Hey everyone! It’s Kevin and this is
a tutorial to create this bakery shop in Blender 3.0 with Grease Pencil. If
you don’t know what grease pencil is, it’s an element that allows you
to draw in 2D but in 3D space. It’s a pretty powerful tool that’s great to draw
with and adds another dimension to your artwork. If this is your first time to my channel,
welcome! Grease pencil is one of the tools I like using in my workflow. It’s really fun
especially when combining it with 3D elements. However, in this tutorial, we’ll be creating
this bakery entirely with just grease pencil. I’ll briefly go over some grease pencil basics
and then head into the project. For the most part, you won’t need a tablet. I’ll be sticking with
the shape tools. But, towards the end, it might be helpful to have one for adding details,
although you can still get by with a mouse. To start, let’s head into the 2D Animation
Workspace by clicking on the Plus icon up here, going to 2D Animation, and selecting it
from the list. Let’s delete this cube with X. Bring in a grease pencil object with
Shift + A > Grease Pencil > Blank. Now, let’s go into Draw Mode by selecting from
the dropdown up here or hitting CRTL + Tab and then selecting it from the radial
menu. The first thing we’ll want to do is to adjust some visibility options that will
make drawing with grease pencil easier. Let’s go to the Overlays Dropdown here and check
Grid, 3D Cursor, and Canvas. If this is your first time using grease pencil, the 2 options
up here, Stroke Placement and Drawing Planes, are extremely important for using this tool
successfully. Depending on what options you have selected in those drop downs will
inform how you’ll draw in 3D space. So, starting with the Drawing Planes, if it’s set
to View, you can draw according the view you have in your viewport. If it’s set to Front, the canvas
will be situated to front view, along the x. Notice how the canvas doesn’t rotate compared to
the previous one. If it’s set to Side, it will be situated along the side view, to the y, and if set
to Top, situated to the top view or perpendicular to the z. Cursor allows you to get really precise
angles by adjusting the rotation of the cursor here, which is not possible with the other planes.
Let’s set the drawing plane to front for now. Moving on to Stroke Placement, we have Origin, which is what we were using to demonstrate
the drawing planes. This option places your drawing according to the origin point of the
object. For example, I drew some strokes here, but if I were to move this object further
back in object mode and then draw a stroke, the placement would move accordingly. 3D Cursor
is the one I use the most and will allow you to draw anywhere you place the cursor. Now the next
2 kind of ignore the drawing plane, depending on how they’re used. Surface allows you to draw on
top of meshes. This is helpful if you’re adding details or trying to get the strokes to fit
a certain shape. And the last one is Stroke, where you can draw starting from another
strokes. Let’s set this to 3D cursor for now. So let’s start by creating the walls
of our building. In object mode, I’m setting the 3D cursor back to the
world origin using Shift + S then right clicking and setting the grease pencil origin
to the 3d cursor. Before we draw, let’s first go into our render properties and under Color
Management, change this from Filmic to Standard. This is for more accurate colors. Set the
Look to Medium High Contrast. Then go into World Properties and let’s set the background
to a pale yellow color or whatever you want. Let’s create a New Layer inside our grease pencil
object and rename it to walls and uncheck Use Light. Then, go to the Materials Tab, create a new
material and name it Walls. I’m making the stroke a brown color, checking the fill and selecting a
light beige color. Enter front view with Numpad 1 (If you don’t have a Numpad, you can go to Edit
> Preferences > Input > Check Emulate Numpad) and go into Draw Mode. Select the Box Tool by
either selecting it from the menu on the left or hitting Shift + Spacebar
and selecting it from the list. For Radius, which affects the width of
your stroke, I’m going to set it to 35px and uncheck Use Pressure. Then bump up
Strength to 1 and uncheck use pressure. Last thing is the timeline down here,
make sure it’s at the beginning. I like to set everything to 0. And because
this was a new layer we created, a Keyframe is automatically generated. But, if you wanted
to create another keyframe on another frame, you’ll need to have this Auto Keying Button
enabled. For now, we can keep it off. So, I’m going to create a box that’s about 8 squares
tall and 6 squares wide. Then, Tab into Edit Mode, hit 1 for point select, and select a point on the
right edge of the square. Hit Shift + S and move the ‘cursor to selected’. Let’s go back into Draw
Mode and set the Drawing Plane to side this time and hit Numpad 3 to enter side view. Then draw
another 6 x 8 box again that touches the original. Go into Edit Mode and hit 2 for stroke
select if you need to make some adjustments. Go back into Draw Mode and change the
Drawing Plane to top. Hit Numpad 7 for top view and draw a box that acts as the top
of the walls. Great, now we have our walls! At this point, I want to set the Camera
View. This makes drawing with grease pencil a lot easier when set up early on. So, I’m
going to focus in on our walls and then hit Alt + Crtl + Numpad 0 to set the camera to view.
