The Beginner's Guide to Quixel Mixer | Daniel Krafft | Skillshare

The Beginner's Guide to Quixel Mixer

Daniel Krafft, 3D Design, Game Development

The Beginner's Guide to Quixel Mixer

Daniel Krafft, 3D Design, Game Development

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3 Lessons (32m)
    • 1. SS Intro

    • 2. Quixel Mixer Quick Start Guide

    • 3. Export to Unreal Engine

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About This Class

Learn all about Quixel Mixer, from interface to each type of layer.

Quixel Mixer is a program from the Quixel suite of products that is currently free in beta. When used with Megascans and Unreal Engine, it becomes truly powerful.

Quixel Mixer could be seen as a free alternative to Substance by Algorithmic if you mostly use the basic functions. 

In this course, create two great materials in Quixel Mixer, and bring them into Unreal Engine at the end.


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Daniel Krafft

3D Design, Game Development


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1. SS Intro: Hey, everyone, Daniel here in this short video, I just wanted to explain what's gonna be taught in this quick, still mixer course, and the layout of this course so quick still makes her could currently be thought of as a free substance alternative. It has a lot of the same basic features that most people use substance for. Here you can see a ground material that was created in this course. It's very powerful, and we're lucky that it's free. This course contains one big quick sell mixer for Dummies video and then another video explaining how to bring this into unrelenting. The entire thing shouldn't take you more than an hour, and it's really just to get you acquainted with the software and get you using as fast as possible. So there's no need to spend any more time to get the basic functions down. By the end of the course, you'll have something like this justus, long as you get quick so mega CNES, which you can get for free by signing into their service with epic games. If you don't have millions scans or unreal engine, I would suggest that you take my other mega scans course on skill share before taking this course, because that's going to explain how to get mega scans unlimited free as well as how to use it with unreal engine. Quick Sel mixer is mostly a supplementary resource to that software. So with all of that out of the way, I hope you have a great time taking this small course and learning all about Krystle Mixer . 2. Quixel Mixer Quick Start Guide: Hey, everyone, dental here and in this video, I'm going to be walking you through the basics of quick soul mixer so you can get started fast while still having a solid foundation of the knowledge involved. Quick still, Mixer shares some features with substance by algorithmic, except it's extremely helpful when it comes to using it with mega scans and unrelenting. Currently, mixer is completely free, even for nonsubscribers, so it's a great time to try it out. This lecture is meant to be an all encompassing overview of quick sel mixer, so it may be long winded. So whenever you feel like you've got enough information and you want to start bringing things in tow, unreal. Go ahead and move on to the next lecture, where we will be doing exactly that. To download quick sell mixer, go to quick still dot com slash mixer and you can click this button that says download mixer free. Once you've downloaded the installer, run through it to install quick sell mixture onto your machine. Upon opening the new program, you'll need to create a new project by clicking this plus icon. I call mine testing and then create a new mix by clicking this button up here, I will also call this test mix. Now you can choose your PBR workflow. I'll stick with speculator and your working resolution, which these could be changed later. When you're ready, click OK and now your project will be open now. A couple of things that you'll need to set before you get started is to go up to edit and preferences. And now you'll need to choose where you want your mixer files to be stored, as well as where your local library of mega skins assets is. If you were a user of mega skins, either for unreal engine or for any other application, you'll need to browse to wherever your library of downloaded assets is. Once you've got all of that sorted out, click save and you're ready to get started as far as the windows that you can see here. There's a view port window where you can see what you're working on. A local library that contains all of the mega skins assets that you've downloaded an online library where you can choose any of the assets in the Mega Scans library as long as you sign in a layers window that displays all of the layers in the scene. A display window where you can change settings that have to do with the display performance for performance settings. And an export window where you can export whatever you've been working on. In order to access the online assets you'll need just sign in with your mega skins account . Now, since I Monreal developer Aiken sign in with epic games. And since unlimited free mega scans assets are available toe unreal developers, I now have infinite points on my balance and can download whatever I want. Let's go over the different kinds of layers that exist in mixer. Now the 1st 1 that will always be in your project is a plane. This is what you're looking at right now, and it's just a base geometry so you can choose the size of this plane. I could make it 10 by 10 meters if that's how large of a makes I was making, or I could make it one by one. If I wanted to be much smaller, and you can also choose the working resolution to choose whether you like it to be four K or eight K. That's experimental, So be careful with using a K. I'm going to be sticking with two K resolution at two by two meter playing for this project right here, but we may work with a different size later in the video. The first kind of layer is a surface layer. Now this could be a material, or it could be any kind of surface that you import. So to add a service layer, click right here and by default you'll be sent to your local library. But you can also go to the