Shadow colours follow a stylized reference rather than a physical fill. Skin shadows stay warm salmon and gain colour; white and silver shift toward cool violet; vivid colours retain their chroma; and dark cloth loses a little. The shadow border starts near the half-Lambert midpoint, making the shading visible from the front. The default Rim Shade is faint and narrow. Skin shadows anchor to a warm salmon bounce (hue 22), with 16 degrees of travel and a deeper fill (0.56). The Advanced Shading rows keep their names. ambientLevel + bounceLevel is the fraction of light reaching the shadow, while the ambient and bounce hues and chromas anchor its colour.
Rim Shade is again a silhouette shade. It carries the shadow colour and darkens the model's entire edge, like lilToon's rim shade. The Rim Shade Strength slider controls its opacity. The shade band has its own shape instead of using the rim light's narrow band, which appeared only beyond an 88-degree view angle and was effectively invisible. The default is a faint, narrow edge (border 0.72, fresnel 2.5).
On Poiyomi, Rim Lighting 0 is the shade: LilToon style, Multiply, all-around. Main Color Blend, Shadow Mask and Enable Lighting are set to 0, so the multiplier is not applied twice, halved in shadow, or scaled by scene light. Rim Lighting 1 is the rim light on the light-facing side (Add). On lilToon the rim light is directional, and its away-from-light colour is muted, so no white line appears on the dark side.
Materials still bound to the removed Poiyomi shader (9.0) are recognised as Poiyomi. The Apply card shows a single banner, and one click runs Poiyomi's own upgrader. When automation is on, the upgrade runs before the palette is written. The base colour is sampled again afterward, so the palette comes from the actual texture rather than the white placeholder left by the missing shader. A batch entry without a texture uses the same linear tint as a single material.
Rim Light, Backlight and shadow colours are written exactly. Base-mix sliders are set to 0, and the recommended colour lands as-is. Shadow strength is 1. The strength sliders are opacities. The Outline never loses its alpha.
Automatic setup turns on feature toggles that were left unchecked, instead of only reporting them. On Poiyomi it also sets the second shadow layer's extent.
Every apply note and compatibility message is localized, in English and Korean.
Poiyomi rim shade works, through the half of its lilToon-style rim that faces away from the light. Both halves share _RimBlendMode, and the tool reads it. Under Multiply the shade is written as a multiplier against the sampled colour, and rim light as a tint. Under Replace both are absolute. Under Add or Screen the rim can only put light back in: the shade channel reports itself unsupported and offers one click to switch the blend to Multiply. A rim style other than LilToon offers one click to switch the style.
Poiyomi rim light accounts for _RimMainStrength, the amount of the sampled colour the shader mixes into the rim.
Fixed: the Batch Apply card never listed the materials queued in it. The card built its drop area and its buttons, but not the list. Every queued material was tracked and applied, and never shown.
Fixed: a rim shade colour was written into _RimIndirColor on Poiyomi without checking whether that rim could darken. Rim light strength is written only for the rim style that exposes it.
Skin shadows read as blood rather than clay. The subsurface bounce targets the hue blood actually carries, allowing the shadow to shift further toward it. At the same lightness, a light skin shadow deepens to #CA756D and #BA6464 instead of #C87767 and #B9665B.
The shadow border comes from what happens where the light grazes the surface. Light that enters the lit side travels under the surface and leaves in that band. Skin's band turns toward blood red (#E29F96 instead of #E0A190) and gains chroma. Metal, which passes no light under its surface, keeps a plain cool band. A band can no longer come out as bright as the lit surface.
Outlines carry less chroma, so a line reads as ink drawn over the surface rather than as a vivid copy of it. A red dress traces at #673D39 instead of #703732. Skin and other near-neutral base colours are unchanged, because their chroma floor already held them.
Applying a channel sets its numbers as well as its colour: shadow strength, the base-colour blend, the second shadow layer's extent, rim shade and rim light strength, backlight blend, outline alpha, and the shadow border shape (border, blur, range). Picking a surface and pressing Apply All is enough. Nothing is left to tune by hand.
The three separate opt-in checkboxes are gone. One switch, on by default, reads Set all colours and numeric values automatically. Turning it off restores colour-only writes.
The Shading card lists the numbers that will be written, with their shader property names, from what the material's shader actually exposes. A lilToon material lists more rows than a Poiyomi one. Neither lists a property it does not have.
A feature switched off on the material — Rim, Backlight, Outline — is reported with a one-click fix, instead of the tool writing a colour that cannot render.
Fixed: rim shade was written to _RimIndirColor, which belongs to rim light. It now writes lilToon's _RimShadeColor as a multiplier, matching the shader.
Fixed: rim light ignored _RimMainStrength. The written colour is divided by however much of the albedo the shader mixes in, so the rendered rim lands on the recommended colour.
Fixed: a colour write no longer overwrites the alpha of a shader property that uses alpha as a strength.
Skin shadows read as blood-perfused rather than brown. Skin carries most of its fill light as warm bounce instead of cool sky ambient, and the shaded chroma follows the gamut cusp further. A light skin shadow moves from #C1806F to #C87767 at the same depth.
Fixed: outlines came out red on lilToon materials. The shader multiplies _OutlineColor with the albedo, so an absolute dark colour became skin times 0.17. The tool now writes a multiplier. Outline chroma is also scaled to 0.6, so a high-chroma base colour no longer traces itself with a high-chroma line.
The window follows the working order: Surface, Sampling, Material Type, Shading, Advanced Shading, Palette, Apply, Batch Apply, Shader Property Mapping, Presets.
The duplicate Shading Style dropdown is gone from the toolbar. The style is set in the Shading card, where its label is never clipped.
Palette cells show the channel name under the colour, so a long localized name no longer clips against the swatch. Unsupported channels are dimmed, and the tooltip says why.
Boolean controls are buttons that light up while they are on, instead of checkmark boxes.
The resolved shadow border shape values sit in a collapsed block. The Shading card shows the controls. The numbers are one click away.
The Batch Apply header shows how many materials are queued, and opens itself the first time something is dropped in.
Apply reads options first, then one row of channel buttons, then Apply All, then Revert on its own.
English and Korean localization, with Auto, English, and Korean language choices. The editor window, Project Settings, compatibility diagnostics, status messages, warnings, and preset dialogs follow the selected language.
The editor window is rebuilt with UI Toolkit cards and a compact palette grid. The Shading card compares the current and suggested shadow border shape, and shape writes are opt-in. Batch apply keeps a palette per material.
Fixed: Revert restored the state after the first apply, not the state before it. Applying twice and reverting now returns the material to its original colours. Revert is tracked per material.
Skin shading is softer. The shadow keeps more lightness and less red, and the skin Outline is less orange.
Shadow colours are lit by ambient and bounce fill, instead of being darkened by a fixed amount. Shadows are lighter, keep their hue, and stay colourful.
Fixed: shadow colours were applied twice as dark on lilToon and Poiyomi, whose shadow colour properties multiply the base colour.
Fixed: a near-neutral sample was reported with a tinted base colour and an overly high-chroma shadow.