Hey there. Are you thinking to make it an NMT collection? Listen, you've come to the right place. I'm Nolan. I'm an NFT artist, designer and creator, and I've learned all the little issues you've got to contend with when making a generative project. It's not as easy as you might think, but we're gonna walk through the steps on how to set up your art, create it, and then get it ready for exporting.So let's dig in, come on. Let's go by the way, make sure you like and subscribe all along the way.By the way, check out my previous video on planning a generative project. I'm going to assume that you've already got your base character created and you've got some trait types mapped out. Your first step should always be, make your subject plan out the trait types and then get to work on making those traits.That's what we're going to dive into on this video. Okay. So just a heads up. I'm not actually going to create any art in this, but I will show you some of the techniques that I used when making this. This was my first generative collection that I worked on and it was a doozy. I learned so much during this process.And I'm now using the things that I've learned over on the stranded bots, which is my next generative collection that I'm working on right now. So first of all, on the base camp, You have your trait types mapped out. One thing to always remember is every single one of your layers needs to be the same size.This is super important because you're going to be exporting all of these out as individual elements with transparent backgrounds. When all of them are laid on top of each other, they will be combined into a generative art piece. I'm just talking to myself. Don't worry. What do you mean by. All right, we got the layer sizing down.Now let's talk about the sizing and spacing of your tree types. Now for the unicorns. One thing that really killed me. Having so many traits in such tight capacity to each other, it made it really hard to work with. Now I managed to make 250 treats inside of these unicorns, but man, it's difficult to get the layering.Right. And even some of the layers are still kind of awkward. Uh, they go, okay. But you know, not the best, like see the, you can kind of see some of the head stuff. Um, and we had to like play with the layering a lot to be able to get it fixed. Right. So, one thing that you want to do is come up with what areas are never going to be touched by other layers.And if they are touching the other layers, make sure that you keep it in mind where you make like some sort of split or make sure that the combined well with the other layers or else you're going to have a nightmare for yourself. What I chose to do with strangers. Is make it so that the layers do not overlap much at all.And this is something that I would definitely recommend if you can manage it, make it so that the layers have their own spacing. And it'll give you so much more room to work with. So you still like the on, over on the unicorns, I had mouth chin and nose. Uh, and all of them are overlapping on top of each other.It makes us so that way I can't add much variance in the shaping, but with the mouse over on the Strait of bots, I have so much more room to work with. And I haven't even stressed scratch the surface on it, where this entire area, and even beyond downtown. We'll work with the, with the mouth. So that cover spacing really make sure that you give yourself enough room when you're starting out.You want to go crazy and come up with a million different layer types and everything like that. But when you get into the nitty-gritty of making all of your life, It's going to be a lot easier on yourself. If you give yourself spacing. So with unicorns, we had 15 trait types with Shanna bots. We're only going to have nine trait type.This is going to make it so that I can make better arts because I'm not worried about layering issues. So this next part is really depending on your art style, but I'll give you some key overview. How I do my art and what stroke with and how I manage all of the sheeting, because shading is such an important aspect of a trade.There's been so many times where I start a treat and I'm just not feeling it. I almost cut it. And then I start adding. And it's one of my favorite traits now. And in fact, there's a little bit of a difference in my art style from unicorns to stranded bots. One technique that I use is work from the outside in the strokes that are going to be on the outermost edges of the character, like touching the background should be your thickest width inside of that.You can start stepping down, uh, the outer size for me, for my art, I used a 2.06. Now it actually started at three and it was because the piece was way bigger. I started making the designs like that size. Um, and then I started. Ended up at 2.06 and I never changed it. I ended up just using 2.06, the entire, the entire project, uh, for Shannon bods.I've since rounded down to two, but, uh, yeah, so we got 2.06, then the next step inside things, things like. Things like details that add for little characters, shadows that aren't actual shadows, but are require a hard line. I use 0.6, nine. I think I purposely did that one just to be goofy for myself, but it wasn't going to remember in the NFC world, people like the number six, nine, and six.So, uh, and probably number one to people like me. So let's add some traits onto this character so that we can really start diving into things beyond just the NFT itself. Okay. So this right here, you can see that it only has a one stroke with that is because again, it's not touching the outer ends. Uh, and when I put it at 2.06, it just felt like it was too.And it was dragging too much eyes attention. So I start on the hour ends at two, I go in, um, to one on the inner details, like the actual traits themselves. That happened to be on the inner side. So like this monocle yep. 1.06. So, uh, w uh, 1.24, that probably was just because 1.06 felt too thin. Um, I guess you also don't have to be hardcore sticking to this.This is more for your own metrics to like plan it out as you go and be, uh, be, I guess, focused about it. Then on the next steps in is where you really started getting into the, the smaller sides. So for the, for the unicorns, I believe that I used a, uh, one. Okay. That one's actually a thick one because it requires more detail.Uh, but for like the tusk example, um, that's oh, one to 1.5 stroke with, and now it is touching the outer ends, but I just felt like when I had it at two, it was again dragging too much eyes, attention. Um, like the nose one was, was doing earlier. Um, I think it still feels pretty good, but I wanted the bass to feel thin because I wanted to feel like it was poking out of the character, not the outer ends of the character, jumping over to stranded bots.I have a, I have a three