Materials Deep Dive with Blender (Free Class) | EduCraft Ideas | Skillshare

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Materials Deep Dive with Blender (Free Class)

teacher avatar EduCraft Ideas, 3D Animation with your imagination!

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (45m)
    • 1. Intro

    • 2. Noise Texture Background

    • 3. Noise Texture Basics

    • 4. Noise Texture Mask

    • 5. Noise Rust

    • 6. Noise Paint

    • 7. Noise Scuffed Paint

    • 8. Finishing Touches

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About This Class

Have you ever wondered how to make your models look more realistic? The key is usually that the model looks unrealistically perfect. Real-life things have wear and tear on them. That's where this class comes in. You're going to take a deep dive into learning how to use procedurally generated materials for rust and wear. By Procedurally, we mean that it's all created within blender without using externally taken photographs.

Specifically, we're going to use Blender's noise generator (which is a Perlin noise generator) to do this. If that sounds like Greek to you, don't worry I explain everything in this class.

In this class, the students will learn everything they need to know to use the noise texture node in the material shader in Blender.

Meet Your Teacher

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EduCraft Ideas

3D Animation with your imagination!


Modeling and animation are all about your imagination.  Here at EduCraft Ideas, It's our pleasure to teach you how to bring everything in your imagination to life.

In the pic above you'll find Linda.  She's the next subject of our upcoming classes.  William, one of the EduCraft Ideas team learned to do character modeling in a very reasonable amount of time.  Coming soon, I'll show you where I started and you'll be amazed at how far I've come and how you can do the same even faster.

It doesn't stop there either.  We're going to cover many facets of modeling and animation and it'll always be on free software.

