area‌‌until‌‌it‌‌
disappears.‌‌A‌‌Key‌‌Light’s‌‌Range‌‌will‌‌never‌‌illuminate‌‌past‌‌90°‌‌of‌‌the‌‌light’s‌‌orientation.‌‌To‌‌go‌‌
past‌‌this‌‌natural‌‌limit,‌‌use‌‌a‌V
‌ irtual‌‌Light‌‌‌instead‌(‌ Virtual‌‌Lights,‌‌p.9)‌.‌ ‌
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Invert‌:‌‌This‌‌property‌‌flips‌‌the‌‌opaque‌‌areas‌‌so‌‌they‌‌become‌‌transparent,‌‌and‌‌vice-versa.‌‌Doing‌‌
so‌‌can‌‌be‌‌useful‌‌for‌‌masking‌‌purposes,‌‌and‌‌for‌‌achieving‌‌certain‌‌effects‌‌with‌S ‌ tyles‌‌‌‌(F
‌ eature‌‌6.‌‌
Styles‌,‌‌p.18)‌.‌ ‌
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Opacity:‌‌‌This‌‌property‌‌allows‌‌you‌‌to‌‌fade‌‌out‌‌the‌‌layer‌‌so‌‌that‌‌you‌‌start‌‌seeing‌‌the‌‌layers‌‌
underneath.‌‌Reduce‌‌the‌‌Opacity‌‌to‌‌zero‌‌to‌‌make‌‌the‌‌feature‌‌completely‌‌transparent,‌‌or‌‌connect‌‌
a‌‌black‌‌and‌‌white‌‌image‌‌texture‌‌t‌ o‌m‌ ask‌‌out‌‌certain‌‌sections‌.‌‌ ‌
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7‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
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Normal:‌T‌ his‌‌property‌‌lets‌‌you‌‌use‌‌a‌‌normal‌‌map‌‌to‌‌give‌‌more‌‌details‌‌to‌‌your‌‌object.‌‌Connect‌‌it‌‌
the‌‌same‌‌way‌‌you‌‌usually‌‌would‌‌in‌‌Blender—using‌S ‌ hift-A‌,‌‌create‌‌an‌‌Image‌‌Texture‌‌and‌‌a‌‌
Normal‌‌Map‌‌node,‌‌and‌‌connect‌‌them‌‌together‌‌using‌‌the‌‌yellow‌‌Color‌‌input.‌‌Then,‌‌click‌‌Open‌‌to‌‌
import‌‌your‌‌texture,‌‌change‌‌the‌‌Color‌‌Space‌‌to‌N‌ on-Color‌a ‌ nd‌‌connect‌‌the‌‌Normal‌‌output‌‌to‌‌the‌‌
Key‌‌Light’s‌‌ Normal‌‌input.‌ ‌

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Global‌‌Settings:‌S ‌ ince‌‌the‌‌Key‌‌Light‌‌feature‌‌has‌‌an‌‌asterisk‌‌(*)‌‌next‌‌to‌‌its‌‌name,‌‌it‌‌means‌‌it‌‌
contains‌‌Global‌‌Settings.‌‌A ‌ s‌‌always‌,‌p ‌ ress‌T
‌ AB‌t‌ o‌‌access‌‌them.‌‌The‌‌first‌‌option‌‌is‌‌a‌‌Color‌‌with‌‌a‌‌
Slider.‌‌Increase‌‌the‌‌value‌‌of‌‌that‌‌slider‌‌to‌‌override‌‌the‌‌Key‌‌Light’s‌‌local‌‌color‌‌with‌‌the‌‌Global‌‌
Color.‌‌As‌‌for‌‌Opacity,‌‌use‌‌it‌‌to‌‌make‌‌all‌‌Key‌‌Lights‌‌in‌‌the‌‌scene‌‌more‌‌transparent.‌‌Remember‌‌
that‌‌you‌‌can‌‌change‌‌which‌‌Key‌‌Lights‌‌are‌‌affected‌‌by‌‌the‌‌Global‌‌Settings‌‌by‌‌changing‌‌the‌‌
Instance‌‌name‌‌at‌‌the‌‌top.‌ ‌
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Specular‌ ‌
Specular‌‌is‌‌the‌‌bright‌‌highlight‌‌you‌‌see‌‌on‌‌shiny‌‌or‌‌metallic‌‌
surfaces.‌‌There‌‌is‌‌already‌‌a‌‌specular‌‌included‌‌by‌‌default‌‌on‌‌the‌‌
LBS‌‌Material,‌‌but‌‌you‌‌can‌‌quickly‌a ‌ dd‌‌a‌‌glow‌‌effect‌‌by‌‌adding‌‌a‌‌
second‌‌one‌‌‌(either‌‌on‌‌the‌‌layer‌‌above‌‌or‌‌below)‌‌and‌‌changing‌‌the‌‌
Softness‌‌and‌‌Range‌‌to‌‌make‌‌it‌‌more‌‌diffuse.‌‌Like‌‌the‌‌Key‌‌Light‌‌
node,‌‌the‌‌Specular‌‌can‌‌link‌‌to‌‌either‌‌the‌‌Character,‌‌Background‌‌or‌‌
Extra‌‌light‌‌contained‌‌in‌‌the‌‌‌Lighting‌‌Boy‌‌Shader‌‌‌collection.‌ ‌
‌
Offset:‌‌‌This‌‌property‌‌cheats‌‌the‌‌Specular‌‌position‌‌in‌‌relation‌‌to‌‌
the‌‌light.‌‌You‌‌can‌‌move‌‌it‌‌in‌‌any‌‌of‌‌the‌‌three‌‌X,‌‌Y‌‌and‌‌Z‌‌axes.‌‌This‌‌can‌‌be‌‌useful‌‌if‌‌you‌‌want‌‌to‌‌
create‌‌a‌‌double‌‌Specular,‌‌or‌‌simply‌‌offset‌‌the‌‌position‌‌of‌‌the‌‌specular‌‌a‌‌particular‌‌way‌‌without‌‌
changing‌‌the‌‌actual‌‌light‌‌direction.‌ ‌
‌
‌
‌
‌

8‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
‌

Virtual‌L
‌ ights‌ ‌
While‌‌you‌‌can‌‌only‌‌have‌‌three‌‌Key‌‌Lights‌‌with‌‌this‌‌shader,‌‌
you‌‌can‌‌create‌‌additional‌‌lighting‌‌using‌‌Virtual‌‌Lights.‌‌
Instead‌‌of‌‌filtering‌‌one‌‌of‌‌the‌‌three‌‌RGB‌‌colors,‌‌the‌‌way‌‌
Virtual‌‌Lights‌‌work‌‌is‌‌they‌‌compare‌‌face‌‌normals‌‌against‌‌an‌‌
object‌‌in‌‌the‌‌scene‌‌to‌‌create‌‌illumination.‌‌This‌‌method‌‌
doesn’t‌‌generate‌‌any‌‌shadows—that’s‌‌why‌‌they‌‌are‌‌called‌‌
virtual.‌‌However,‌‌the‌‌advantage‌‌is‌‌‌you‌‌can‌‌create‌‌any‌‌
number‌‌of‌‌them‌.‌ ‌
‌
Unlike‌‌the‌‌Key‌‌Light‌‌feature,‌‌most‌‌of‌‌the‌‌Virtual‌‌Light’s‌‌
properties‌‌are‌G ‌ lobal‌‌Settings‌,‌‌so‌‌you’ll‌‌likely‌‌want‌‌to‌h
‌ it‌‌
TAB‌‌‌the‌‌first‌‌chance‌‌you‌‌get‌‌to‌‌see‌‌all‌‌the‌‌available‌‌options.‌‌ ‌
Let’s‌‌look‌‌at‌‌the‌‌particularities‌‌of‌‌each‌‌Virtual‌‌Light.‌ ‌
‌
Sun:‌‌T‌ hey’re‌‌the‌‌closest‌‌you’ll‌‌get‌‌to‌‌Key‌‌Lights,‌‌meaning‌‌
they‌‌illuminate‌‌in‌‌one‌‌single‌‌direction‌‌from‌‌a‌‌point‌‌infinitely‌‌
distant.‌‌The‌‌main‌‌difference‌‌is‌‌their‌‌Range‌‌can‌‌go‌‌past‌‌the‌‌
natural‌‌90°‌‌limit,‌‌reaching‌‌all‌‌the‌‌way‌‌behind‌‌an‌‌object.‌ ‌
‌
Point:‌‌T‌ his‌‌light‌‌illuminates‌‌from‌‌a‌‌single‌‌point‌‌in‌‌space.‌‌
You‌‌can‌‌control‌‌how‌‌far‌‌the‌‌light‌‌reaches‌‌using‌‌Max‌‌
Distance.‌‌Use‌‌a‌‌low‌‌Range‌‌value‌‌if‌‌you‌‌want‌‌the‌‌light‌‌area‌‌to‌‌
look‌‌something‌‌more‌‌like‌‌a‌‌specular.‌ ‌
‌
Spot:‌V ‌ irtual‌‌Spot‌‌Lights‌‌offer‌‌all‌‌the‌‌same‌‌properties‌‌as‌‌the‌‌
other‌‌Virtual‌‌Lights,‌‌plus‌‌two‌‌extra‌‌options:‌‌Cone‌‌Softness‌‌
and‌‌Cone‌‌Angle.‌‌Both‌‌will‌‌let‌‌you‌‌define‌‌the‌‌shape‌‌of‌‌the‌‌spotlight,‌‌masking‌‌out‌‌everything‌‌
outside‌‌of‌‌it.‌‌ ‌
‌
Adding‌M
‌ ore‌V
‌ irtual‌L
‌ ights‌i‌n‌t‌ he‌S
‌ cene‌ ‌
When‌‌you‌‌make‌‌a‌‌new‌‌scene,‌‌you’ll‌‌find‌‌only‌‌one‌‌Virtual‌‌Sun,‌‌Point‌‌
and‌‌Spot‌‌Light‌‌in‌‌the‌L ‌ ightning‌‌Boy‌‌Shader‌‌‌collection.‌‌Any‌‌Virtual‌‌
Light‌‌feature‌‌you‌‌create‌‌on‌‌your‌‌materials‌‌will‌‌link‌‌to‌‌them‌‌by‌‌
default.‌‌If‌‌you‌‌need‌‌more,‌‌simply‌‌duplicate‌‌any‌‌of‌‌the‌‌light‌‌
objects—leaving‌‌them‌‌in‌‌the‌‌same‌‌collection—‌‌and‌‌relink‌‌using‌‌
the‌‌object‌‌field‌‌in‌‌the‌‌Global‌‌Settings.‌‌Because‌‌any‌‌Virtual‌‌Light‌‌
feature‌‌you‌‌create‌‌will‌‌share‌‌the‌‌same‌‌Global‌‌Properties‌‌by‌‌
default,‌‌you’ll‌‌also‌‌need‌‌to‌‌change‌‌the‌‌Instance‌‌name‌‌before‌‌you‌‌
relink‌‌to‌‌the‌‌new‌‌light‌‌object.‌ ‌

9‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
‌

FEATURE‌‌2.‌‌C‌ OLOR‌ ‌
‌
The‌‌next‌‌features‌‌will‌‌allow‌‌you‌‌to‌‌add‌‌or‌‌adjust‌‌color‌‌on‌‌your‌‌material—whether‌‌by‌‌simply‌‌
adding‌‌a‌‌single‌‌layer‌‌of‌‌color,‌‌importing‌‌an‌‌image‌‌texture‌‌painted‌‌in‌‌another‌‌program,‌‌adding‌‌
details‌‌using‌‌an‌‌alpha‌‌texture,‌‌or‌‌even‌‌painting‌‌a‌‌complex‌‌multi-layered‌‌texture‌‌directly‌‌in‌‌
Blender.‌‌ ‌
‌
Color‌ ‌
The‌‌Color‌‌feature‌‌lets‌‌you‌‌add‌‌color‌‌and‌‌textures‌‌to‌‌your‌‌material.‌‌
Notice‌‌that‌‌the‌‌basic‌‌LBS‌‌material‌‌uses‌‌one‌‌as‌‌the‌‌bottom‌‌layer‌‌to‌‌
set‌‌the‌‌color‌‌of‌‌the‌‌shadows.‌‌When‌‌combined‌‌with‌‌an‌‌Alpha‌‌Mask,‌‌
this‌‌feature‌‌can‌‌be‌‌used‌‌to‌‌add‌‌extra‌‌details‌‌such‌‌as‌‌scratches‌‌or‌‌
inner‌‌lines.‌ ‌
‌
Image‌‌Texture‌ ‌
If‌‌you‌‌wish‌‌to‌‌use‌‌a‌‌texture‌‌painted‌‌in‌‌another‌‌program,‌‌import‌‌it‌‌
using‌S ‌ hift-A‌‌>‌‌Texture‌‌>‌‌Image‌‌Textur‌e,‌‌and‌‌connect‌‌it‌‌to‌‌the‌‌Color‌‌
1‌‌input.‌‌You‌‌can‌‌now‌‌use‌‌that‌‌texture‌‌like‌‌any‌‌layer‌‌on‌‌the‌‌
Lightning‌‌Boy‌‌Shader.‌‌Alternatively,‌‌you‌‌can‌‌connect‌‌the‌‌texture‌‌
output‌‌directly‌‌in‌‌a‌‌Key‌‌Light’s‌‌Color‌‌input,‌‌without‌‌the‌‌need‌‌of‌‌a‌‌Color‌‌feature.‌ ‌
‌
Alpha‌‌Mask‌ ‌
You‌‌can‌‌restrict‌‌color‌‌to‌‌a‌‌specific‌‌area‌‌using‌‌an‌‌alpha‌‌texture.‌‌To‌‌do‌‌so,‌‌import‌‌a‌‌black‌‌and‌‌
white‌‌image‌‌and‌‌connect‌‌it‌‌to‌‌the‌‌Alpha‌‌Mask‌‌i‌nput.‌‌Anything‌‌white‌‌will‌‌stay‌‌opaque,‌‌anything‌‌
black‌‌will‌‌be‌‌completely‌‌transparent.‌‌Although‌‌you‌‌could‌‌also‌‌connect‌‌it‌‌in‌‌Opacity,‌‌it’s‌‌best‌‌to‌‌
use‌‌the‌‌Alpha‌‌Mask‌‌for‌‌this‌‌purpose,‌‌so‌‌that‌‌you‌‌can‌‌still‌‌control‌‌the‌‌layer’s‌‌overall‌‌transparency.‌ ‌
‌
Layers‌ ‌
The‌‌full‌‌power‌‌of‌‌the‌‌Color‌‌feature‌‌comes‌‌
from‌‌its‌‌ability‌‌to‌‌combine‌‌multiple‌‌layers‌‌
of‌‌colors‌‌and‌‌paint‌‌them‌‌right‌‌in‌‌Blender.‌ ‌
‌
To‌‌add‌‌layers‌‌to‌‌a‌‌Color‌‌node,‌‌simply‌‌click‌‌
on‌‌the‌‌number‌‌at‌‌the‌‌top‌‌like‌‌you‌‌would‌‌
on‌‌the‌‌Lightning‌‌Boy‌‌Shader‌‌node.‌‌These‌‌
layers‌‌work‌‌much‌‌the‌‌same,‌‌except‌‌they‌‌
stack‌‌colors‌‌as‌‌opposed‌‌to‌‌LBS‌‌features.‌ ‌
Notice‌‌how‌‌the‌‌Color‌‌feature‌‌only‌‌has‌‌
yellow‌‌and‌‌grey‌‌inputs‌‌on‌‌the‌‌left‌‌side—that‌‌means‌‌those‌‌are‌‌for‌‌color‌‌information‌‌only.‌‌The‌‌
Color‌‌feature‌‌combines‌‌them‌‌into‌‌a‌‌single‌‌layer‌‌which‌‌can‌‌then‌‌be‌‌connected‌‌to‌‌the‌‌Lightning‌‌
Boy‌‌Shader‌‌via‌‌the‌‌green‌‌output.‌ ‌

10‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
‌

Painting‌T
‌ extures‌W
‌ ith‌M
‌ asks‌ ‌
To‌‌paint‌‌a‌‌multi-layered‌‌texture,‌‌create‌‌a‌‌black‌‌and‌‌white‌‌Image‌‌Texture‌‌and‌‌use‌‌it‌‌as‌‌a‌‌mask‌‌for‌‌
each‌‌new‌‌layer.‌‌You‌‌can‌‌duplicate‌‌them‌‌using‌S ‌ hift-D‌,‌‌and‌‌then‌‌connect‌‌them‌‌via‌‌the‌‌└──‌ ‌
inputs.‌I‌ t‌‌is‌‌important‌‌to‌‌use‌‌the‌‌yellow‌‌outputs‌‌of‌‌the‌‌Image‌‌Texture‌‌nodes‌,‌‌even‌‌though‌‌they‌‌
are‌‌connected‌‌to‌‌└──‌‌inputs‌‌which‌‌are‌‌grey.‌‌We‌‌will‌‌be‌‌painting‌‌black‌‌and‌‌white‌‌masks,‌‌but‌‌it‌‌is‌‌
still‌‌color‌‌information.‌‌Note‌‌that‌‌only‌‌the‌‌Alpha‌‌Mask‌‌property‌‌can‌‌change‌‌the‌‌alpha‌‌channel‌‌of‌‌
the‌‌Color‌‌feature‌‌as‌‌a‌‌whole.‌‌The‌‌└──‌‌inputs‌‌will‌‌mask‌‌the‌‌associated‌‌layers‌‌of‌‌colors‌‌but‌‌they‌‌
will‌‌always‌‌be‌‌restricted‌‌by‌‌the‌‌Alpha‌‌Mask.‌‌ ‌

‌
‌
To‌‌paint‌‌the‌‌texture‌‌masks,‌‌change‌‌the‌‌Mode‌‌to‌T ‌ exture‌‌Paint‌‌‌at‌‌the‌‌
top‌‌left‌‌of‌‌the‌‌main‌‌viewport.‌‌Then‌‌press‌N ‌ ‌‌and‌‌switch‌‌to‌‌the‌T ‌ ool‌‌
panel.‌‌You‌‌should‌‌see‌‌all‌‌your‌‌newly‌‌created‌‌masks‌‌in‌‌the‌T ‌ exture‌‌
Slots‌‌‌section.‌‌The‌‌easiest‌‌way‌‌to‌‌paint‌‌masks‌‌is‌‌to‌‌use‌‌a‌‌white‌‌color‌‌
to‌‌paint‌‌with,‌‌and‌‌black‌‌as‌‌the‌‌secondary‌‌color.‌‌That‌‌way,‌‌you’ll‌‌be‌‌
able‌‌to‌‌use‌C ‌ trl‌t‌ o‌‌erase.‌‌At‌‌any‌‌time,‌‌you‌‌can‌‌switch‌‌to‌‌a‌‌different‌‌
mask‌‌to‌‌paint‌‌a‌‌different‌‌color.‌‌The‌S ‌ pace‌‌‌and‌L ‌ ine‌‌S
‌ troke‌‌Methods‌‌
are‌‌great‌‌for‌‌painting‌‌masks,‌‌and‌‌the‌F ‌ alloff‌p‌ roperty‌‌will‌‌let‌‌you‌‌
achieve‌‌a‌‌smoother‌‌or‌‌sharper‌‌edge.‌ ‌
‌
Once‌‌you‌‌are‌‌happy‌‌with‌‌the‌‌result,‌m ‌ ake‌‌sure‌‌
to‌‌save‌‌your‌‌masks‌‌‌to‌‌not‌‌lose‌‌any‌‌work‌‌when‌‌
you‌‌close‌‌Blender.‌‌Change‌‌the‌‌view‌‌to‌‌the‌‌
Image‌‌Editor‌‌(S ‌ hift-F10‌),‌‌select‌‌each‌‌texture‌‌
one‌‌by‌‌one,‌‌and‌‌do‌I‌mage‌‌>‌‌Save‌‌As‌.‌‌Once‌‌they‌‌
have‌‌been‌‌saved‌‌somewhere‌‌once,‌ ‌you‌‌can‌‌
easily‌‌save‌‌all‌‌your‌‌textures‌‌at‌‌the‌‌same‌‌time‌‌
using‌I‌mage‌‌>‌‌Save‌‌All‌‌Images‌.‌ ‌
‌

11‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
‌

Layer‌A
‌ djustment‌ ‌
The‌‌Layer‌‌Adjustment‌‌feature‌‌is‌‌meant‌‌to‌‌be‌‌inserted‌‌in‌‌between‌‌another‌‌feature‌‌and‌‌the‌‌
Lightning‌‌Boy‌‌Shader‌‌to‌‌adjust‌‌its‌‌color‌‌or‌‌alpha‌‌information.‌‌To‌‌do‌‌so,‌‌simply‌‌drag-and-drop‌‌the‌‌
Layer‌‌Adjustment‌‌node‌‌on‌‌the‌‌connecting‌‌line—the‌g ‌ reen‌‌sockets‌‌ ‌will‌‌connect‌‌automatically.‌‌
It‌‌works‌‌exactly‌‌like‌‌Styles‌‌in‌‌that‌‌regard,‌‌which‌‌we’ll‌‌explore‌‌later‌(‌ F
‌ eature‌‌6.‌‌Styles‌,‌‌p.18)‌.‌ ‌
‌
This‌‌feature‌‌is‌‌useful‌‌when‌‌used‌‌in‌‌combination‌‌with‌I‌ mage‌‌Textures‌—a‌‌setup‌‌would‌‌be‌‌to‌‌
connect‌‌the‌‌Color‌‌output‌‌to‌‌the‌‌yellow‌‌input‌‌of‌‌a‌‌Key‌‌Light,‌‌and‌‌then‌‌use‌‌a‌‌Layer‌‌Adjustment‌‌on‌‌
a‌‌Color‌‌feature‌‌to‌‌make‌‌a‌‌darker‌‌version‌‌for‌‌the‌‌layer‌‌underneath.‌‌This‌‌way,‌‌you‌‌can‌‌easily‌‌
control‌‌the‌‌darkness‌‌and‌‌color‌‌of‌‌the‌‌shadows.‌‌See‌‌the‌‌example‌‌below.‌ ‌

‌
Color:‌U ‌ se‌‌the‌‌Color‌‌property‌‌along‌‌with‌T‌ int‌a
‌ nd‌‌‌Fill‌‌‌to‌‌adjust‌‌the‌‌colors‌‌of‌‌your‌‌texture.‌‌Tint‌‌
will‌‌mix‌‌the‌‌color‌‌defined‌‌above‌‌in‌‌overlay‌‌mode‌‌onto‌‌the‌‌original‌‌color.‌‌Fill‌‌will‌‌replace‌‌the‌‌
original‌‌color‌‌with‌‌it.‌‌ ‌
‌
Brightness‌‌and‌‌Saturation:‌‌‌Bring‌‌Brightness‌‌down‌‌if‌‌you‌‌want‌‌to‌‌make‌‌the‌‌shadows‌‌darker.‌‌You‌‌
can‌‌also‌‌use‌‌Saturation‌‌to‌‌adjust‌‌colors‌‌if‌‌needed.‌ ‌
‌
Mask‌‌Softness‌‌and‌‌Range:‌‌‌These‌‌properties‌‌will‌‌adjust‌‌the‌‌alpha‌‌information‌‌of‌‌the‌‌connected‌‌
feature‌‌only.‌‌It‌‌doesn’t‌‌have‌‌much‌‌use‌‌if‌‌you‌‌connect‌‌a‌‌simple‌‌Image‌‌Texture,‌‌but‌‌if‌‌you‌‌connect‌‌
a‌‌Key‌‌Light‌‌feature‌‌to‌‌the‌‌Layer‌‌Adjustment‌‌instead,‌‌with‌‌some‌‌alpha‌‌texture‌‌plugged‌‌in‌‌its‌‌
Opacity,‌‌then‌‌you‌‌can‌‌use‌‌these‌‌two‌‌properties‌‌to‌‌crunch‌‌the‌‌alpha‌‌values.‌ ‌
‌
Global‌C ‌ olor‌ ‌
The‌‌Global‌‌Color‌‌feature‌‌is‌‌made‌‌up‌‌of‌‌a‌‌single‌‌Color‌‌and‌‌Opacity‌‌property,‌‌both‌‌contained‌‌in‌‌its‌‌
Global‌‌Settings.‌‌The‌‌feature‌‌can‌‌be‌‌useful‌‌for‌‌particular‌‌effects‌‌where‌‌you‌‌want‌‌to‌‌affect‌‌
multiple‌‌materials‌‌at‌‌once.‌‌It‌‌can‌‌be‌‌used‌‌as‌‌a‌‌stand-alone‌‌layer‌‌connected‌‌directly‌‌in‌‌the‌‌
Lightning‌‌Boy‌‌Shader‌‌node,‌‌or‌‌connected‌‌to‌‌another‌‌feature’s‌‌Color‌‌input‌‌using‌‌the‌‌Color‌‌output.‌ ‌
When‌‌you‌‌create‌‌a‌‌Global‌‌Color,‌‌remember‌‌to‌‌press‌‌TAB‌‌or‌‌you‌‌won’t‌‌see‌‌any‌‌properties.‌ ‌

12‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
‌

FEATURE‌‌3.‌‌O‌ CCLUSION‌ ‌
‌
You‌‌can‌‌add‌‌Ambient‌‌Occlusion‌‌to‌‌your‌‌materials‌‌two‌‌ways:‌‌either‌‌by‌‌using‌‌an‌‌existing‌‌texture,‌‌
or‌‌by‌‌using‌‌the‌‌real-time‌‌screen-space‌‌occlusion‌‌from‌‌Eevee.‌ ‌
‌
‌

‌
‌
‌
Ambient‌O
‌ cclusion‌(‌ Baked)‌ ‌
The‌‌Ambient‌‌Occlusion‌‌(Baked)‌‌feature‌‌is‌‌meant‌‌
to‌‌be‌‌used‌‌with‌‌a‌‌black‌‌and‌‌white‌‌image‌‌texture.‌‌
Click‌‌on‌‌Open‌‌to‌‌import‌‌your‌‌baked‌‌occlusion,‌‌or‌
choose‌‌a‌‌texture‌‌already‌‌in‌‌your‌‌scene.‌‌You‌‌can‌‌
then‌‌adjust‌‌the‌R
‌ ange‌‌‌and‌S ‌ oftness‌i‌n‌‌the‌‌
material‌‌properties.‌‌The‌C ‌ olor‌‌‌input‌‌will‌‌let‌‌you‌‌
control‌‌what‌‌color‌‌the‌‌ambient‌‌occlusion‌‌
appears,‌‌in‌‌case‌‌you‌‌want‌‌something‌‌other‌‌than‌‌
black.‌ ‌
‌
Ambient‌O
‌ cclusion‌(‌ SS)‌ ‌
To‌‌use‌‌the‌‌Ambient‌‌Occlusion‌‌(SS)‌‌feature,‌‌
connect‌‌it‌‌to‌‌any‌‌open‌‌socket‌‌of‌‌the‌‌Lightning‌‌Boy‌‌Shader‌‌and‌a ‌ ctivate‌‌Ambient‌‌Occlusion‌‌in‌‌
the‌‌Render‌‌Properties.‌‌‌Adjust‌‌the‌D ‌ istance‌‌‌as‌‌needed.‌‌This‌‌occlusion‌‌will‌‌react‌‌dynamically‌‌to‌‌
your‌‌objects‌‌moving‌‌in‌‌the‌‌scene,‌‌something‌‌the‌‌baked‌‌images‌‌cannot‌‌do.‌‌However,‌‌note‌‌that‌‌
the‌S‌ oftness‌‌‌properties‌‌won’t‌‌become‌‌as‌‌sharp‌‌as‌‌with‌‌a‌‌baked‌‌texture.‌‌You‌‌can‌‌adjust‌‌the‌‌
number‌‌of‌S ‌ amples‌i‌n‌‌the‌‌Render‌‌Properties‌‌of‌‌your‌‌scene.‌‌ ‌
‌
Transparency:‌A ‌ mbient‌‌Occlusion‌‌(SS)‌‌is‌‌not‌‌compatible‌‌with‌‌Alpha‌‌Blend‌‌transparency.‌‌
However‌‌it‌‌still‌‌works‌‌with‌‌Alpha‌‌Hashed.‌(‌ Transparency,‌‌‌p.25)‌ ‌
‌
‌
‌

13‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
‌

Baking‌A
‌ mbient‌O
‌ cclusion‌i‌n‌C
‌ ycles‌ ‌
It‌‌can‌‌be‌‌useful‌‌to‌‌combine‌‌both‌‌types‌‌of‌‌occlusion‌‌on‌‌the‌‌same‌‌model,‌‌as‌‌each‌‌one‌‌has‌‌
different‌‌strengths‌‌and‌‌weaknesses.‌‌To‌‌bake‌‌an‌‌ambient‌‌occlusion‌‌texture‌‌in‌‌Cycles,‌‌follow‌‌
these‌‌steps.‌ ‌
‌
1. Place‌‌all‌‌of‌‌your‌‌object’s‌‌UVs‌‌in‌‌the‌‌same‌‌UV‌‌Space.‌‌‌It‌‌is‌‌common‌‌to‌‌use‌‌multiple‌‌
textures‌‌for‌‌a‌‌single‌‌character‌‌(boots,‌‌face,‌‌hands,‌‌torso,‌‌etc),‌‌each‌‌with‌‌a‌‌high‌‌resolution‌‌
texture.‌‌However,‌‌it‌‌can‌‌be‌‌tedious‌‌to‌‌bake‌‌occlusion‌‌for‌‌each‌‌of‌‌these‌‌elements‌‌one‌‌by‌‌
one,‌‌so‌‌one‌‌way‌‌to‌‌go‌‌around‌‌it‌‌is‌‌to‌‌make‌‌a‌‌new‌‌UV‌‌map‌‌just‌‌for‌‌the‌‌ambient‌‌occlusion.‌‌
To‌‌do‌‌so,‌‌go‌‌to‌O
‌ bject‌‌Data‌‌Properties‌‌‌>‌U ‌ V‌‌Map‌,‌‌and‌‌click‌‌on‌‌the‌+ ‌ ‌‌button.‌‌Then,‌‌select‌‌
your‌‌entire‌‌object‌‌in‌E‌ dit‌‌Mode‌,‌‌go‌‌to‌‌the‌U
‌ V‌‌Editor‌,‌‌and‌‌do‌U
‌ V‌‌>‌‌Pack‌‌Islands‌.‌ ‌
2. Export‌‌your‌‌character‌‌to‌‌a‌‌new‌‌scene‌‌with‌‌just‌‌a‌‌ground‌‌plane.‌M ‌ ake‌‌sure‌‌that‌‌no‌‌other‌‌
objects‌‌are‌‌present‌‌in‌‌the‌‌scene‌‌or‌‌they‌‌will‌‌interact‌‌with‌‌the‌‌occlusion‌‌bake.‌ ‌
3. Apply‌‌a‌‌Principled‌‌BSDF‌‌Material‌t‌ o‌‌your‌‌object‌‌and‌r‌ emove‌‌all‌‌modifiers.‌S ‌ pecifically‌‌
make‌‌sure‌‌to‌‌remove‌‌the‌‌Solidify‌‌Outline‌‌if‌‌you‌‌are‌‌using‌‌one.‌ ‌
4. In‌‌the‌‌Shader‌‌Editor,‌‌create‌‌an‌‌empty‌‌Image‌‌Texture.‌Y ‌ ou‌‌can‌‌leave‌‌it‌‌unconnected—this‌‌
is‌‌where‌‌the‌‌baked‌‌occlusion‌‌will‌‌go.‌‌Press‌‌‌New‌,‌‌and‌‌select‌‌the‌‌desired‌‌AO‌‌resolution.‌
For‌‌the‌‌final‌‌baking,‌‌use‌‌a‌‌high‌‌resolution‌‌texture‌‌(at‌‌least‌‌4096x4096).‌‌You‌‌can‌‌use‌‌a‌‌
smaller‌‌texture‌‌at‌‌first‌‌to‌‌make‌‌sure‌‌that‌‌the‌‌baking‌‌works,‌‌as‌‌baking‌‌with‌‌high‌‌settings‌‌
can‌‌take‌‌a‌‌long‌‌time.‌ ‌
5. Change‌‌the‌‌Renderer‌‌to‌‌Cycles.‌I‌n‌‌the‌‌Bake‌‌
option,‌‌make‌‌sure‌‌to‌‌change‌‌the‌‌Bake‌‌Type‌‌
to‌‌Ambient‌‌Occlusion.‌ ‌
6. With‌‌your‌‌Image‌‌Texture‌‌selected,‌‌click‌‌
Bake.‌W ‌ hen‌‌the‌‌calculations‌‌are‌‌done,‌‌the‌‌
Image‌‌Texture‌‌you‌‌selected‌‌should‌‌now‌‌be‌‌
filled‌‌with‌‌the‌‌baked‌‌occlusion.‌ ‌
7. To‌‌save‌‌the‌‌baked‌‌occlusion‌,‌‌switch‌‌to‌‌the‌‌
Image‌‌Editor‌(‌ Shift-F10),‌‌select‌‌your‌‌texture,‌‌
and‌‌click‌I‌mage‌‌>‌‌Save‌‌as‌.‌‌You‌‌can‌‌now‌‌use‌‌
the‌‌resulting‌‌texture‌‌with‌‌the‌‌Ambient‌‌
Occlusion‌‌(Baked)‌‌feature.‌ ‌

‌
‌
‌
‌

14‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
‌

FEATURE‌‌4.‌‌2‌ D‌‌EFFECTS‌ ‌
The‌‌2D‌‌effects‌‌features‌‌are‌‌unique‌‌in‌‌that‌‌they‌‌are‌‌calculated‌‌in‌‌screen-space.‌‌That‌‌means‌‌they‌‌
will‌‌look‌‌the‌‌same‌‌no‌‌matter‌‌how‌‌you‌‌orient‌‌the‌‌camera.‌ ‌
‌
2D‌O ‌ utline‌ ‌
This‌‌Outline‌‌feature‌‌can‌‌be‌‌used‌‌to‌‌generate‌‌an‌‌outline‌‌around‌‌your‌‌mesh.‌‌Another‌‌way‌‌to‌‌make‌‌
an‌‌outline‌‌is‌‌to‌‌use‌‌a‌‌Solidify‌‌modifier‌(‌ Add‌‌Solidify‌‌Outline,‌‌‌p.23)‌‌ ‌Both‌‌methods‌‌can‌‌combine‌‌
nicely‌‌if‌‌the‌‌2D‌‌Outline’s‌‌Color‌‌value‌‌is‌‌the‌‌same‌‌as‌‌the‌‌Solidify‌‌outline‌‌material.‌‌The‌‌2D‌‌Outline‌‌
offers‌‌some‌‌interesting‌‌options‌‌not‌‌available‌‌using‌‌the‌‌Solidify‌‌outline‌‌technique,‌‌such‌‌as‌‌
having‌‌a‌‌light‌‌dynamically‌‌affect‌‌the‌‌Outline’s‌‌size.‌‌However,‌‌note‌‌that‌‌since‌‌it‌‌is‌‌normal-based,‌‌it‌‌
is‌‌better‌‌suited‌‌for‌‌organic‌‌objects‌‌and‌‌will‌‌not‌‌give‌‌good‌‌results‌‌on‌‌sharp,‌‌square‌‌surfaces.‌ ‌
‌
Influence‌ ‌
This‌‌property‌‌controls‌‌how‌‌much‌‌a‌‌Light‌‌
will‌‌influence‌‌the‌‌2D‌‌Outline.‌‌To‌‌activate‌‌
this‌‌option,‌‌connect‌‌the‌‌outgoing‌M ‌ ask‌‌
(grey‌‌socket)‌‌f‌ rom‌‌any‌‌Light‌‌feature‌‌to‌‌the‌‌
└──‌ ‌input.‌‌From‌‌here‌‌on‌‌out,‌‌the‌‌
Influence‌‌‌value‌‌will‌‌be‌‌added‌‌to‌‌the‌
Outline’s‌‌Range‌‌value—a‌‌positive‌‌value‌‌will‌‌
make‌‌it‌‌bigger,‌‌and‌‌a‌‌negative‌‌value‌‌
smaller.‌‌Use‌‌the‌S ‌ oftness‌‌‌and‌R ‌ ange‌‌‌value‌‌
of‌‌the‌‌connected‌‌Light‌‌to‌‌make‌‌a‌‌
smoother‌‌or‌‌more‌‌abrupt‌‌transition.‌‌In‌‌the‌‌
event‌‌that‌‌you‌‌want‌‌to‌‌use‌‌the‌‌same‌‌Light‌‌
as‌‌the‌‌one‌‌illuminating‌‌your‌‌object,‌‌but‌‌
with‌‌different‌‌Softness‌‌and‌‌Range‌‌values,‌‌simply‌‌duplicate‌‌the‌‌Light‌‌feature‌‌before‌‌connecting‌‌it‌
in‌‌the‌└‌ ──‌ ‌input.‌ ‌
‌
2D‌R ‌ im‌L ‌ ight‌ ‌
The‌‌2D‌‌Rim‌‌Light‌‌feature‌‌will‌‌illuminate‌‌the‌‌edge‌‌of‌‌your‌‌object‌‌based‌‌on‌‌a‌‌
specified‌‌vector‌‌direction.‌‌Since‌‌this‌‌effect‌‌is‌‌calculated‌‌from‌‌the‌‌camera,‌‌
the‌‌Rim‌‌Light‌‌will‌‌always‌‌point‌‌in‌‌the‌‌same‌‌direction,‌‌even‌‌if‌‌you‌‌rotate‌‌the‌‌
view.‌ ‌
‌
Rotation‌ ‌
The‌‌X,‌‌Y‌‌and‌‌Z‌‌rotation‌‌values‌‌can‌‌be‌‌used‌‌to‌‌change‌‌the‌‌orientation‌‌of‌‌the‌‌
Rim‌‌Light.‌ ‌
‌

15‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
‌

‌
2D‌S
‌ pecular‌ ‌
‌
The‌‌2D‌‌Specular‌‌feature‌‌allows‌‌you‌‌to‌‌make‌‌a‌‌specular‌‌that‌‌will‌‌always‌‌
be‌‌facing‌‌the‌‌same‌‌direction‌‌in‌‌relation‌‌to‌‌the‌‌camera.‌‌Just‌‌like‌‌with‌‌the‌‌
normal‌‌Specular‌‌feature,‌‌you‌‌can‌‌easily‌‌‌stack‌‌multiple‌‌Speculars‌:‌‌simply‌‌
duplicate‌‌the‌‌2D‌‌Specular‌‌nodes‌‌with‌S ‌ hift-D‌a
‌ nd‌‌add‌‌them‌‌on‌‌top‌‌of‌‌one‌‌
another‌‌on‌‌the‌‌Lightning‌‌Boy‌‌Shader‌‌node.‌‌T ‌ he‌O
‌ ffset‌‌X‌‌and‌‌Y‌v‌ alues‌‌can‌‌
be‌‌used‌‌to‌‌move‌‌the‌‌Specular‌‌in‌‌the‌‌right‌‌position.‌ ‌
‌
Matcap‌ ‌
‌
Matcap‌‌stands‌‌for‌‌“Material‌‌Capture”.‌‌It‌‌was‌‌developed‌‌to‌‌easily‌‌add‌‌shading‌‌and‌‌reflections‌‌to‌‌
an‌‌object‌‌without‌‌having‌‌to‌‌use‌‌any‌‌lights.‌‌It‌‌is‌‌a‌‌great‌‌tool‌‌to‌‌generate‌‌cheated‌‌reflections‌‌on‌‌
materials.‌ ‌