Then, I’ll go into the Animation Workspace, set the left screen to my camera
view, and adjust it with the right. If you want to leave the view like this, but
I want to animate this a bit. To do so, set the cursor to world origin and bring in an empty.
Parent the camera to the empty with Crtl + P. Then go to 0 in your timeline and select the Empty.
Rotate it in the Z (Hit R > Z) just a bit and then keyframe the rotation with shortcut I. Then, go
to frame 125 and rotate it slightly in the z again (R > Z) and keyframe. Then duplicate the keyframes
at 0 with Shift + D and put them at 250. I want to adjust the location and rotation of the camera as
well. Let’s do the same thing by keyframing at 0, then going to 125, adjusting then keyframing,
and then duplicating the keyframes at 0 to 250. So now, we can reference what our drawing looks
like in our camera view by hitting numpad 0. You can play this back, but make sure your playhead is
always at 0 when drawing or creating a new layer. Go back into the 2D Animation Workspace.
We’re going to create the roof and the base. Let’s duplicate this Walls layer by clicking the
Layers Drop Down and selecting “Duplicate”. Also, let’s enable the option “Auto Lock Inactive
Layers”. Rename the duplicate to “Roof”. In edit mode, select all with shortcut A,
then scale it down in the z and s to scale it out (Hit S > Z). Then, duplicate it
again, shift it up in the z and s to scale it out (Hit G > Z). Let’s create a new material for
the roof by selecting it all with shortcut A, creating a New Material in the Materials Tab, and
clicking Assign. Rename this to roof and copy the stroke color of the Walls material by hovering
over it, copying with Ctrl + C and pasting it with Crtl + V in the new material. Then, check Fill in
the roof material and let’s pick a dark brownish color. Moving onto the base, let’s Duplicate the
Walls layer again. And move it to the bottom. Just a quick note, the layers here are ordered
by visibility. So, what ever is on top will take visual priority. So, for example,
if I moved this Walls layer to the top, it would appear over the roof. Now, there
are options for stroke depth order in the object data properties tab, but for this
piece, we’re going to stick with 2D layers. Let’s move the walls layer back down. Rename
the Walls duplicate to “Base” and in Edit Mode, scale it down in the z and then scale it out (Hit
S > Z). Let’s also create a new material for this, name it base, and Assign
it just like we did before. Copy the stroke color and make the fill a
light grey color. Make any adjustments needed. If you find the stroke of your layers are too big, you can either adjust them in the
layers panel, under Stroke Thickness. Or, you can select any point or stroke
individually and scale it with Alt + S. So now, we have this structure, and we can add
more to it. Create a New Layer above the Walls layer and rename it to “Wall Details Outline”
and uncheck Use Lights. In the Materials Tab, create a new material, rename it to “Outline”
and set the stroke color to the one we’ve been using with no fill. We’re going to start
drawing the doors and windows on the building. Click back on the walls layer and in Edit Mode
with Point Select (Shortcut 1), select a point on this wall here so that we could move the
cursor to it with Shift + S. In draw mode with the box tool selected, go to Front View with
1. Make sure the Stroke Placement is set to 3D cursor and the drawing plane set to front.
Right click or hit y to make sure your active layer is the “Wall Details Outline” layer. Let’s
draw a rectangle for the door on the right here. Then, let’s draw another rectangle
next to it for a large window. And adjust as needed. Then, select the Circle Tool
and create a circle roughly the size of the door. We’re going to make these arched windows.
So let’s move it up (Hit G > Z) in Edit Mode with Stroke Select (Shortcut 2).