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1. Intro: before we get started, creating all the different things with the Perlin noise generator with blenders. Noise generator. I just wanted to give you an idea of what it looks like in in, So you're looking right here at a sphere. Other than that, there's no modeling, just the sphere that comes out of the box with wonder. And if you look at this, you can see that there are scratches. There's rust with different colors. There's a cloudiness to it. There's parts that are glossy and parts that are scuffed up in all of this. You can create completely with blenders, noise generator, that single texture, and I'm gonna get in and show you exactly how to do. 2. Noise Texture Background : This video is all about the noise texture. I'm going to cover what it comes from, how it's used and how to implement it in blender. So let's get started. So the noise texture is based on something called Perlin noise. And Perlin noise was developed by a guy named Ken Perlin. He did it for this movie came out in 1982. You may have heard about it. It's called John was iconic for its time. He even won the Academy Award in 1997 and they did a remake much later. That was actually really cool. So Perlin noise is a fractal, meaning it's a texture or a picture or have we want to think about it that's created completely from map algorithm. So these are examples of Perlin noise. Sorry, these are not Perlin noise. This is an example of what Perlin noise, the actual fractal looks like. So what is Perlin noise? So in order to describe what Perlin noise is, let's think about what random numbers are. So on the left is a graph or random numbers, and you can see it's really, really jagged and the numbers jump around all the time. There is not a particular method or rhyme or reason to it because it's completely random. But if we look at Perlin noise, we see that it's got some of these same random aspects, except there's smooth transitions between the random numbers. And that's essentially one of the things that makes Perlin noise special. So if we think about this in terms of 2D, we have here a completely random 2D plane that has little pixels that have different gray scale values. So some are black, some are white, and some are something in between, and it's completely random. But if we look at Perlin noise in 2D, it has this like cloudy look to it because the transitions are much smoother. So what is Perlin noise really doing? So we can think of Perlin noise or Perlin noise generator kinda like a box, right? I mean, take a box and we put a number in. The number can be x, it can be x and y, it could be x, y, and z. We put that number in and we get a grayscale value out there. Grayscale value out to me, anything between 01 or negative one to one depending on how you're implementing Perlin noise. So we then think about putting as x four numbers n, so 1234. And we graph that. We can see that each thing comes out, each number gives us a different output, right? And if we look at one number between 011, number between 121, number between 23, and so on. We can call that, we'll say that's a frequency of one. Now, let's say that we increase it by two, so not just 1234, we look at, we look at 1.51 to 2.533.5 and so on. And we enter those numbers in the Perlin noise algorithm. And we get even more detail because we get a new number for each one of those numbers that we insert n. And we can say that now will sampling at twice the frequency of, so it's got a frequency of two. Rosseau decrease in the amplitude by a half, which is important but not important for you to understand how this works. But we can keep increasing the numbers, the number of times we're sampling within the same range. And you can see that we get more and more detail with each one. Now we can take all of these four graphs and add them together. And this gives us a different look completely that has aspects of all four put together. Now we can apply this to a 2D plane. Here we see we have one, the Perlin noise generator that we talked about before. This very cloudy looking, but when we add looking at more samples, higher frequency, you can see that we get more detail. And if we do that again, you see that we get even more detail. And this each individual graph, each individual frequency that we add, we call octaves. So we want to, why do we care about octaves at all? Well, if you're actually using the noise checks your generator and blender. That's essentially detail. When you increase the detail, you've increased the octaves. Now if you remember when we talked about octaves, just, I don't know, five seconds ago, we're looking at more and more samples in the same range. So when you increase the detail, you increase the octaves, which increases the amount of computation Blender has to do in order to use your noise texture generator. So what we're going to look at is sexual generator in the context of weather. So what you have here on the left is something I created with a morphology of this is completely created with Perlin noise. And what you see on the right is an example of a sphere that has different material properties, honest got scratches, stuffs, rust. All of that is is created completely with blunders noise generator or blenders, one of blenders, Perlin noise generators. So let's go ahead and get into exactly how do you Perlin noise or the noise generator. 3. Noise Texture Basics: Before we get into all of the amazing things you can do with this noise generator or the Portland noise texture or the noise sex, or however you want to say it. Let's just connect what you just learned to how this works employed there. So what I'm gonna do is I'm gonna change my scene now. You could hit shading and this would change your scene, but this adds a whole bunch of stuff that I really don't want. So I'm gonna go back to the original and I'm just going to change this last bottom pane by clicking over to the left with the shader editor. So I'm assuming that you know, the basics abundant, otherwise you wouldn't be watching this tutorial. So what I'm gonna do now is I'm going to initiate a editor. I'm going to select the default cube and go ahead and delete the default cubed because it's going to be much easier to look at this from just a plain perspective. I'm gonna hit seven to go from the top view on the shift a to add a plane. I'm going to zoom in