‌
Preset:‌T ‌ he‌‌shader‌‌comes‌‌with‌‌one‌‌Metallic‌‌matcap‌‌by‌‌default,‌‌but‌‌you‌‌can‌‌change‌‌the‌‌texture‌‌
at‌‌any‌‌time‌‌by‌‌choosing‌C ‌ ustom‌‌Texture‌‌‌instead‌‌and‌‌importing‌‌any‌‌matcap‌‌of‌‌your‌‌choice.‌ ‌
‌
Use‌‌As‌‌Alpha‌:‌‌This‌‌property‌‌is‌‌on‌‌by‌‌default,‌‌and‌‌transforms‌‌your‌‌matcap‌‌image‌‌texture‌‌into‌‌a‌‌
grayscale‌‌alpha‌‌mask,‌‌giving‌‌you‌‌control‌‌over‌‌the‌C ‌ olor‌,‌‌Range‌,‌‌Softness‌.‌‌Turning‌‌it‌‌off‌‌will‌‌
leave‌‌only‌O ‌ pacity‌‌‌working—this‌‌is‌‌useful‌‌if‌‌you‌‌want‌‌to‌‌retain‌‌all‌‌the‌‌color‌‌information‌‌from‌‌the‌‌
matcap‌‌texture,‌‌but‌‌it‌‌is‌‌harder‌‌to‌‌blend‌‌with‌‌other‌‌features‌‌this‌‌way.‌ ‌
‌

16‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
‌

FEATURE‌‌5.‌‌G‌ RADIENTS‌ ‌
‌
Gradients‌‌are‌‌versatile‌‌utility‌‌nodes—they’re‌‌especially‌‌great‌‌for‌‌masking‌‌other‌‌features,‌‌but‌‌can‌‌
also‌‌be‌‌used‌‌to‌‌add‌‌extra‌‌touches‌‌of‌‌light‌‌or‌‌fog‌‌in‌‌your‌‌scene.‌ ‌
‌
Linear‌G ‌ radient‌ ‌
The‌‌Linear‌‌Gradient‌‌feature‌‌uses‌‌an‌‌empty‌‌object‌‌to‌‌position‌‌a‌‌linear‌‌
gradient‌‌in‌‌3d‌‌space.‌‌The‌‌empty‌‌is‌‌located‌‌in‌‌the‌L ‌ ightning‌‌Boy‌‌Shader‌‌>‌‌
Gradients‌c ‌ ollection,‌‌and‌‌can‌‌be‌s
‌ caled‌‌in‌‌Z‌‌to‌‌control‌‌range‌.‌‌The‌‌resulting‌‌
layer‌‌will‌‌be‌‌100%‌‌opaque‌‌at‌‌the‌‌tip‌‌of‌‌the‌‌arrow‌‌and‌‌transparent‌‌at‌‌the‌‌
bottom‌‌end.‌‌Use‌‌a‌‌Z‌‌Scale‌‌value‌‌of‌‌0‌‌to‌‌generate‌‌a‌‌completely‌‌sharp‌‌area.‌ ‌
‌
Spherical‌G ‌ radient‌ ‌
The‌‌Spherical‌‌Gradient‌‌feature‌‌uses‌‌an‌‌empty‌‌object‌‌to‌‌position‌‌a‌‌spherical‌‌
gradient‌‌in‌‌3d‌‌space.‌‌The‌‌empty‌‌object‌‌is‌‌located‌‌in‌‌the‌L ‌ ightning‌‌Boy‌‌
Shader‌‌>‌‌Gradients‌c ‌ ollection,‌‌and‌‌can‌‌be‌s
‌ caled‌‌in‌‌any‌‌direction‌‌to‌‌control‌‌
range‌.‌‌Note‌‌that‌‌you‌‌won’t‌‌be‌‌able‌‌to‌‌generate‌‌a‌‌sharp‌‌area‌‌simply‌‌by‌‌
scaling‌‌like‌‌with‌‌the‌‌Linear‌‌Gradient—to‌‌obtain‌‌a‌‌sharper‌‌spherical‌‌area,‌‌
lower‌‌the‌S‌ oftness‌v‌ alue‌‌located‌‌in‌‌the‌‌Global‌‌Settings‌‌instead.‌ ‌
‌
Local‌G ‌ radient‌ ‌
The‌‌Local‌‌Gradient‌‌generates‌‌a‌‌linear‌‌gradient‌‌in‌O ‌ bject‌‌Coordinates‌.‌‌That‌‌
means‌‌even‌‌if‌‌your‌‌object‌‌moves‌‌in‌‌the‌‌scene,‌‌it‌‌will‌‌always‌‌follow‌‌it‌‌around.‌‌Unlike‌‌the‌‌previous‌‌
two‌‌Gradients,‌‌its‌‌position‌‌and‌‌orientation‌‌are‌‌not‌‌controlled‌‌by‌‌an‌‌empty‌‌object‌‌but‌‌rather‌‌by‌‌
the‌O
‌ ffset‌a‌ nd‌R‌ otation‌‌‌properties.‌ ‌
‌
Z‌D
‌ epth‌ ‌
The‌‌Z‌‌Depth‌‌feature‌‌creates‌‌a‌‌gradient‌‌based‌‌on‌‌camera‌‌distance.‌‌It‌‌is‌‌
limited‌‌by‌‌the‌S
‌ tart‌‌‌and‌E
‌ nd‌‌‌values‌‌located‌‌in‌‌the‌‌Global‌‌Settings.‌‌ ‌
‌
Adding‌M
‌ ore‌G
‌ radients‌i‌n‌t‌ he‌S
‌ cene‌ ‌
When‌‌you‌‌make‌‌a‌‌new‌‌scene,‌‌you’ll‌‌find‌‌one‌‌Linear‌‌and‌‌one‌‌Spherical‌‌
Gradient‌‌object‌‌in‌‌the‌L ‌ ightning‌‌Boy‌‌Shader‌‌‌collection.‌‌Any‌‌Gradients‌‌you‌‌
create‌‌will‌‌link‌‌to‌‌them‌‌by‌‌default.‌‌If‌‌you‌‌need‌‌more,‌‌just‌‌duplicate‌‌any‌‌of‌‌these‌‌objects,‌‌change‌‌
the‌‌instance‌‌name‌‌in‌‌the‌‌Global‌‌Settings,‌‌and‌‌relink‌‌using‌‌the‌‌object‌‌field,‌‌just‌‌like‌‌with‌‌Virtual‌‌
Lights‌(‌ A
‌ dding‌‌More‌‌Virtual‌‌Lights‌‌In‌‌the‌‌Scene,‌p ‌ .9)‌ ‌
‌

‌
‌

17‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
‌

FEATURE‌‌6.‌‌S‌ TYLES‌ ‌
‌
Styles‌‌are‌‌a‌‌special‌‌type‌‌of‌‌feature‌‌which‌‌acts‌‌like‌‌an‌‌effect‌‌modifier‌‌on‌‌an‌‌existing‌‌feature.‌‌
They‌‌cannot‌‌be‌‌used‌‌as‌‌a‌‌standalone‌‌layer—to‌‌apply‌‌a‌‌Style,‌d ‌ rag-and-drop‌i‌t‌‌on‌‌the‌‌line‌‌
connecting‌‌a‌‌feature‌‌to‌‌the‌‌Lightning‌‌Boy‌‌Shader‌‌node.‌‌The‌g ‌ reen‌‌sockets‌‌ s ‌ hould‌‌be‌‌
connected.‌ ‌
‌
Styles‌‌can‌‌be‌‌used‌‌on‌‌any‌‌feature,‌‌although‌‌lights‌‌will‌‌usually‌‌give‌‌the‌‌most‌‌interesting‌‌results.‌‌
The‌‌effect‌‌will‌‌be‌‌most‌‌visible‌‌in‌‌the‌‌grey‌‌transition‌‌tones.‌‌Because‌‌of‌‌this,‌‌we‌‌recommend‌‌
adding‌‌some‌‌amount‌‌of‌‌Softness‌‌to‌‌the‌‌connected‌‌feature‌‌to‌‌create‌‌more‌‌of‌‌a‌‌transition.‌I‌f‌‌the‌‌
Styles‌‌don’t‌‌seem‌‌to‌‌work,‌‌make‌‌sure‌‌to‌‌check‌‌that‌‌your‌‌connected‌‌feature‌‌is‌‌not‌‌completely‌‌
sharp.‌ ‌
‌
Styles‌‌only‌‌modify‌‌the‌‌connected‌‌feature’s‌‌alpha.‌‌The‌‌color‌‌information‌‌will‌‌remain‌‌the‌‌same.‌ ‌
‌
Halftone‌S
‌ tyle‌ ‌
The‌‌Halftone‌‌Style‌‌transforms‌‌the‌‌connected‌‌feature‌‌into‌‌a‌‌comic‌‌book-like‌‌halftone‌‌pattern.‌ ‌

‌
Screen-space:‌‌‌This‌‌property‌‌will‌‌switch‌‌the‌‌texture‌‌coordinates‌‌from‌‌UV‌‌to‌‌Camera‌‌mode.‌‌If‌‌
activated,‌‌the‌‌pattern‌‌will‌‌lay‌‌flat‌‌on‌‌the‌‌object‌‌as‌‌if‌‌projected‌‌from‌‌the‌‌camera.‌ ‌
‌
Repeat:‌‌‌This‌‌property‌‌controls‌‌the‌‌number‌‌of‌‌dots.‌‌A‌‌higher‌‌Repeat‌‌value‌‌will‌‌make‌‌details‌‌finer.‌ ‌
‌
Thickness:‌‌‌This‌‌property‌‌controls‌‌the‌‌width‌‌of‌‌each‌‌dot.‌ ‌
‌
Ratio:‌‌‌This‌‌property‌‌scales‌‌the‌‌dots‌‌horizontally‌‌from‌‌0‌‌to‌‌0.5,‌‌and‌‌then‌‌vertically‌‌from‌‌from‌‌0.5‌‌
to‌‌1.‌‌With‌‌a‌‌Ratio‌‌of‌‌0.5,‌‌each‌‌dot‌‌will‌‌always‌‌be‌‌perfectly‌‌round‌‌in‌‌Screen-space,‌‌but‌‌might‌‌need‌‌
some‌‌adjusting‌‌if‌‌using‌‌UV‌‌coordinates.‌‌ ‌
‌
‌

18‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
‌

Hatch‌S
‌ tyle‌ ‌
The‌‌Hatch‌‌Style‌‌transforms‌‌the‌‌connected‌‌feature‌‌into‌‌a‌‌series‌‌of‌‌parallel‌‌lines‌‌using‌‌an‌‌image‌‌
texture.‌T
‌ o‌‌create‌‌a‌‌crosshatch‌‌effect‌,‌‌stack‌‌multiple‌‌Layers‌‌of‌‌Hatch‌‌styles.‌‌You‌‌can‌‌fine‌‌tune‌‌
the‌‌look‌‌by‌‌choosing‌‌a‌‌different‌‌Rotation‌‌for‌‌each‌‌and‌‌varying‌‌the‌‌Light’s‌‌Range‌‌and‌‌Softness.‌ ‌
‌

‌
‌
Screen-space:‌‌‌This‌‌property‌‌will‌‌switch‌‌the‌‌texture‌‌coordinates‌‌from‌‌UV‌‌to‌‌Camera‌‌mode.‌‌If‌‌
activated,‌‌the‌‌pattern‌‌will‌‌lay‌‌flat‌‌on‌‌the‌‌object‌‌as‌‌if‌‌projected‌‌from‌‌the‌‌camera.‌ ‌
‌
Repeat:‌‌‌Controls‌‌the‌‌number‌‌of‌‌lines.‌‌A‌‌higher‌‌Repeat‌‌value‌‌will‌‌make‌‌details‌‌finer.‌ ‌
‌
Thickness:‌‌‌Controls‌‌the‌‌width‌‌of‌‌each‌‌line.‌ ‌
‌
Offset:‌‌‌Moves‌‌the‌‌lines‌‌perpendicularly‌‌to‌‌the‌‌hatch‌‌direction.‌‌ ‌
‌
Rotation:‌‌‌Changes‌‌the‌‌angle‌‌of‌‌the‌‌lines.‌ ‌
‌
Distort:‌‌‌Displaces‌‌the‌‌lines‌‌based‌‌on‌‌a‌‌noise‌‌texture.‌ ‌
‌
Distort‌‌Scale:‌C ‌ ontrols‌‌the‌‌scale‌‌of‌‌the‌‌noise‌‌texture‌‌used‌‌by‌‌the‌‌Distort‌‌property.‌‌Has‌‌no‌‌effect‌‌
if‌‌Distort‌‌is‌‌set‌‌to‌‌0.‌ ‌
‌
Erode:‌M ‌ akes‌‌certain‌‌areas‌‌of‌‌the‌‌hatch‌‌disappear‌‌based‌‌on‌‌a‌‌noise‌‌texture.‌ ‌
‌
Erode‌‌Contrast:‌C ‌ ontrols‌‌the‌‌softness‌‌of‌‌the‌‌noise‌‌texture‌‌used‌‌by‌‌the‌‌Erode‌‌property.‌ ‌
‌
Erode‌‌Scale:‌C ‌ ontrols‌‌the‌‌scale‌‌of‌‌the‌‌noise‌‌texture‌‌used‌‌by‌‌the‌‌Erode‌‌property.‌‌Has‌‌no‌‌effect‌‌if‌‌
Erode‌‌is‌‌set‌‌to‌‌0.‌ ‌
‌
‌
‌

19‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
‌

Painterly‌S
‌ tyle‌ ‌
The‌‌Painterly‌‌Style‌‌transforms‌‌the‌‌connected‌‌feature‌‌into‌‌layers‌‌of‌‌paint‌‌daubs‌‌using‌‌a‌‌texture.‌‌ ‌

‌
‌
Preset:‌Y ‌ ou‌‌can‌‌choose‌‌between‌4 ‌ ‌‌preset‌‌brush‌‌strokes‌‌‌using‌‌the‌‌texture‌‌path‌‌menu.‌‌These‌‌
can‌‌be‌‌easily‌‌replaced‌‌by‌‌other‌‌textures‌‌of‌‌your‌‌choice‌‌if‌‌you‌‌choose‌C ‌ ustom‌‌Texture‌‌‌instead.‌‌
Note‌‌that‌‌the‌‌custom‌‌texture‌‌must‌‌tile‌‌seamlessly‌‌for‌‌the‌‌Painterly‌‌Style‌‌to‌‌work.‌ ‌
‌
Screen-space:‌‌‌This‌‌property‌‌will‌‌switch‌‌the‌‌texture‌‌coordinates‌‌from‌‌UV‌‌to‌‌Camera‌‌mode.‌‌If‌‌
activated,‌‌the‌‌brush‌‌strokes‌‌will‌‌lay‌‌flat‌‌on‌‌the‌‌object‌‌as‌‌if‌‌projected‌‌from‌‌the‌‌camera.‌ ‌
‌
Repeat:‌‌‌This‌‌property‌‌controls‌‌the‌‌number‌‌of‌‌brush‌‌strokes.‌‌A‌‌higher‌‌Repeat‌‌value‌‌will‌‌make‌‌
details‌‌finer.‌ ‌
‌
Softness:‌‌‌This‌‌property‌‌determines‌‌how‌‌sharp‌‌the‌‌edges‌‌of‌‌your‌‌paint‌‌strokes‌‌will‌‌be.‌‌To‌‌adjust‌‌
the‌‌softness‌‌of‌‌the‌‌whole‌‌region,‌‌try‌‌playing‌‌with‌‌the‌‌Softness‌‌on‌‌the‌‌connected‌‌feature‌‌instead.‌ ‌
‌
Rotation:‌‌‌This‌‌property‌‌rotates‌‌the‌‌brush‌‌strokes.‌ ‌
‌
Anisotropic‌S ‌ tyle‌ ‌
The‌‌Anisotropic‌‌Style‌‌transforms‌‌a‌‌standard‌‌Specular‌‌feature‌‌into‌‌an‌‌elongated‌‌specular‌‌and‌‌
offers‌‌some‌‌options‌‌to‌‌make‌‌it‌‌look‌‌like‌‌hair.‌ ‌

‌
‌

20‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
‌

The‌‌Anisotropic‌‌Style‌‌uses‌‌UV‌‌coordinates‌‌to‌‌work‌‌correctly‌‌so‌‌you’ll‌‌need‌‌to‌‌make‌‌sure‌‌to‌‌
unwrap‌‌the‌‌hair‌‌so‌‌that‌‌they‌‌flow‌‌vertically‌.‌ ‌

‌
‌
UV‌‌Map:‌‌‌If‌‌you‌‌have‌‌already‌‌unwrapped‌‌and‌‌textured‌‌the‌‌hair‌‌of‌‌your‌‌character‌‌and‌‌don’t‌‌want‌‌
to‌‌change‌‌it,‌‌it‌‌is‌‌possible‌‌to‌‌add‌‌a‌‌second‌‌UV‌‌Map‌‌by‌‌going‌‌to‌O ‌ bject‌‌Properties‌‌>‌‌UV‌‌Maps‌.‌‌You‌‌
can‌‌then‌‌link‌‌to‌‌that‌‌new‌‌map‌‌using‌‌the‌‌UV‌‌Map‌‌property.‌ ‌
‌
Thickness:‌‌‌The‌‌way‌‌the‌‌Anisotropic‌‌feature‌‌works‌‌is‌‌it‌‌limits‌‌the‌‌original‌‌Specular‌‌using‌‌a‌‌long‌‌
rectangular‌‌mask.‌‌For‌‌this‌‌reason,‌‌it‌‌often‌‌works‌‌better‌‌to‌‌use‌‌a‌l‌arge‌‌Specular‌‌Range‌,‌‌which‌‌
will‌‌drive‌‌the‌‌horizontal‌‌scaling‌‌of‌‌the‌‌anisotropic.‌‌To‌‌adjust‌‌the‌‌vertical‌‌scaling,‌‌use‌‌the‌‌
Thickness‌‌p ‌ roperty—a‌‌value‌‌of‌‌1‌‌will‌‌reveal‌‌the‌‌original‌‌specular,‌‌and‌‌lower‌‌values‌‌will‌‌shrink‌‌it‌‌
vertically‌‌to‌‌create‌‌an‌‌increasingly‌‌thin‌‌strip.‌ ‌
‌
Softness:‌‌‌This‌‌property‌‌determines‌‌how‌‌sharp‌‌or‌‌soft‌‌your‌‌anisotropic‌‌will‌‌be.‌‌A‌‌value‌‌of‌‌1‌‌will‌‌
make‌‌it‌‌very‌‌diffuse,‌‌while‌‌a‌‌value‌‌of‌‌0‌‌will‌‌make‌‌it‌‌sharp‌‌like‌‌a‌‌cel-shaded‌‌anime.‌‌To‌‌adjust‌‌only‌‌
the‌‌tip‌‌of‌‌the‌‌anisotropic,‌‌modify‌‌the‌‌original‌‌Specular‌‌Softness‌‌instead.‌ ‌
‌
Range:‌‌‌This‌‌property‌‌controls‌‌the‌‌size‌‌of‌‌the‌‌anisotropic‌‌specular.‌ ‌
‌
Fade:‌‌‌This‌‌property‌‌will‌‌fade‌‌out‌‌the‌‌anisotropic‌‌as‌‌it‌‌comes‌‌closer‌‌to‌‌the‌‌edge‌‌of‌‌the‌‌object.‌‌It‌‌
is‌‌activated‌‌by‌‌default,‌‌with‌‌a‌‌value‌‌of‌‌1.‌‌To‌‌make‌‌the‌‌anisotropic‌‌come‌‌all‌‌the‌‌way‌‌to‌‌the‌‌edge,‌‌
change‌‌the‌‌Fade‌‌value‌‌to‌‌0.‌ ‌
‌
Stripes:‌‌‌This‌‌property‌‌will‌‌mask‌‌out‌‌the‌‌specular‌‌using‌‌perpendicular‌‌stripes.‌‌At‌‌lower‌‌values,‌‌
only‌‌a‌‌few‌‌thin‌‌lines‌‌will‌‌be‌‌masked‌‌out.‌‌As‌‌you‌‌increase‌‌the‌‌value,‌‌the‌‌anisotropic‌‌will‌‌gradually‌‌
disappear.‌ ‌
‌
Repeat:‌‌‌This‌‌property‌‌controls‌‌the‌‌number‌‌of‌‌Stripes.‌‌A‌‌higher‌‌Repeat‌‌value‌‌will‌‌make‌‌details‌‌
finer.‌ ‌
‌

21‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
‌

Deform:‌‌‌This‌‌property‌‌creates‌‌wave‌‌patterns‌‌on‌‌the‌‌specular.‌‌The‌‌style‌‌of‌‌the‌‌waves‌‌is‌‌driven‌‌by‌‌
the‌C
‌ omplexity‌‌‌value.‌‌ ‌
‌
Complexity:‌‌‌This‌‌property‌‌only‌‌has‌‌an‌‌impact‌‌if‌‌the‌‌Deform‌‌parameter‌‌is‌‌set‌‌to‌‌more‌‌than‌‌0.‌‌A‌‌
high‌‌value‌‌will‌‌make‌‌it‌‌look‌‌like‌‌realistic‌‌hair‌‌with‌‌very‌‌fine‌‌details.‌‌Lower‌‌values‌‌will‌‌make‌‌it‌‌
more‌‌like‌‌stylised‌‌anime‌‌hair.‌ ‌
‌
Camera‌‌Offset:‌‌‌The‌‌Camera‌‌Offset‌‌value‌‌can‌‌be‌‌adjusted‌‌to‌‌make‌‌the‌‌anisotropic‌‌move‌‌
vertically‌‌along‌‌the‌‌object‌‌as‌‌you‌‌rotate‌‌the‌‌camera.‌‌If‌‌you‌‌use‌‌a‌‌value‌‌of‌‌0,‌‌the‌‌anisotropic‌‌will‌‌
always‌‌stay‌‌in‌‌place.‌ ‌
‌
General‌‌Offset:‌‌‌This‌‌property‌‌works‌‌similarly‌‌to‌‌the‌‌Camera‌‌Offset,‌‌except‌‌that‌‌it‌‌offsets‌‌the‌‌
anisotropic‌‌globally‌‌from‌‌all‌‌camera‌‌angles.‌ ‌
‌
‌ADDITIONAL‌‌OPTIONS‌ ‌
‌
On‌‌top‌‌of‌‌the‌S
‌ et‌‌up‌‌Base‌‌Scene‌‌‌and‌B
‌ ase‌‌Material‌‌‌buttons,‌‌which‌‌we‌‌showed‌‌in‌‌the‌‌initial‌‌setup‌‌
phase,‌‌there‌‌are‌‌a‌‌few‌‌other‌‌automated‌‌options‌‌in‌‌the‌‌LBS‌‌add-on‌‌panel‌‌which‌‌can‌‌speed‌‌up‌‌
certain‌‌steps‌‌when‌‌you’re‌‌working‌‌with‌‌the‌‌shader.‌ ‌
‌
Ground‌M
‌ aterial‌ ‌
Much‌‌like‌‌the‌B‌ ase‌‌Material‌‌‌button,‌‌this‌‌one‌‌assigns‌‌a‌‌basic‌‌Ground‌‌Material‌‌to‌‌the‌‌selected‌‌
object‌‌by‌‌replacing‌‌the‌‌active‌‌material.‌‌The‌‌difference‌‌is‌‌that‌‌the‌‌Ground‌‌Material‌‌uses‌‌the‌‌
Background‌‌Key‌‌Light‌‌to‌‌cast‌‌shadows,‌‌as‌‌opposed‌‌to‌‌the‌‌Character‌‌Key‌‌Light‌‌like‌‌on‌‌the‌‌LBS‌‌
Material.‌‌With‌‌this‌‌material‌‌applied‌‌on‌‌a‌‌ground‌‌plane,‌‌it‌‌is‌‌possible‌‌to‌‌adjust‌‌the‌‌lighting‌‌on‌‌a‌‌
character‌‌without‌‌changing‌‌the‌‌direction‌‌of‌‌the‌‌cast‌‌shadows‌‌themselves.‌ ‌
‌
Clean‌U ‌ p‌D
‌ uplicates‌ ‌
If‌‌you‌‌append‌‌materials‌‌from‌‌another‌‌scene,‌‌the‌‌Global‌‌Settings‌‌won’t‌‌be‌‌linked‌‌anymore,‌‌even‌‌if‌‌
the‌‌Instances‌‌seem‌‌to‌‌share‌‌the‌‌same‌‌name.‌‌This‌‌button‌‌will‌‌fix‌‌any‌‌conflicting‌‌Global‌‌Settings.‌ ‌
‌
Sort‌S
‌ hader‌L
‌ ayers‌ ‌
This‌‌button‌‌lets‌‌you‌‌change‌‌the‌‌layer‌‌order‌‌on‌‌the‌‌
selected‌‌Lightning‌‌Boy‌‌Shader‌‌node.‌‌It‌‌is‌‌especially‌‌
useful‌‌when‌‌you‌‌want‌‌to‌‌insert‌‌a‌‌new‌‌feature‌‌at‌‌the‌‌
bottom‌‌of‌‌a‌‌large‌‌layer‌‌stack‌‌and‌‌don’t‌‌want‌‌to‌‌
recompile‌‌the‌‌shader‌‌at‌‌every‌‌step.‌‌Move‌‌the‌‌layers‌‌
as‌‌needed‌‌using‌‌the‌‌up‌‌and‌‌down‌‌arrows,‌‌then‌‌click‌‌
OK‌‌‌to‌‌commit.‌ ‌
‌

22‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
‌

Match‌G
‌ lobal‌S
‌ ettings‌ ‌
The‌‌Lightning‌‌Boy‌‌Shader‌‌node‌‌contains‌‌a‌R ‌ GB‌‌Curves‌‌
adjustment‌‌in‌‌its‌‌Global‌‌Settings,‌‌which‌‌you‌‌can‌‌toggle‌‌on‌‌
and‌‌off‌‌with‌T
‌ AB‌.‌‌By‌‌default,‌‌the‌‌Instance‌‌name‌‌is‌‌blank,‌‌
which‌‌means‌‌that‌‌the‌‌curve‌‌affects‌‌all‌‌the‌‌Lightning‌‌Boy‌‌
Shaders‌‌in‌‌your‌‌scene,‌‌allowing‌‌you‌‌to‌‌do‌‌large-scale‌‌color‌‌
adjustments‌‌more‌‌easily.‌‌ ‌
‌
Clicking‌‌the‌‌Assign‌‌LBS‌‌Curves‌‌button‌‌lets‌‌you‌‌assign‌‌a‌‌
different‌‌Global‌‌Instance‌‌name‌‌to‌‌all‌‌the‌‌Lightning‌‌Boy‌‌Shader‌‌
nodes‌‌on‌‌the‌‌selected‌‌objects.‌‌It‌‌is‌‌especially‌‌useful‌‌when‌‌
you‌‌want‌‌to‌‌adjust‌‌the‌‌RGB‌‌Curves‌‌on‌‌a‌‌single‌‌object‌‌or‌‌
character‌‌without‌‌affecting‌‌the‌‌rest‌‌of‌‌the‌‌scene.‌ ‌
‌
The‌‌RGB‌‌Curves‌‌property‌‌also‌‌has‌‌an‌O ‌ pacity‌s
‌ lider.‌‌It‌‌
controls‌‌how‌‌much‌‌influence‌‌the‌‌adjustment‌‌has‌‌over‌‌the‌‌
material.‌‌Connect‌‌Masks‌‌(such‌‌as‌‌the‌‌output‌‌of‌‌a‌‌Light)‌‌to‌‌
keep‌‌certain‌‌regions‌‌from‌‌being‌‌affected‌‌by‌‌the‌‌RGB‌‌Curves.‌ ‌
‌
Add‌S
‌ olidify‌O
‌ utline‌ ‌
Using‌‌the‌‌Add‌‌Solidify‌‌Outline‌‌in‌‌the‌‌add-on‌‌panel‌‌can‌‌be‌‌used‌‌to‌‌automatically‌‌add‌‌a‌‌toon‌‌
outline‌‌to‌‌your‌‌object‌‌using‌‌a‌‌Solidify‌‌modifier.‌‌Although‌‌there‌‌exists‌‌a‌‌2D‌‌Outline‌‌feature‌(‌ 2D‌‌
Outline,‌p‌ .15)‌,‌‌this‌‌method‌‌remains‌‌one‌‌of‌‌the‌‌most‌‌simple‌‌and‌‌reliable‌‌methods‌‌to‌‌create‌‌
outlines‌‌in‌‌Blender.‌‌It‌‌is‌‌possible‌‌to‌‌combine‌‌both‌‌types‌‌of‌‌outlines‌‌seamlessly‌‌as‌‌long‌‌as‌‌they‌‌
use‌‌the‌‌same‌‌color.‌ ‌
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 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
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When‌‌using‌‌the‌‌Add‌‌Solidify‌‌Outline‌‌button,‌‌choose‌‌between‌‌these‌‌two‌‌options:‌ ‌
‌
1. Click‌‌‌to‌‌apply‌‌a‌‌single‌‌‌outline‌‌color‌‌to‌‌the‌‌entire‌‌object.‌ ‌
2. Hold‌‌Shift‌‌and‌‌Click‌‌‌to‌‌apply‌‌a‌u ‌ nique‌‌‌outline‌‌color‌‌per‌‌material.‌ ‌
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If‌‌you‌‌know‌‌you‌‌just‌‌want‌‌to‌‌use‌‌a‌‌black‌‌
outline‌‌everywhere,‌‌simply‌‌click‌‌the‌‌button.‌‌
However,‌‌if‌‌you‌‌think‌‌you‌‌might‌‌want‌‌more‌‌
control,‌‌for‌‌example‌‌keep‌‌some‌‌outlines‌‌
black,‌‌but‌‌also‌‌use‌‌a‌‌lighter‌‌brown‌‌color‌‌
next‌‌to‌‌your‌‌character’s‌‌skin,‌‌then‌‌hold‌‌
Shift‌‌‌while‌‌clicking.‌ ‌
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In‌‌both‌‌cases,‌‌a‌‌Solidify‌‌modifier‌‌will‌‌be‌‌
added‌‌onto‌‌your‌‌object,‌‌and‌‌you’ll‌‌be‌‌able‌‌
to‌‌edit‌‌the‌‌Color‌‌and‌‌Thickness‌‌right‌‌in‌‌the‌‌
LBS‌‌add-on‌‌panel.‌‌Try‌‌playing‌‌with‌‌the‌‌
Clamp‌‌value‌‌if‌‌the‌‌outline‌‌looks‌‌weird‌‌or‌‌
bloated.‌‌If‌‌you‌‌look‌‌in‌‌the‌‌Material‌‌tab,‌‌
you’ll‌‌see‌‌that‌‌one‌‌or‌‌multiple‌‌LBS‌‌material‌‌
Outlines‌‌have‌‌been‌‌created.‌‌If‌‌you‌‌went‌‌for‌‌
the‌‌first‌‌option,‌‌keep‌‌this‌‌single‌‌material‌‌‌at‌‌
the‌‌top‌‌‌of‌‌your‌‌material‌‌stack‌‌at‌‌all‌‌times.‌‌The‌‌Solidify‌‌modifier‌‌uses‌‌a‌‌Material‌‌Offset‌‌of‌‌-1000,‌‌
so‌‌it‌‌will‌‌always‌‌pick‌‌the‌‌top‌‌one.‌‌If‌‌you‌‌choose‌‌the‌‌second‌‌option,‌‌you’ll‌‌need‌‌an‌‌outline‌‌
material‌a ‌ bove‌‌each‌‌of‌‌your‌‌materials‌b ‌ ecause‌‌the‌‌Material‌‌Offset‌‌has‌‌been‌‌set‌‌to‌‌-1‌‌in‌‌this‌‌
case.‌‌Keep‌‌this‌‌in‌‌mind‌‌as‌‌you‌‌make‌‌new‌‌materials,‌‌as‌‌outline‌‌materials‌‌will‌‌need‌‌to‌‌be‌‌created‌‌
manually‌‌and‌‌added‌‌on‌‌top‌‌of‌‌any‌‌new‌‌LBS‌‌material.‌ ‌
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Make‌‌sure‌‌to‌‌always‌k ‌ eep‌‌the‌‌word‌‌“Outline”‌‌in‌‌the‌‌name‌‌of‌‌the‌‌outline‌‌materials‌‌and‌‌the‌‌
Solidify‌‌modifier‌,‌‌as‌‌this‌‌is‌‌the‌‌key‌‌word‌‌the‌‌add-on‌‌looks‌‌for‌‌to‌‌make‌‌it‌‌appear‌‌in‌‌the‌‌LBS‌‌panel.‌‌
If‌‌you‌‌already‌‌have‌‌Solidify‌‌outlines‌‌applied‌‌to‌‌your‌‌object‌‌from‌‌a‌‌previous‌‌project‌‌and‌‌want‌‌to‌‌
transfer‌‌them‌‌to‌‌LBS‌‌2.1,‌‌you‌‌can‌‌simply‌‌rename‌‌them‌‌so‌‌they‌‌appear‌‌in‌‌the‌‌LBS‌‌panel.‌ ‌
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Every‌‌outline‌‌material‌‌created‌‌this‌‌way‌‌uses‌‌a‌‌special‌‌Solidify‌‌Outline‌‌node.‌‌It‌‌is‌‌custom-made‌‌
to‌‌work‌‌alongside‌‌the‌‌Lightning‌‌Boy‌‌Shader‌‌and‌‌supports‌‌full‌‌transparency‌(‌ Using‌‌Transparency‌‌
with‌‌a‌‌Solidify‌‌Outline‌,‌‌p.26)‌.‌‌It‌‌can‌‌be‌‌created‌‌at‌‌any‌‌time‌‌using‌‌the‌S‌ hift-A‌‌‌menu‌‌in‌‌the‌‌Shader‌‌
Editor.‌ ‌