Then, go into point select mode with one, select the bottom half of the points, and delete
them with X. Then, select the 2 endpoints on either size and hit E > Z to extrude downward
and hit F to fill. Then go into stroke select and make adjustments as needed. Let’s create the
shutters for it by selecting the Box Tool again and creating a rectangle roughly half the size
of the window. Then duplicate and move it along in the X. It might be easier to move these to the
center of the window frame and scale them out to get a precise width. Then move them onto either
side of the window. Select the window strokes, duplicate them with Shift + D, and move them along
the X so we have another window to the right. Now, let’s create the bakery sign. With the
box tool selected, lets create a rectangle in this empty space here. In Edit Mode, with
Point Select (Shortcut 1) and holding Shift, I want to select these 3 points at the top and
bottom, then right click and select “Subdivide”. Then while holding Shift, select these 2 points on
the left and on the right, then hit S > X to scale along the x so that they’re closer to the ends.
Then, delete the points in the corners and the center top point. We’re trying to create these
curved-in stylized edges. In draw mode, select the Arc Tool and let’s draw an arc between these
2 points from right to left. If you draw from left to right, the arc appears on top, but you can
switch it with this Blue Dot. So, I’m drawing the arc and adjusting it with the blue dot. Then
in edit mode with Stroke Select (Shortcut 2), I’m going to duplicate it and rotate it along the
x 180 degrees (R > X > 180) and position it. Then, I’ll select both those arcs,
duplicate (Shift + D) it along the x and then flip it for the other side. The last
thing is adding a half circle here, so I’m going to use the circle tool. I’ll roughly draw the
circle line to line and bring it down. Then, I’ll go into edit mode with point select (Shortcut
1) and delete the bottom half of the circle. And now, we have our sign. So let’s start filling these in.
I want to create 3 New Materials: 1) The first one I’ll make a pale
blue color for the windows and name it accordingly. We can leave stroke unchecked. 2) The second is a dark beige color for the sign. 3) The 3rd is a light brown
color for the shutters and door. Let’s create a New Layer, name it Wall Details
Fill, and uncheck Use Lights. Go into front view and in Draw Mode, select the Fill Tool. Right
Click or hit U to set the active material to pale blue and start filling in the windows. Then,
right click and pick the light brown color. Fill in the shutters and door. Then, right click
again, and select the beige color for the sign. If it doesn’t fill correctly, you might
need to join the endpoints with Crtl + J. Just a quick note on this, if you
draw a stroke and want to continue it, you can select this option up here “Auto
Merge” (At the top left of your viewport) and it will automatically join
these strokes by distance. Now, I want to duplicate a few elements to the
other side. Let’s Unlock the outline layer and in Edit Mode with stroke select (Shortcut 2), select
the window elements and duplicate with Shift + D and then x to move it over. Then rotate 90 degrees
by hitting R > Z > 90 and place it accordingly. Go into side view if needed. Then, do the same
with the large bakery window. I want to scale this a bit wider to fit the length of the wall, so
s then y to scale it out and position accordingly. Let’s make a glare for the window. Create a New
Material, name it white. Leave stroke unchecked, but fill to white. Create a new layer above
Wall Details Fill and name it “Window Glare” and uncheck use lights. In draw mode, let’s use
the Box Tool to create a rectangle that’s a little larger than the height of the window. Rotate
it and go into your camera view to check it. Then, move it back in the Y, and adjust it so
the top and bottom aren’t seen. You can play this back in the timeline, just make sure you
position the Playhead at 0 when you’re done. Another quick note, if you find that you
accidentally drew on a frame other than 0, you can just move it back to 0 in the timeline. Then we’re going to mask this by checking Masks
under the layers and adding the fill layer. So now, the glare appears to move.
Duplicate it for the other window. Next, we’ll create an awning. I want to create a
striped awning on top of the window and door here and on this side as well. Create a New
Layer above the wall details outline layer. Name it “awning” and uncheck Use
Lights. Then, create 2 new materials. 1) The first will be a red and use
the same stroke we’ve been using. 2) The second will be another White
but with the stroke color enabled. I’m going to name it White-S to
differentiate it from the other one. Let’s unlock the wall details outline
layer and in edit mode, use point select to select this point at the bottom of
the sign here and set cursor to selected. Then, going into Draw Mode, change the drawing
plane to cursor. Hit shortcut N in the Viewport to bring up this side menu, go into the View Tab
and let’s adjust the Cursor Rotation to get kind of a slant coming out from the building. I
reset everything to zero first and now I’m adjusting the x rotation to about 30 Degrees. Go
into Top View with Numpad 7, select the Box Tool, and Right Click to make sure you’re on the
awning layer and have the red material selected. So I’m going to make a rectangle to about
here and hide the roof layer if you need to. When you check it, you’ll notice it is slanted
according to the rotation of the cursor. Go back into top view and go into Edit Mode
with Stroke Select, duplicate that rectangle you just made and Assign it the White-S material.