on that plane. Now I'm gonna give that plane a new material. We're going to just call it no ways. Now with that as our new till. Now, that is our the material. I'm going to change the view shader to the one that lets us preview the material that we have. So I have the plane and now I'm going to delete the principal BSDI. We don't really need that. We're not really talking about using a US, creating a usable texture. So what we're gonna do is just to give you an idea. So I'm gonna shit a, I'm gonna click Search and villain type and OI, right, that gives me the noise structure. You can also get to that by going to add texture and then go into noise texture. And then I'm going to connect the factor to the surface. And I'm just gonna do that by dragging over. I'm gonna assume that you don't have node or angular node wrangler installed, just to give you an idea. So this is that cloudy texture we were talking about. The next thing we're gonna do just to make things a little bit easier to see is at a colorRamp know, and they'll colorRamp known maps, everything in the picture, everything in the inputs to what's in the color map. In this case it's black and white and all the grades in between. So initially, if I distribute this, you can see that it doesn't do anything, but we're gonna drag the blacks up just a little bit. And the point of this is just so you can really see when we make changes to these parts that we were talking about. Right now, the noise texture is set to 3D. And i'm going to month is down to 2D because we're only working in 2D right now because this is the plane. When we do things with the sphere, you'll see that it will need to be in 3D because this sphere is 3D, but right now it can be 2D. So we talked for, about the detail or the number of octaves. And you can see as I increase this, I get more detail. Now blender will allow you to increase this all way up to 16 on its own. And after that, I'm really not sure if you're allowed to because you can certainly type higher numbers in here, but I don't know if it's actually calculating those numbers. So this is the detail of the octaves that we were talking about before. The other part is the scale. So the Cl works pretty much just like you would think. I can zoom in. Things get blurry, or I can zoom out and I get more variations of what we were just talking about. So you have scale, you have detail. The last thing you have is distortion. On blenders documentation site, they don't have a lot of information about distortion. But if you looked into the mathematics of Perlin noise, really, you're changing one of the inputs into the Perlin noise generator by using the Perlin noise generator and a couple of other parameters, but this is essentially what it does. We're gonna use it to create scratches later. So these are what the three parameters you have, whether it's duty 3D 4D, whether you whether you want a different scale detail or distortion. So that is the 4. Noise Texture Mask : As we go through with this process, and I show you all the different ways you can use the noise generator with Blender. I'm going to reference this picture just to give you an idea of what's going on. So when you look at this, you can see that there are scratches in someplace. Scott ross, Which I did overdo it a little bit. It's got scuff marks, it's got shady parts. And we're gonna do this completely using the noise generator. And the first thing we're gonna look at is creating these occasions here that have the rest. So me a mask to create these last sections. So let's go ahead and set that up in a lender. Now, right now I have my scenes set up where the bottom portion is the shader editor. So I'm gonna go ahead and start a new scene so you can see how I did that. So like I said before, you could click shader over here, but then I get a lot of stuff I really don't need. So I'm gonna go to modeling, actually vegetable layout. And I'm just going to, instead of adding a new pane, I'm just going to change this one plus for this, we're not really worried about animation. So I'm gonna go over to the left corner and I'm going to select shader editor. I'm also going to make sure that you can see what I'm looking at. And yet, so now you can actually see what I'm typing at the same time. So the next thing we're gonna do is change this to a or because the spheres, what you saw before and it gives you a good idea what everything looks like. So I'm just going to hit X to the weakest, Just to add a UV sphere, I'm going to go ahead and just use the default. I could change that over here for rings, radius and segments, but I'm just gonna go ahead and leave this the way it is. The next thing I'm gonna do is head over to object and shapes mode just to give us Mugler. And lastly, I'm going to give it a will not lastly, but another thing I'm gonna do is give it a subdivision surface modifier just to make it even more smooth. I'm going ahead and crank this up to two. So it'll say absolutely pressing in. And now I'm going to give it a material at some inequity. When I go to the materials tab, click new, and under this part I'm going to put noise. So now we have everything set up to be able to look at this. I'm going to drag this up just to make it a little bit bigger. And for right now we're just making the mass so we don't actually need a shader yet for this. And wanted to point out one or 2.82, which is the one that I'm currently using. I can view what material looks like someone hit shift a and search. And I'm just going to type noise and we're looking for the noise texture. And I'm going to put that directly into the circuit. So you don't think anything yet because ran at the section where the viewer that doesn't allow us to see that. So if we hit the view shader, that allows us to be able to see what it actually looks like. So now we can see that we do have that cloudy portion, but right now it's set to look at the coordinates for if it was generated. But in this case we don't want it to be generated coordinates, we want it to be object coordinates. Right? So in order to use the object coordinates for texture coordinates, we're gonna go ahead and add that so I can say shit, a search. And I put texts for texture coordinates. And we're not going to really use it much, but it's usually good practice just in case you do want to change it to put a mapping node in between. This allows us to change the