online library to add in a material that you don't yet have access to. I'll start with these wet sand footprints. Let's go over how to navigate in this window to scroll in and out. You're gonna scroll your mouse wheel depends, I decide. Hold down the mouse wheel and to rotate around, hold Ault and left, click and drag. You can also zoom in and out by Ault, right, clicking and dragging. Now let's go over some of the settings in here. The high intensity is one of the most important ones, and it's what tells the render how you want the displacement to be displayed. So the high frequency it's gonna look at the high details on whatever it is that you are displacing, and it will increase it or decrease it, depending on what you set this to. The low frequency does the same, except for the lower points in the data, so you can use this to add a lot of depth. But sometimes it will look a little weird in the silhouette if you do it too much, and those are some of the basic settings for the surface materials. Now let's move on to this next one, the D Callier. So if I add this, I can add any given decal to my scene. I I would go online, perhaps to search for decals, And once you find one that you would like to use, you can select it in the online tab, choose download, and once it is downloaded, you can easily click it and drag it into the scene over whatever you'd like it to be placed on Already. This is looking pretty cool, so I can change a lot of settings. Now I can choose whether it is blending from above from below or a passage amassed which is what I'm going to be using. You can choose the threshold which chooses where it's going to end up the radius that affects how it blends with the materials around it. You can make it slightly transparent. With this opacity slider now wrapped a base is an interesting one. This is going to make it mesh perfectly with the contours of the sand as long as you're placing it on sand. And if I were to remove this, it would become completely flat. But then we would have some of this drop off right on the edge. And so we're gonna have to find ways to deal with that, if that's what we end up doing. So I don't mind a little wrapped base, so that's what I'm going to have it at right now. You can also choose to remove the details of the base. So I think the best way to learn about this one is just to see it in action. So right now it's at seven, which is Max based detail removal. Now, if I went to zero, this is what we have now, and you can see that the grains of sand, the roughness textures of the grains of sand that is now carrying over onto the manhole as well as the footprints. It seems so for something like a manhole, which wouldn't receive footprints. Since this appears to be a concrete and metal, you'd want to remove the base details as much as possible, because that is what's going to distinguish it from the surroundings. You can also adjust the high frequency and low frequency of Deke houses well to make it jut out even further. Now, if you feel like somehow you've ruined the settings for your decal, what you can always do is click on this reset values, and it will set right back to where it was. Remember, you can choose where the manhole replaced just by sliding the offset. You can also rotate, and with decals you can rotate on an individual degree basis. It doesn't have to be 90 degrees at a time because thes are like stickers that are being slept on, as opposed to based materials that can only be rotated a certain amount. You can also scale them up or down if you feel that they need to be larger or smaller. If you wanted a decal to be tiled. You could allow tiling to occur by checking tile X or tile. Why, or both of them? And you can choose how many repetitions you want for each access. Now the next kind of layer is a solid layer. Now it's just gonna be a solid color. And something that I recommend for all of your projects is that you keep a solid layer at the very bottom of each mix, and you could rename it by double clicking on it, rename it into a base layer, and then you can build all of your materials on top of that. And now we have more options for each of the materials above, such as thes sand, which we can now choose to blend from above or from below. I'm gonna choose from above, and though we can mess with the threshold like so and with the manhole, we can choose to just a threshold with this as well. In response to the movement we made with the sand. This just ensures that we have maximum custom ability as far as all of the other materials besides the base layer. Now let's move on to one of my favorite layers, the liquid layer. This is going to add a solid liquid plane to whatever you're working on and you complacent at any given height. And now I can fill the footprints with water or something similar to that. It gives off an incredibly cool effect. I really, really enjoy. So you can add it much about this, such as the threshold, what you've already seen used the radius and again notice how it is seeping in as I increase the radius. I would I would definitely suggest experimenting with radius herself to true. Learn about how it all works. You've got the detail, you got the surface and the depth, and then you have moist. And this is one of the more important ones. So the threshold with moist is exactly what it sounds like. It's going to bring moisture to everything around it. So now it looks like mud, which is a cool effect on its own. I'm gonna keep the moisture pretty love that. I want this to look like a beach with a manhole mysterious one. You can also choose the radius for the moisture. If you ever lose your place with these moisture settings, or you can't figure out how to get him back to default because for some reason they don't have a return to default settings. Next to this, you can always just add another liquid layer, which will contain the default settings, and you can just copy them over. Remember, you can change the diffuse color of the water as well. However, the default color for this water works really, really well. Now the next layer is very interesting. It's a noise layer, and it's gonna do some pretty interesting things to your scene. As you can see, it seems to add curvature to