Then, select both those rectangles and duplicate (Shift + D) along the X like this. Then, to repeat
the sequence all the way down, you can hit Shift + R. I’ll get rid of this last white one here. Then,
make Scale and Position adjustments as needed. Now, I want to give the awnings these circular
ends hanging down. In Front View (Numpad 1) and in Edit Mode, select one of these points in Front
and set cursor to selected. And in Draw Mode, we’re going to set the Drawing Plane to front.
So, using the Circular Tool with the active material set to red, I’m going to make a circle
roughly the width of these rectangles. Then, I’ll delete the top half of the circle (by
Selecting and hitting Shortcut X) and move it up with Stroke Select (Shortcut 2). Duplicate
it like we did before, assign the color to White-S and then repeat for the length of the awning.
You might need to make some positioning and sizing adjustments. Now, I want to fill in the
side here. So, in Edit Mode, select one of the points on the end, then hit cursor to selected and
in draw mode, set the drawing plane to side. Then, entering Side View with 3, select the line tool
and set the active material to red. Draw a line from the top of the awning to roughly where it
starts to bend. Then with Point Select (1) in Edit Mode, select the bottom point of that line and
hit E > Y to extrude to make a complete awning. Adjust as needed. Then, I want to duplicate
this awning for the other side. In Edit Mode, hit A to select all, Shift + D to duplicate and
then shift it over like we did with the windows. Then, rotate it with R > Z > 90. Because awning
wasn’t drawn in that orientation, we need to flip it by going to Grease Pencil (option at
the top of the viewport) > Mirror > Y Global. Then, it should visually look correct
and you can position it accordingly. Using the same Stroke Placement
and technique as the awnings, I want to create these planters for the windows.
Create a New Layer on top of the awnings layer, name it planters and uncheck Use Lights. Unlock
“wall details outline” and in Edit Mode, select a point at the bottom of this window to move cursor
to that point with Shift + S. Then, in Draw Mode, set drawing plane to cursor. I want the cursor
to be angled upward instead of the other way, about 105 in the X. In front view with the box
tool selected, set the active material to roof and draw a rectangle the width of the
window. Then, move it out in the y and adjust as needed. Select a corner point and move
the cursor to the selected point with Shift + S. In draw mode, set the Drawing Plane to Side and in
Side View (Numpad 3), select the Poly Line Tool. Draw a line from the top left of the planter by
click dragging, to where it touches the building and click. You can hold down Shift to constrain
angle of it. Then, down the building click, and then to the bottom left of the planter
and click. Then press Enter to confirm and adjust as needed. Let’s duplicate this side
to the other side to complete the planter box. So, select it with Stroke Select (2) in Edit
Mode and duplicate (Shift + D) it along the X. Notice that when we do that, it doesn’t
visually appear correct and that’s because there’s actually a Stroke Order
within each of the grease pencil layers. So, not only do you have a layer order here, the
individual strokes within each layer also have a hierarchy as well. So, in order to push this
shape behind the first 2 we drew, select it, Right Click > Arrange > Send to Back. If you’ve
used Adobe Illustrator, it acts the same way. Another quick note, if you would like the have
the strokes populate from the back instead of the front, you can select this option in the top
left of the viewport, “Draw Strokes on Back” and all new strokes will be automatically
positioned behind your other strokes. So, with our planter finished, I want to duplicate
this for the other 3 windows. Make sure all the other layers are Locked and in Edit Mode, hit
A to select all, then duplicate along the X for the right window. Then, select both, duplicate
along the X, and then rotate with R > Z > 90. Then Right Click > Mirror > Y Global and
position them accordingly. I want a long planter situated on top of this awning on this
side so, I’m going to duplicate this planter here, shift it down in the z (G > Z), then S > Y to
scale it along the y. And adjust as needed. Corner Pillars (18:20)
Now I want to create these pillars on the corners of the building to add
more detail. Let’s Duplicate the walls layer (Going to the layers drop down) and move
it on top of the awnings layer and rename it to Pillar. In Edit Mode, select all with A and scale
it with S > Shift + Z to constrain the height of it. Then go into top view and position
the pillar at the corner of the building. Again, hide the roof if needed.