scaling and rotation if you wanted to. So we're not going to use it a whole lot, but it's good practice in generally you would use that. So this gives us the basis for the first part of what we're looking at. So right now, as you can see, this looks nothing like what we need. You can see that the x places here with rust is very jagged and sparse. So one way we can change that, shit, a search hollering. Alright, so we're gonna add a polymer MPA here. And now this is gonna give us the ability if we drag the blacks of, to make it much more sparse. And you can see here now we have something that looks a little bit closer to what we were doing before, but it's not quite Jaggard enough, it's not jangled enough. And then this area is a very still, still really cloud. But remember this is a map, so this is what separating two different materials from each other. So we want there to be a really clear demarcation between one area and another. So in order to do that, I'm going to drag my whites over and I'm going to zoom in a little bit. I'm going to drag my white salary to get that area. And this demarcation line that's going to be between the two, to be very, very clear. And I do that by bringing the whites and blacks really close to each other. Now if I zoom in, I can bring them even closer. And right now, this is still really too much, so I'm going to bring this over even more. Now if I take a look at this rest sections, a little bit better, a little bit. Go ahead and think as white over somewhere to make it a little bit more Start. Now, the problem is more like droplets, they're not diagonally up. And if you remember before, one of the issues was the detail. So we can up to detail some and that will make it more jacket. Now we can also, and that's what the scale a little bit, which will give us slightly different books. And now we have that jag you'd look that we wanted for the rows. Now we can increase this all way up to 16. But if you look closely, there's a certain point to which it doesn't really make a big difference, right? So when we get to about 89, it's Jaggard as we need it. Right. And it's not everywhere, it's just in certain places. That's exactly what we want. So this is the first portion and this is the place that demarcates where we had the vest and where we have the other parts. So before we stop with this part, what I'm gonna do is just to label it because we're going to have a really complex no set here. So I'm going to ship and select all four of these. Then I'm gonna go to, actually what I'm going to do here is hit Shift key, right? And that just puts a frame around the ones we had selected. And just to make it easy for us in the future, I'm going to go under item and under label, I'm going to put math, right? And now we know that this area is our best nest. 5. Noise Rust : Now that we have our rest mask, let's go ahead and use that. And let's go ahead and make some rough. So just to see how we would mix to differentiators, I'm gonna say shipped a, I'm going to search and I'm going to go for a mixed shader. So mixed shader allows me to take two shaders and put them together. And if I use this fact here, this is what tells it worksheet or goals. We're so right now vacuous if at 50%. So it's really just adding the two over each other. And I don't really have anything here. So I'm going to control right-click slash. Sorry, that, that's what happens when you hit shit. So I'm gonna take the polar of colormap into vector. And at first it's not going to be anything. And that's because we don't have any inputs into these two shaded. So just to give you a idea of what that would be, I'm going to use at the few shader, which is probably the simplest of all the shapes you can do on a duplicate that shit V, M appalled that into both of these. And initially, you don't really see anything. And that's because they're the same color. But FI, switched one of these black. You can see that based on this mass, this west mess that we created, the bottom texture or the bottom shader is what's going to be black and the top shader is what's going to be y. So the majority of it is white. So in this case, it means that our rust would need to go into the bottom line. And of course, this can be any color we want it to be. You didn't really have to be any particular didn't have to be black. It could have been any color just to show you the idea was supposed to be. But I'm gonna go ahead and give it a list because we are going to actually put a rust color right there. So the rust that we're going to use is also based on just what the noise shader. So let's go ahead and add search. I'm going to type in noise again. And we're gonna do that same exact thing we did before, where we add a texture coordinates. So just to show you a different way to do this, we can go to input and input. We can find our texture coordinates. And we also want the mappings. I do ship a search, honestly searching for it. It's probably the fastest way because it's sometimes it's hard to remember precisely what menu. So if you remember what menu and you could put that, that's good. But I'm going to change this to object. And I also meant for this to be object. I said I was gonna do that and then, and they're actually did it, but we're changing this to object. Sometimes if it is, suppose you have that issue. But I'm gonna change this to object. And it's slightly different. So let's go ahead and leave it for right now. Honestly, you would get a better result from doing object. But since we did all of our parameters based on generated, it's fine because we're not going to do a whole lot of this important things is that when we move it, some selective rotate that it moves like we think it will. If we did different things like scaling it, it would have a different effect whether we use generated objects, but we're not going to. So right now we have our object to object coordinate to mapping, and then from our mapping to the vector portion. And now we need to create the shaded and we need robust. So we're going to use probably the most powerful shader and one of the most partnerships when there has the physics basic shape. So that is the principle BSD app. So I just type print for principal, and I'm going to feed that into the bottom section of the machine. So right now there's nothing particular UI there. And that's because it's white. So we don't have anything