stroke with, on the outer ends, uh, and that. That was by design. I wanted it to feel a little bit more punchy against the background because I made the character's head re a lot bigger than the unicorn's head. And actually, let's go sidebar on that for a second. Let me talk to you about the sizing of the character's body parts.So remember that if you are making a profile pig, generative, You want people to be using this as a profile pic? So, uh, if they're using this character, when I actually started the project, I began it round like this. Um, it was more like chess. Uh, instead of a belly up, the reason for that is because you are able to make the head a lot bigger.Uh, when it's like this, you can zoom out more, um, and still get more of the treat details. But I eventually added hands and the arms and because of that, it made it so that I had to zoom the character out a little bit further, but let's just go grab like a board API club. Let's go grab a board, Abe. We're going to bring it into the pride.So the reason why I bring a board apes is because this is like the cream of the crop, the biggest project, uh, that you'll ever find around a profile pic. Now, obviously things come and go. If you go over to the stats panel, uh, yeah, Zuki is up to today and is above. Right there down around eight Schrade volume.But I really think that body shops are probably going to be some of the most lasting project. Uh that's that's out there now. Let's bring it into the unicorns really quick and show the spacing and the composition of how far the layer is. I'm not at not actually using them in my art, but I just want to kind of show you as.How the composition works. So with the board aid, you can see there's way more focus on the head. You know, looking back on it, I probably should have made the body a little bit smaller, um, knowing that I was going to have to zoom out for the hand. So it would have ended up something more like this, which you can see is actually quite a bit bigger than the unicorn.Um, because most of the traits are going to be on the head though, even with this hand and arm, the unicorn is still most of the traits live around this area. When I went to go make this strain of bots, I did a little bit better job of mapping that out. So let me show you how that's gonna, how that plays.Uh, composition wise. So you can see that again. I had to zoom in now because I'm going to have a hand in an arm. Uh, but the head is a lot more sized, same as, as board. Uh, you can see that the eyes are probably about the same size and the hats or hats on mine are going to end up a little bit. Um, but the shirts and clothes are pretty close in size to the, to this, uh, board apes.Again, you don't have to do that. You don't have to keep it exactly the same composition as other projects, but just remember that people are going to be comparing the, your project against other projects. And most of the projects are using similar compositions. To the board API club. Now let's compare a shadow shadow version to a non shadow version.So look how much flatter this is, obviously it's it's shadow and that's what gives it the 3d menace to the character. But, um, it just shows how important this is. It adds so much characters around the eyes. These eyes are so much more boring. There's so much more spacing on the neck. It feels way more 3d, like the.The unicorn is like poking its head out a little bit, you know, even the arm, it feels more realistic with, with the shadow there. So really I like the biggest thing that I would urge you to do on every piece of your art in, uh, with your NFTs is split. Spend like however much time it takes you to actually make the art, like shape, double that in terms of how long you're spending on the shadowing, this rifle.I think that it took me about two hours to make and over an hour was spent on the shading because the shading on this is just so important to make it feel real. Without, without these little pieces of shading right here, uh, all of it is so important to the overall feel of the gum. And when you zoom out, it feels really, really good.Let me, let me like, make a, another version.Okay. So let's compare these guns basically every point every time that there's like a little jut, just, just take this kind of. Duplicate it dragged this, put it right here, flip it over. And there you go. At 24% of Pasadena, it automatically just feels a little bit more of a 3d object. Boom. And we have a.Cool. So let's go look at it, stranded bots a little bit and show you what I've done over there. So with strain of bots, I actually wanted the shadows to be softer, but at the same time, Uh, more pronounced. So with this one, the lighting is really hitting hard on the unicorns. It was obviously there some shading here, but that was like for the most darkest kinds of points of the character.But with stranded bots, I've got it way more intense. Like you can see here that there's like a whole shape and I actually have to update this shape based on the head shape, uh, blah, blah, blah. But, uh, but it's harder lines on. The head kind of area and the body area. I made it a lot softer by actually adding layer blurs to my shading on some of those, like on this area, I'm not adding a shadow blur or yeah, shadow blur.See some might actually do that because it feels, it feels a little bit better. Uh, it feels more soft along with the headshot. Uh, and so, yeah, so I definitely I'm going to do that. So what I do for that, a decrease the opacity a little bit, you know, remember on the unicorns, I had it at 24% opacity, but I'm doing more shading, uh, but, uh, having it softer overall.And so because of that, I I'm putting it to around 10 to 15% of passively this time. And I'm adding shadows. About, uh, about 10 to bro really like eight to 15 layer blurred pixels on those. Yeah. When I first started, I started more like this with hard, hard shadows. I actually, it feels a lot more in line.With the stranded unicorns. Uh, but as I started diving into the, the shading, I just felt like it, it needed so much more extra character because it was a simpler, uh, robot kind of shape that I felt like we needed that extra push of. Okay. So we talked about sizing and spacing. We've talked about shadows and.Now, we're going to talk about using components to test your later. So you'll use these techniques to go make all of your traits and then you, or you are on to actually exporting things. There's a lot that goes into actually exporting and actually running the generative art combination. So I'm going to be posting another video really soon on all of that.Hey, by the way, if you have. Now is a great time to consider subscribing. We have so much content coming around, creating and producing and marketing a generative NFT project. And I will see you really soon. Soon, soon. Love you.