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 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
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TRANSPARENCY‌ ‌
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Lightning‌‌Boy‌‌Shader‌‌2.0‌‌already‌‌uses‌‌
transparency‌‌to‌‌blend‌‌layers‌‌together.‌‌This‌‌can‌‌be‌‌
pushed‌‌a‌‌level‌‌further‌‌by‌‌enabling‌‌full‌‌
transparency‌‌on‌‌the‌‌Lightning‌‌Boy‌‌Shader‌‌node‌‌
itself.‌‌This‌‌allows‌‌all‌‌kinds‌‌of‌‌interesting‌‌effects,‌‌
such‌‌as‌‌having‌‌layers‌‌float‌‌in‌‌3d‌‌space.‌ ‌
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To‌‌activate‌‌full‌‌transparency,‌‌go‌‌to‌M ‌ aterial‌‌
Properties‌‌>‌‌Settings‌‌>‌‌Blend‌‌Mode‌,‌‌and‌‌change‌‌it‌‌
from‌O‌ paque‌‌‌to‌A ‌ lpha‌‌Blend‌‌‌or‌‌‌Alpha‌‌Hashed‌.‌‌The‌‌
base‌‌color‌‌of‌‌the‌‌shader‌‌will‌‌now‌‌be‌‌transparent‌‌
instead‌‌of‌‌black,‌‌and‌‌two‌‌new‌‌properties‌‌will‌‌
appear‌‌on‌‌the‌‌Lightning‌‌Boy‌‌Shader‌‌node.‌ ‌
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Alpha‌‌Mask:‌‌‌This‌‌property‌‌will‌‌make‌‌certain‌‌parts‌‌
of‌‌your‌‌object‌‌transparent‌‌based‌‌on‌‌the‌‌black‌‌and‌‌
white‌‌value‌‌connected‌‌to‌‌it.‌‌There’s‌‌no‌‌limit‌‌to‌‌
what‌‌you‌‌can‌‌connect‌‌here—the‌‌Mask‌‌output‌‌
from‌‌a‌‌Gradient,‌‌an‌‌alpha‌‌texture,‌‌a‌‌2D‌‌Outline‌‌
mixed‌‌with‌‌a‌‌Painterly‌‌Style—be‌‌creative!‌ ‌
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Shader‌‌Opacity:‌‌‌This‌‌slider‌‌will‌‌make‌‌the‌‌entire‌‌shader‌‌completely‌‌or‌‌partially‌‌transparent.‌ ‌
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Shadow‌M
‌ ode‌ ‌
Change‌‌the‌S ‌ hadow‌‌Mode‌‌‌to‌A ‌ lpha‌‌Hashed‌‌‌if‌‌you‌‌want‌‌
cast‌‌shadows‌‌to‌‌take‌‌the‌‌shader‌‌transparency‌‌into‌‌
account.‌‌It‌‌is‌‌located‌‌right‌‌under‌B
‌ lend‌‌Mode‌‌‌in‌‌the‌‌
Material‌‌Settings‌.‌ ‌
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Limitations‌ ‌
Alpha‌‌Blend‌‌isn’t‌‌compatible‌‌with‌S ‌ S‌‌Ambient‌‌Occlusion‌.‌‌Alpha‌‌Hashed‌‌should‌‌be‌‌used‌‌as‌‌a‌‌
Blend‌‌Mode‌‌if‌‌you‌‌need‌‌screen-space‌‌ambient‌‌occlusion‌‌on‌‌your‌‌object.‌ ‌
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25‌ ‌
 Lightning‌‌Boy‌‌Shader‌‌2.1‌‌-‌‌User‌‌Guide‌ ‌
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Using‌T
‌ ransparency‌w
‌ ith‌a
‌ ‌S
‌ olidify‌O
‌ utline‌ ‌
If‌‌you‌‌decide‌‌to‌‌use‌‌a‌‌Solidify‌‌modifier‌‌to‌‌generate‌‌outlines‌‌for‌‌your‌‌transparent‌‌object‌‌(A
‌ dd‌‌
Solidify‌‌Outline,‌p‌ .23)‌,‌‌you‌‌need‌‌to‌‌make‌‌sure‌‌to‌‌activate‌‌transparency‌‌on‌‌the‌‌outline‌‌material‌‌as‌‌
well.‌‌It‌‌works‌‌the‌‌same‌‌way‌‌as‌‌with‌‌the‌‌Lightning‌‌Boy‌‌Shader‌‌node,‌‌all‌‌you‌‌have‌‌to‌‌do‌‌is‌‌change‌‌
the‌B ‌ lend‌‌Mode‌‌‌in‌‌the‌M‌ aterial‌‌Properties‌.‌ ‌
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Make‌‌sure‌‌to‌‌duplicate‌‌any‌‌nodes‌‌used‌‌as‌‌masks‌‌on‌‌both‌‌materials:‌‌for‌‌example,‌‌let’s‌‌say‌‌you’re‌‌
using‌‌a‌‌Gradient‌‌to‌‌hide‌‌parts‌‌of‌‌your‌‌object,‌‌then‌‌duplicate‌‌that‌‌same‌‌gradient‌‌in‌‌the‌‌outline‌‌
material‌‌and‌‌connect‌‌it‌‌to‌‌the‌‌Alpha‌‌Mask.‌ ‌

TECHNICAL‌‌SUPPORT‌ ‌
‌
For‌‌any‌‌feedback,‌‌support,‌‌or‌‌if‌‌you‌‌encounter‌‌bugs‌‌or‌‌errors‌‌while‌‌using‌‌the‌‌shader,‌‌reach‌‌us‌‌at‌‌
team@lightningboystudio.com‌‌‌and‌‌we’ll‌‌be‌‌happy‌‌to‌‌assist‌‌you.‌‌We‌‌hope‌‌you’ll‌‌have‌‌fun‌‌using‌‌
this‌‌shader‌‌in‌‌your‌‌projects,‌‌and‌‌don’t‌‌forget‌‌to‌‌subscribe‌‌to‌‌our‌Y
‌ ouTube‌‌channel‌‌‌for‌‌additional‌‌
tips‌‌and‌‌tricks!‌‌

26‌ ‌