here. Initially, so it's white on white. But if we change the base color to something slightly more red, you can see now it's showing up. So let's go ahead and do a few things. Well, well, if you look at our original texture, there's a lot of bumpiness in here, right? And that's because we're using the normals. So in order to use this texture for the normals, we're gonna have to use a shift, a search button, shader, blog one node. And that allows us to use grayscale values to create that what looks like geometry. So we're gonna take this factor and we're gonna put it into the height. Alright, I'm gonna just gonna pull these out a little bit. So right now it takes a little while to do the math and figure this out. And we kind of have an idea now of what that looks like. Now the colors don't look great because we just randomly selected that color. So let's go back to almost white. And this isn't quite what we're looking for. But I just happen to know that f scale of about three, along with a detail of 6.1 and no distortion gives us a more rocky and working environment. Now we're not going to change anything here, but we could have this different things we can do with the scale here that makes it look a little bit more rocky or a little bit different. We can also change the location or we don't need two. This looks good to me and the strength right now is set to one. If we felt like this was too strong, we could of course, down that. So let's go ahead and just so you can see with alpha x o or decrease in that strength down. And you see there's a slight difference to that. So now we have the same except we have this bumpiness is sort of this also control the color inside here. So we're going to use the same noise texture because we want everything to match. So we're gonna say ship a and I'm going to add a color by accidents. So out of the factor, I'm going to put that in because we're only using the grayscale at the moment. And I'm going to feed that into the base color. So initially it's not really going to do a whole lot right now. Going there, it's just doing the calculations is try to figure out what's going to go there. But now, here is where we want to change our colors. So we're gonna take this and we're gonna make it a kind of reddish color. We're gonna take this one and we're gonna make it a kind of orange is colored. And then we're going to add one by hitting the plus sign. And we're gonna make this one black. Again is doing the calculations, but after it's finished, we'll have the ability to select this line straight all the way down and they get the flag. So now we have a little bit more realistic looking and we can ship ease around depending on how we want it to look. How orange or red things are. Just to give you an idea. So that is the look for the actual color of it. But we don't want to stop there, right? We have some coloring here, but we can also effect the maleness and we can affect the roughness of the stuff. We want some persons to be shiny and like metal and other places like that covered with rust, we can simply add some more so we could connect this directly into the roughness, which is going to make some portion is rough and some horses moves is going to be some questions kind of reflective and some portions not reflected, which is good. And we don't necessarily want much of this to be reflective. And then the other thing we can do is also put this into the metallic. So if you think about rest, rest is actually not know. It's a dielectric. What there might be some metal parts to it so we can mix those two by putting them here. Now what we can offer do by hitting Shift and then dragging it across is putting connectors here. And what I'm gonna do now is add a, another color random. So shipped a search hologram. And I'm going to drop that in between right. Now when there is doing the calculations. The good thing about when vendor is doing these calculations once they're in place, we can then shift things around and we don't have to wait for it to do those calculations. So if we want to give it some more sparkly sections like this, that's what allows us to do it. But we see right now that it's really sparkly in the wrong places or it's a little bit to slightly so we don't want much. So let's tone it down. And that way we still have some sparkling lights. But for the most part, it's dealt like it should be because it's rest. So this gives us our wrecks are rust sections and we did that completely Perlin noise like we did before. I wanted to do some housekeeping and make this a little bit easier to see. So we're just gonna shift some things around. I'm going to go ahead and get rid of disconnected by hitting Control X. That allows me to keep the connection. I'm going to minimize Valen, bring everything a little bit closer together. So I'm going to shift click these, bringing them over. And then I'm going to hit V for box select and make sure everything here is selected. And then I can hit shift to put them in their own frame. And then in this frame, i'm going to have the item and I'm going to call it rust. So the next thing we're gonna do is add the pink up to it, which is pretty simple. 6. Noise Paint: So the next thing we're gonna do is address this painted portion here. This is the painted portion of metal, so that's why you see through it. You can see scratches and things that have metal underneath it. But if you look really closely, you can see that it's not perfectly smooth. In fact, no surface is really perfectly smooth space at right zoom Known As you can see that it's completely pristine and smooth. And while it's nice, it's not really realistic, so we need to address that portion of it. So right now, this is the part of the material that's like so if we change this color, you can see that everything where we don't have our rest section is this color. But we actually don't want to use the stator. What we're going to use a, we want to use the principle of BSD F, but it has so many uses. And I'm going to put this in it's place, and I'm going to hit X to delete that. So if you drop a shader on top of the line under it will usually be able to figure out which port seemed to be collected. So now we have this and it's white and we're going to add our bumpiness to it so similar to what we did before, except this time it's for this much larger portion. So I'm gonna say to a, I'm going to add a known