the entire plane, including the manhole, which we don't want that. So I'm going to bring the manhole above the noise so that it is over laid on top of that. And as you can see, that seems to work out pretty well. Now let's talk about this noise. There's lots and lots of settings in here that you can mess with one of them. The amplitude is going to change how extreme the effect is. The frequency has to do with increasing the number of bumps per area. As you can see, a lot of this is gonna take some experimentation to learn all of the different settings octaves is going to increase. The detail of this noise gives it a really cross See look, you could increase it all the way and then decrease the frequency. And what that will have is just a rocky sand dry effect. Because now this sand looks pretty dry compared to how it did like this. So I'm just going to use it to create a bit of a rolling hill effect on this area. I'm also going to bring up the manhole a bit by adjusting the threshold. And you may start to notice something like this, which is easily fixable. All you need to do let's work with the radius a little bit. Bring it down just a little bit more Now. The only concern here is that I don't want anything to come over. The men hold too much and distract from that. So if I were to you increase the amplitude so much that you have this giant lip which clearly does not look very good, that would be a big problem. So don't bring the amplitude up that much. Something like this is absolutely acceptable. Just keep playing with the settings until you see something that you really like, and then you can sit with that. So I'm gonna mess with the noise just a bit more on this and, well, that's that. And if you do end up having any big problems, you can always offset the texture so that there's no parts that are going to affect it too much. You probably don't want footprints going under this want to seem like it was installed beforehand. So try to minimize that as much as you can. You always want to be thinking about the story of the material that you're making. This looks pretty good to me. This looks very good. Remember, on the flip side of that, you can always adjust the placement of the manhole itself. After that, there is only a one more layer, and that is the paint layer. Now, with painting, you could do a whole lot of things. You can import an image you can draw on it. There's so much that you can do, and you'll get this brush interface with all these kinds of different brushes. You'll start out with this brush, and you can edit the curve with these settings right here, and then you can begin to draw displacement on. I'm gonna just click on the diffuse, and now I can just draw onto the diffuse itself. Remember, you can adjust the diffuse color on this side this time, so if it was graffiti, we could turn it light blue hit, apply. And for this we probably want a smaller brush size so you can change the brush settings up here that that's one. You could draw a big old letter in here, and then you can erase with the eraser tool. Very simply very nice. Now, if you were doing graffiti out, probably change the opacity downwards a little bit because you'd want color to show through because spray paint usually fades over time. Remember, remembering story as you're creating is very important. As you can see, as you draw over certain parts again, it will become brighter, and that is realistic. If you are doing spray paint, remember that as you spray over certain parts, it has the same effect because you're adding more layers of paint onto the original stroke . If you want to learn about graffiti. I would go on Google and find some reference images for it. And also remember that the effect is going to bleed a little bit. So turn the capacity way down and get a bigger brush, and you can start bleeding it to other parts of the mesh. And that is one way that you can use the paint. We, or another way, is to put textures mess with the loss. So you want a one specific streak to be extremely glossy. You could take this brush, turn the gloss white the play. Start drawing on this one spot, and now, if you look at it in the sunlight, you can see that it is much more glossy just by painting on it. So I probably wouldn't make it. That a pick and you can always a race, but it's as if you could draw moisture onto the surface, and it's a very helpful thing. Someone turned the opacity down and just start clicking, and it's like I'm adding little spots of irregularity, and it just adds just a small, that small touch. But it could be worth ah whole lot. You're seen not moving on to the more technical side of things. Let's go over all of the display and performance settings. So as far as the background, I could change it from grading to a flat color to a skybox. And I can change the sky box with these up here indoors fluorescent studio. And it's all trying to mimic riel life scenarios because thes air skyboxes, which are HD ours, which carry real world lighting data. So I'd like to stick with either studio for pizza, and I can turn this back off by just going from background from skybox to greet it. I can choose the lighting intensity, the light rotation. This one is a good one to play around with to make sure that your mix will look good from all lighting angles. And as far as the shadow resolution, I have minded very high G p A test elation. Yours may be set lower at first, and then you're going to get some weird results. But I set minus 10 to get the maximum quality test elation. The change your settings for your project, you can click on the original plane. You can choose the size of what you're working with, however, that will mess you up if you are already working on something. So I'm gonna go back to my two by two. And you can also change the working resolution so I could go from 2048 to 40 96 what this will do is crank up the resolution of all the textures that you were working with. As you can see this astern to look very, very nice. And if you are feeling risky, you can change it up to eight K resolution. But they will tell you with a message that it is experimental and you'll want to save before you dio so on that note to save, got to file and shoes safe, and then