Render mode
- Mode
- What the model is painted with. Comic paint = one flat colour,
cartoon-shaded. Original materials = the model's real textures under real lights.
Toon materials = the model's colours but flat-cartoon shaded. Ink on paper =
white body, just linework. Ink only = hide the body entirely.
- Ink mesh
- Show or hide all the black linework.
- Turntable
- The model slowly spins on its own.
- Body colour / Backdrop
- Paint swatches for the vehicle and the background wall.
Marker — how the pen behaves
- Ink colour
- The pen's colour.
- Line weight (px)
- How thick every stroke is on screen, in pixels. Bigger = bolder marker.
- Silhouette weight (px)
- Thickness of the outline around the whole shape — the outer
edge you'd trace around a sticker. Separate from interior lines so the silhouette can pop.
- Edge roughness
- How ragged the line edges are. Low = clean vector lines;
high = scratchy felt-tip.
- Dry-brush gaps
- Random little breaks where the pen "runs out of ink," like a brush
on rough paper.
- Tip taper
- How much strokes thin out at their start and end, like a pen lifting
off the page.
- Pressure variation
- Random thick-and-thin wobble along each stroke, as if a hand
pressed harder and softer.
- Surface lift (occlusion)
- The ink floats invisibly slightly toward the camera so it
doesn't flicker or sink into the body. Raise it if lines shimmer or vanish; lower it if you see
strokes bleeding through parts that should hide them.
Contours — which edges become lines
- Crease angle (°)
- The big one: how sharp an edge must be before it gets inked.
Lower = more lines (softer curves count); higher = only the sharpest creases.
- Min stroke length
- Ignores tiny stubs. Raise it to declutter busy models.
- Hand wobble
- How much lines drift off perfectly true, like a human drew them
instead of a plotter. The ends stay anchored so joints don't come apart.
- Smoothing passes
- Rounds of straightening applied before the wobble. More =
calmer, less jaggy lines.
- Stroke resolution
- Spacing of points along each line. Finer = smoother curves
but more geometry.
- Ink material boundaries
- Also draw lines where two different materials meet —
window glass against paint, for example.
Shading flicks — the little comic shading ticks
- Hatch flicks along edges
- Master on/off for these marks.
- Flick density
- How many ticks there are.
- Flick length
- How long each tick is.
- Flick weight
- How thick they are relative to the main lines.
- Flick deliberateness
- Slide from "scattered spray" to "fewer, evenly spaced, tidy
rows." High values even leave some edges bare on purpose — deliberate pen placement instead
of texture.
- Flow alignment
- How strongly all ticks rake in one direction, like speed lines
sweeping front-to-back on a car, rather than each pointing wherever its own bit of surface
happens to face.
- Flow axis / Reverse flow
- Which direction that sweep runs; auto picks the model's
longest axis.
- Lit-side accents
- Bright panels (a hood) normally never get ticks. This adds light,
short accent ticks there anyway — panel-gap and highlight-style marks.
- Terminator flicks
- Ticks hanging off the shadow boundary itself. The only source
that reaches the middle of big flat panels, where there's no edge for ticks to grow from.
Shadows
- Shadow layer
- Master on/off.
- Shadow style
- Cross-hatch: shading drawn as stripe texture. Two-tone:
shading as a solid filled shape with a crisp drawn edge. Two-tone + hatched core: solid
fill everywhere, stripes showing only in the darkest band.
- Shading steps
- How many flat tones the paint snaps into (2 = stark black/white
comic, 5 = subtle). Hard cuts between tones, no gradients.
- Terminator wobble (px)
- How much the light/shadow boundary line wiggles, measured
in screen pixels so it reads like a drawn line.
- Shadow threshold
- How dark a surface must be before hatching starts on it.
- Hatch density
- Stripe spacing (higher value = finer, denser stripes).
- Shadow softness
- How gradually the stripes fade in near the threshold.
- Solid-black cutoff
- Past this darkness the stripes give up and become solid fill.
- Shadow tone strength / Core tone strength
- For two-tone styles: how dark the general
shadow is, and how much darker the darkest core is.
- Core tone cutoff
- How deep into shadow something must be to earn the darker core.
- Band edge softness (px)
- Slight pixel-level blur on tone boundaries; 0 = razor cuts.
- Hatch wobble
- Hand-drawn waviness in the stripe pattern itself.
- Emissive luminance cutoff
- Anything glowing brighter than this (headlights, screens)
gets skipped, so hatching never draws over lights.
Light
- Light azimuth (°)
- Compass direction the light comes from — spin the sun around
the car.
- Light elevation (°)
- Height of the sun. Low = long dramatic shadows; high = noon.
Output
- Save PNG / Reset view / Cycle preset
- Snapshot the frame, restore the camera, or
flip through ready-made looks: Marker → Heavy brush → Fine pen → Stencil → Two-tone.
- Export ink mesh (GLB)
- Save the linework as a real 3D mesh for Blender etc. Stroke
width is baked from your current camera distance, so frame the shot first.
- Baked texture
- Instead of geometry, rasterise the ink into a flat image wrapped on
the model. Choose size, which layers to include, and whether to add the flat comic base colour.
Rule of thumb: sliders under Contours, most flick knobs, and the
shadow threshold rebuild the actual line data (a brief pause); everything else updates instantly.