structure, just like we saw for delta. That's the whole point of what we're doing. We also need a bum note, because we need to be able to translate this vector data, which is grayscale data into the height map, into the normal, surprisingly. And you can see that I think that vector, if I take the vector from the noise texture into the hype, and just like we did before, we're gonna go ahead and add our texture and mapping coordinates. Right? And right now this is much bigger than we need it to be. But let's go ahead and ship a and we want to find dy as extra coordinate. And then I'm going to make sure that again, we're going to add a mapping and heinously, I don't need to do this, but it's good practice because later on they might be something we want to tweak and we want to have the ability to do that. So we came through the mapping if we want to. So I'm gonna take object and put that into our vector. And then we're going to take the vector part of the mapping and put that into our noise texture. So now this will give us the extra work, but not before we shift some of these parameters to be more specific, we what we're looking for. So now we can see that this is way, way to being the strength is probably too high. But I happen to know that a string of IS-IS scale of about a thousand is what we're looking for, right? And now you can see that it's a lot more, a lot more textured, but really there's still too much. We can leave this a two. You don't really need any distortion, but the strength, we can think that way down to 0.05. So now if I look really closely, it's hard to, it's actually hard to see with this particular color. So let's take it from White. Does something slightly different. Oh, and I change the wrong ones. So I change the subsurface number, which really doesn't have much of an effect on anything we're doing. What I meant to change. And I can result reset to default value where sometimes worry, sometimes that doesn't put, we're gonna change this color, right? And as I move this around, you can see that now it does have a little bit of extra. Now, if we decided that this was in fact not enough, increase this. And now you can see it either more. But I think that's probably a little bit too much. So I'm gonna go back down to this 0.07 and then you can see the texture is still there. So I'm okay with this. So let's all we really needed to do for the texture as far as how healthy it is around. Do that same thing that we did before. I'm going to box select b's. I'm going to hit Shift P, put a frame around it. And now we're going to say, or this paper up text. Now, our NCT has a particular texture. 7. Noise Scuffed Paint: The next thing we're gonna do is get this base paint to have this copy nature to it where it's blue and sometimes darker shiny and sometimes a little bit less shiny. So it's good to do that right now. So the first thing we're gonna do is add this noise shader again. So I'm gonna copy these because it's pretty much exactly what we need to do. So I this out, you have to do to do that is select them, hit Control C and then control V. And then I just drag them to put them in the correct location. So now I'm going to put these values back to about what they were before so that we don't see anything crazy. The other thing I'm gonna do is instead of object company's generated cuz that's gonna give us the best, the best look of the texture that we want. So if I plug this directly into base color, we're pretty much gonna get nothing. And that's because the noise texture is really not giving it what it really needs to create the color that we want. Now it is going to actually try to do it. And what the noise picture is giving it is a grayscale version of what we're looking at. And you can kind of see that that's what we get. But in order to get the colors that we want, like we saw in the file that I showed you earlier, I'm going to add a colouring of known. And within the whole map node, I'm going to change the color. So I happen to know what those requests and had been saved here, but let's go ahead and change them to that. So I'm gonna use the dropper here and I go to, in order to change the color. And I click on the actual arrow here. Then I click on the bar, I click dropper, and I go there. And so if you don't have a conversation like I'm sure you don't applique here and then you can see that the hex number or it is B, C, D, E, F. So you could type that in octets or you can look at these RGB values and type those in. And I'll give you the exact same color that I have. And the other the other color and it's changed. I'm going to use in the same way by clicking on the arrow, clicking on this portion here using the chopper and using that saved color. But if you want to use the same color I have here, you can pause the video and see that the RGB values are here, or the hex value is four to 65 a force at B type they didn't. You'll get the exact thing that I have here. So this isn't still quite what we're looking for and that's because we don't have the parameters set up to be what we want. So I happen to know that we're going to end up working the best is if we have six here. And then for detail, we had 7.2. Now you can sit these around and I'll show you what that looks like. A new may find something that looks better to you than what looks good to me. So you can see, this gives us this scuff nature, but this isn't the only place we can make a change. We can also shift our opponent though, so we can take those darker portions and make more of our environment dr. And easy now that we kind of have this setup to where if it looks like the, but really it's not quite there, right? Because it's all the same shininess really. But some parts should be s0 and some parts should not be shining, right? Because that's what it would look like if we actually had this in real life. So we need to effect the shininess or other things that affect the sugar in this, we're talking about. The middle one is how Metallica is, right? So by decides to move this metallic, this metallic slider, while Bundler does some more calculations. So if I move this metallic slider, we're essentially deciding to make it a metallic or a dielectrics like paint, a rubber or something else like a ceramic. But if we're talking about a painted them, some parts of it are the pane, which is a dielectric and not know at all. And some parts are the