Then, duplicate the Pillar layer, rename it to Pillar Rear and move the layer
down on top of the walls layer. Then move the element in this layer to the rear left of
the building. Duplicate it for the rear right. Alright almost done. I want to create a bakery
sign that hangs from the left side of the building. So, select the point on this pillar and
move the cursor to selected with Shift + S. Then, create a New Layer on top of that duplicate
pillars layer, rename it to hanging sign and uncheck Use Lights. Create a new material, set
it to the usual stroke color and for fill, pick a gold color. Enter side view (Numpad 3) and in
Draw Mode, make sure the Drawing Plane is set to Side. Select the Box Tool, set the active material
to the gold color, and let’s create a beam that stems outward from the building. Then, take the
Circle Tool and add a circular endpoint here. Take the box tool again, set the active material
to outline, and create a square that will act as the sign. Select all the points in that shape and
Right Click > Subdivide. Delete the corner points, one at a time (Point Select then X to Delete).
Then take your Arc Tool and draw the necessary inset arcs like we did with the other sign.
Then, in Draw Mode with the fill tool selected, set the active material to ‘sign’ and fill it.
Then, go to Edit Mode, select that color block and Right Click > Arrange > Send to Back like
we did before so it appears behind the strokes. Select the fill and strokes of the sign,
duplicate it and size it in. Assign the walls material to the smaller color block. Then,
in Draw Mode with the active material set to gold, let’s create the hinges with the box tool.
Lastly, with the outline material and arc tool, I’m creating an arc to act as a
support beam. Adjust as needed. So with the crux of our building done, we going
to move onto the plants and trees. For this, we’re going to install 2 Free Add Ons. So go up to Edit
> Preferences> and search Grease Pencil Tools, check it, and Sapling Tree Gen, and check it.
Then X out of it. So we’ll start with the plants. Create a New Layer on top of the planters layer
and name it plants. Uncheck use lights. Then, in draw mode with the Draw Tool selected, go
into Active Tool and Workspace Settings. Click this drop down here and select “Download and
Import Texture Brush Pack”. If we go up here, we have more brushes we can work with. Select the
text leafs_2 brush. Notice that the color doesn’t use any of the materials we created and that’s
because it’s using Vertex Color, which is the other way of coloring within grease pencil. You
can access this by switching the mode up here. Material Paint Mode vs. Vertex Color To quickly go over this, difference
is that with Material Paint Mode, because we’ve stored the color in a material slot,
it makes it easier to change all of the elements that share that material. And with Vertex Color,
it’s much better if you’re freely illustrating because you can easily change colors on the
fly and not have to create a new material slot each time and you also can store
in them a color palette here. However, changing color isn’t
as easy as material paint mode. So, back to the plants, the cool thing about this
leaves brush is that there’s some randomization in it and you can adjust it by going to the Advanced
Options at the top of the viewport here. But, I’m going to leave everything as is. So, set
the stroke placement to Stroke and pick a pale green color and then just draw on top of these
planters, like so. If you wanted to adjust the color of these, you could use the Tint Tool here
and whatever color you select here, you can go over the strokes you made and change the color.
Or, you can go to Vertex Paint Mode and use the Replace Tool. It’s important to note that vertex
color works along points, so depending on how many points you have, you could achieve a color change
that’s gradual or sharp. But, you don’t really need to worry too much about that here. So now, I
want to put some greenery at the base just to have something around the building. I’m on the same
layer and just going over these elements. Now I think these brushes are more optimal with a tablet
but because we’re still using a mouse, to get some size variation, we can go to Sculpt Mode, select
the Thickness Tool and go over those strokes. Now for the trees. Let’s bring in a Sapling
Tree Object by hitting Shift + A > > Sapling Tree Gen. I think anytime you bring in this
tree, it’s situated at the world origin, so if you can’t see it, the preset I’m selecting
is a Japanese Maple and in Custom Shape, all the values will be .01. So once you click
out, the options will confirm and we have our Tree Curve. Now I know I said we were going
to make this completely out of grease pencil, but this part works better with a mesh.