middle, which obviously is metal. So we want to be able to use our texture here to give us some of that same ability. So the only thing that controls what it looks like is there, even if we don't have a metal here and we have completely painted piece, we still have how shiny that is and we can control that through the brightness. And you can see once we take it runs all the way down, it gets more shiny. And you can see that Pompeii texture that we added before, but it doesn't make any sense for this to be old and also shining. So in order to do that, we want to control this with our texture and our noise texture as well. So we're going to be this value into a rebellious, but we don't actually need to do color. So what we're gonna do is we're going to ship d And we're going to actually want to use a completely University did a search on real addition polymer and other polymer. I'm going to pick another color, Graham. And I'm gonna take something out of the same vector we had before into this color ramp. And I am going to feed that into art rotten. So I'm just gonna do its calculations and you're gonna see that the roughness is now going to vary depending on where the mass or where the twig texture here is dark and where it is white. So after it does that, we're going to hear course again. And now when I look at it, some parts, the darker portions are going to be more shiny then the other portion. So if we move it here, we can then see the whole thing is either you allow machine, so that's actually not what we want. Once you get less shiny because this is less new. So we're gonna move this side. And now you can see that less of it is in fact, what we do on slightly tiny sections somewhere. The other thing is that we don't want anything like completely shining the way that it is now. So we're going to go ahead and line up this section just a little bit. So nothing is going to be completely shiny. And now you can look here and you can see there are places that kinda shine through, but not everywhere. So we get that same effect of having some parts be shiny and then some parts not be shining. So this is the only part needed for that base mask or being a little stuffy or not. So we're gonna do that same house-keeping we did before. We're going to select everything, hits P To put it inside of a flame. And I'm gonna name a frame based paint. So now we know what it is and if we want to make changes to it, we can easily find it. 8. Finishing Touches: So the last thing we need to do is add all of these scratches because nothing this old would not have strategists. The first thing I'm gonna do to add distracted don't really need Beastie things anymore. And they're not towards anybody is to add another set of voice text. So the biggest way to do that since this is kind of already set up the way we want it, I'm gonna shit left. Click off four of these. I hit shipped V. I pulled him to the side. They're still selected. I hit shit p and that puts them in their own right, Because we're gonna have to do that anyway. Select this frame. Grab it. I'm gonna pull up here so that it can be so Everything looks to be a little bit more organized. I'm just hitting. I'm selecting the frame and I'm hitting. Grab and let me redo this. Okay? Jesus, Pratt. And that allows me to organize everything away. I would want to be recognized. So right now, this is going to be the scratches. So in order to see what that's going to look like, I mean to connect this directly to the base color. So this is going to take out the apartment. That's okay for right now, because we just want to see what this practice will look like on the album. Will do the actual mixing of the two in the moment after the scratches. So when they're African does this will see basically the same set up we saw before. We just need to make changes to its right now. This is set up to look like the stuff be cloudy fiction. But in order to look for in orderto look like scratches, we're gonna have to make some changes to it. So the first thing we're gonna do is change this scale and make it higher, right? Next thing we're gonna do is actually take the detail down. Now, for the first time in the only time and everything we're gonna do, we gonna change the distortion. The distortion is what's going to give us some of these lines or what looked like kind of ridges, right? So I happen to know that a distortion of 6.6, what's good for this? And now I'm going to move around our color. So before you could see that we're kind of losing parts of this as I increase the great, but we don't really need Great. We need black soulless bump this all the way down. And now when I move this over to the black, over to the right, you can see that we just get a subset of the things we had before and depending on how many scratches idea is how far over a little bit, but almost none. I can move it. Just there can usually only be occasional stuff here. But if I leave it here, you can see that we have, ah, pretty scratched up. And also, with this black color, you kind of get a better idea of. But the effect this roughness is happening on our finger and you can tell that it's really , really cold. So this is a look that we're going for. But right now, we don't really want these to be white. I didn't say this before, but this is more of a mask than anything. So we want Justo clearly be one or the other in most cases. So we drank that and you know what? I think that this is probably a little who's ready So I'm going to move over my black get rid of some of those scratches. So this looks good to me. So now the question is, how do we merge the two and where does this go? So now that we know what this looks like, we want this to be the section that shows us the metal underneath. Because if we had something that was painted metal, it would be paint on the top and then metal underneath. Or in our case, we're going to make this. We're gonna put this into the metallic, and after this does some a little bit. Calculations. Like I said before, Booth has to do a certain amount of calculations every time they increase the detail. Right there. More options in this one. This would have 3.5 octaves. The other one before this had 7.2 in terms of details. Oh, Brad, quite a quite a bit of computation on the ends. So now you can see that we have these scratches and everywhere there's a scratched. That piece shows as a mountain out. We have time. What we could do. It is also mix this into our roughness because these portions usually tend to be more smooth as well, but just in the interest of time, we are not going to do that. But we are going to add it to our base color. So right now we're gonna take what we had initially and put that into our base color. And that's when also give you an idea of what everything looks like when it's together. And that's one of the steak. For a moment here it is interesting, because usually when you're working with Blender, the thing that takes the most time is rendering. But in this case, running is not actually that big of a deal. It's the doing the actual calculations for using all of these different procedural textures , all of the same procedural textures, so we're almost done. But the thing I want to add last is making these marks more light ish right when we want add the scratches to the actual color right now, which is adding it to whether it's metallic or not, and that's not really giving us the effect that we want. So we need to add it into what's happening here for the base colors, and there's a couple other things we can do to make it look a little bit better. But in order to add it, remember, these are colors, not shakers. So we're gonna add should a search mix RGB right. And this is gonna allow us to mix the terminal visit here If I want inadvertently put it between two connectors. So in the mix RGB One of the things we want to be in the factor is this scratch. So we put this crash in the sector. We're going to leave one as being completely white. So this will allow the places where the scratches are to be white and in the other place, we'll go ahead. Actually, I'm going Teoh that the foot were going toe, but our shader after it when this is done, the calculations, hopefully it doesn't freeze my computer. The fact that just little's this little speeding things slacking. So good news it didn't freeze my computer. I'm enough of this sense of the top portion and in the bottom portion, I'm just gonna leave that despite so this is gonna allow me to mix the two where stuffs or the scratches in this case and discuss are now going to be right, so you'll see that what that looks like in the second. So now our stretches are white and this is oh, most what we want. So the other problem that you probably didn't notice is when we did this scratches the other way, they were dark, and that's because the scratches were the non never portions, but we want to scratch is to be the another person. So there's a quick and easy way to do that. You just use something, called it in burger note or an invert note, and we're gonna add that this So this means that everything that was one now become zero. Everything that was zero now becomes one, and everything in between gets flips. So this is going to take a moment. This is also partially taken longer, probably because of recording this at the same time that I'm doing it. And you can see that we have something that looks much older and much more scuffed up than it did before. I'm going to down this effect a little bit, and there you have it. I was just a little bit more housekeeping here. Now this particular one is for scratches. So we have this stretches. I'm gonna give it some space so that the inverter is still here. We have the mixed note. And ladies and gentlemen, that is all done with the noise generator. And for those of you out there who wanted to see how to do this also with a animation, let's go ahead and do that really quickly. So I'm going to do a fundamental split here. And I'm gonna change this to the graph editor and you'll see why in a moment I'm going to drag this down, I'm gonna leave it just in case we need it. And I think that we want our animation to be gonna leave this as the TV editor, we want our frames to end. Let's say something like 600 we're on frame number one right now. As you can see here, I'm going to select our sphere from the hit I and I'm going to a lot rotation. We don't really care about any of the recipes. I'm just on the left, click on X Oiler white weather and delete them all. Then I'm gonna grab let it drag this over. It should be dragged us over and I'm going to select it and then open this up. I could have hit in to do that. And I see that the value is 5.16 I want this to be one full revolution, something type 360 there. The other thing I'm gonna do is make sure this happened on brink of the 600. Someone attacked that in there. Now, if you play this, we think that it does spend, but it slows up and spit. It slows, it speeds up, it slows down. And that's not trying. Wanted to stand. And we want to look like it's going. It's been infinitely minute goes from 60 back to zero. So in order to do that, I'm gonna select both of our control points here. I'm going to go to Channel Struck. Late. More linear. Now I believe this. You can see I'm gonna skip here. You can see when it goes from 600 back to zero. Nothing actually changed here, and that's because I use this one in here and make sure that it did 360 degrees of complete revolution. The next I'm gonna do so that the camera looks like the camera is placed here. I think it's a little bit better if it was a little bit closer. So I'm gonna go to view about Timothy View of you. Zoom in is in the middle mouse button, and now I'm gonna see what it looks like minutes rendered. So this isn't bad, But I would prefer if we change the background cycle to my world settings to the background direct that all the way black if I hit 12 just to see what it looks like when it's rendered Yes, yes, This looks really good to me. Once again, the rest is a little bit overdone on We could spend some more time on the rest that you get the idea. And then if I hit space fire, you kind of see what this looks like. This is what we were going. This is what we were going for now to set up the actual render. I can select the for me. I used ffs because usually that's what I want. Here you can select where it will be saved on what the name will be, and after you have selected event and paid be encoded that you wanted and pick for and then h 0.264 So after that's all set up and 1920 by 10 80 is perfectly fine to do who had aspect ratio. You go to render in the animation and then you will have the same animation I have. So I hope this was good for you. I hope that you don't understand how to use the noise texture and I'll see you again.