Let’s convert this to a mesh by Right Clicking > “Convert to Mesh”. Let’s go into
Material Properties, select new, and make this an Emission Shader. Select color that’s light/medium
brown. Position the tree behind the rear left of the building and Shift + Right Click on the
Surface to move the 3D cursor on top of it. Bring in a new grease pencil blank (Shift + A >
Grease Pencil > Blank). And uncheck Use Lights for the layer that’s created. Select the leafs 1
brush and set the Stroke Placement to Surface and Offset to 0. Let’s pick a reddish brown color
and start drawing on the branches. It’ll look a little sparse, but we’ll fix that in a bit.
If you’ve seen my grease pencil tree tutorial, I’m use the same technique. Once you’re done, go
into Sculpt Mode and go over the leaves with the Thickness Tool until it resembles a dense tree.
Now, I want to duplicate this tree and position it at the rear right of the building. If you
want to adjust the color of the trees, you can again use the Tint Tool or you can apply a Hue and
Saturation Modifier on the grease pencil objects. Now we’re going to start adding more specific
details and this is the point where I do recommend having a tablet. Again, it’s not completely
necessary, it’ll just make things easier. To start, create a New Layer on top of
the planters layer and name it “Details”. Uncheck Use Lights and Hide the Plants Layer
(Hit the Eye Icon in the Layers Panel). Set Stroke Placement to Stroke, select the
Pencil Brush (at the top left), set the active material set to outline, and have Use
Pressure checked for radius - if you are using a tablet. Let’s draw some lines of details
on the shutters and then on the planters. For the windows, I’m also adding some framing
elements. And once that’s done, move onto the walls and add lines of detail there and maybe the
awnings. Then, the door and then the corner beams. Just a quick note if you want to
adjust the width of your stroke easily, you can hit “F” and if you want to
adjust strength, hit “Shift + F” Now, for the main bakery sign, we’re going
to change to Vertex Color by clicking the button up here. Change the color to
white, and draw these inner lines. Then, we’ll write the word
bakery or whatever you want. Then, switch back to Material Paint Mode. Go to
the hanging sign and let’s add some details to the sides here. With the Draw Tool selected, set
the active material to “walls” and we’re actually going to use Vertex Paint. I want to make a
sort of muffin icon. For this part, uncheck Use Pressure for Radius. So let’s select a golden
brown color and while holding Shift, draw the top. Anote quick note, holding shift while drawing
enables “pulled string mode” in grease pencil, which allows you to get very smooth lines. Then, select a pastel blue or
pink color and draw the base. Then in Edit Mode with Stroke Select (2), select
the top of the muffin and Arrange it to the Front. Then, enabled Use Pressure again. Go back
to material paint mode and set the active material to outline and add details. The last
thing we’ll do is add flowers onto the plants. Create a New Layer above plants, name it flowers
and uncheck Use Lights. Set the Stroke Placement to Stroke and select the Draw Tool. Set the active
material to roof and go into vertex color. Pick a red color, and draw some floral shapes. It
might look a little wonky, but you can always undo it. Generally, I would draw these in front
view and then individually place them, but this work for now. Then, pick a yellow color for some
variation. And now we have our bakery building! I invite you to add more details with the
techniques we discussed such as a lamppost or roofing, but I leave that up to you. Because this
is a grease pencil object, we can make it subtlety shake with a grease pencil noise modifier. So,
if you click this Wrench (Modifiers Tab) > Noise and play it, it moves. You can lessen
the Position Factor if it’s too much. So that’s it for the tutorial, thank you guys
so much for watching, I really appreciate it. If I were to approach this project outside of this
tutorial, I would probably model some 3D elements and use grease pencil to supplement the details.
The reason being that it’s a little quicker and better for more complicated camera movements.
But I hope this was a helpful resource for understanding how to draw with the tool in
terms of stroke placement and the drawing planes. If you guys have any questions,
feel free to comment below or reach out to me on Instagram @ Kevandram. I am planning
on putting out more tutorials in the future, so let me know what else you’d like to see.
In the meantime, you can check out some of the other resources I have these below.
Thanks again and see you guys next time!