you can name your mix. So test mix, click save, and maybe we'll try out our A K resolution. Now probably don't use a K resolution for production because you may encounter some problems with it. I I personally have seen mixer crash because of a K resolution, so I wouldn't necessarily recommend it for production, but for testing it out and making cool art definitely tried out, and it looks like it has loaded. It's running considerably more slowly but the textures air. Definitely in a care resolution, which is incredible. You can see the individual holes in the sin. So you heard it here first? Yes, it's cool, but definitely don't use it for production. This is extremely slow. And I'm dying to get back to my two K resolution. It's up to you to decide whether the performance cost is worth the results for high resolution. Just know that it will slow down your workflow and be more performance intensive on whatever project you intend to use it for. Now that you've followed along with that project, you're almost ready to begin bringing your projects in tow. Unreal. But first, let's test your skills and create a swamp floor. Now, I want you to interpret this however you would like just get started and I'm gonna be walking through my process on this video. But if you want to, you can just skip ahead and post your results either in the q and A or the submissions, and I'm excited to see what you come up with. So I'm going to start with a surf. I'm gonna start with a solid layer as a base solid and then at a service layer. On top of that, I think going to start with a grassy forest roots on top of that one. It looks like it's coming up from below there. So start with that. I'm also going to change the high frequency up on the low frequency as well, again adjusting the threshold. I'm gonna bring down the radius a bit because I want this to be a solid based for most first to work with. Now you're gonna see what what other layers we have to work with here. These are just once that I have downloaded and I think what's gonna have to happen here? I said, I'm going to I'm gonna use one of these other ones that I've worked with before. Such is this Japanese mossy ground. That'll be another surface, and we're gonna have to just mixed these in. I'm going to use a noise layer between these. I'm gonna turn up the amplitude of it just like that. Also gonna turn up the frequency, not the actives, and turn the frequency. Not gonna just the amplitude back down. Think frequency needs to actually be less like that continues to be more perfect. No, you can mess with the persistence charity. Now, as far as this mossy ground goes, I can choose to either wrap it to the base or to not do that. I'm gonna choose to not do that. I'm also going to remove the base details for those. I'm gonna bring up the high intensity just so we can really get these rocks in here. I think they're pretty nice looking. And then for the low frequency, I could go as well. I just don't want it to look ridiculous, but it doesn't. It's tasteful. And now we can figure out the placement. I like these rocks in the corner and then with a noise, I think I'm going to. I was out in the liquid layer. I was like a liquid layer one in. I'm gonna want that on top of everything else. I like to add a liquid layer and most of my grounds. You've probably seen this look in video games a lot. And if you want to tile this, by the way, just to see what's gonna look like tile do you can click that button right there. So obviously, with the mounds, it looks pretty tiled. So we can we can work with this a little bit. So go ahead and mess with the noise quite a lot. I'm gonna extend the size of my plane a little bit. Otherwise, it would be pretty unfortunate. I don't really like when there's too much repetitive nous, especially on a floor of material. So this is starting to look pretty good, especially with four K textures not too repetitive, not too repetitive at all. It looks good. Remember, you can change the repetitions of the main material here, but I think this is about perfect, unified Tron tiling. I can see that it's not too repetitive. It's interesting to look at, and I can definitely see foliage being attached to it. This is a pretty good swan material now. The only other thing would beat you. Add some decals and some some paints. If you would like, it's all search around for some decals and see if there's any that would add to the scene. You don't want to be adding if it's not going to add to the scene, but things like green leaves that could be interesting. So anything is worth trying out if you think it's gonna be adding to your scene? So I put in these green leaves here and we'll see what we can do with them. Yes, that is that is very cool. I was very nice looking, and we can try and mask them out of the wave, who like, so I'm gonna bring them on top. I'll see what it looks like when they're covering some of the water. Maybe that isn't necessary. We can, always from the threshold we can always try and bring them from above. Bring the threshold down a bit because that that's going to cut it off and inappropriate places. Potentially. I think that actually is looking very good. You can choose to preserve details. Raiders again is going toe help blend it into the other surfaces. I do want them to pop this. I'm gonna just the frequencies, That's what I'm very nice. Very, very nice indeed. Now remember, with decals you can change the rotation and a whole lot of ways, but this is looking good to me. I think this is This resembles what I would think of. Ah, forced e swampy floor. Absolutely. So I'll just look around and see if there's any other D cows that would be appropriate for this. Been trying out of buffalo grass patch layer above everything else, and I'm going to see what that looks like. African layer some of that over the water. Now, clearly, this doesn't match the color, so we can. We can work with that. We can change the diffuse and make it darker bit. Uh, that's nice. So you can use that eyedropper tool to try and match other colors of your scene so I don't want it to be too light or saturated. I suppose it's not the end of the world for lighter, but it's a saturation that is going to kill. Kill the virus, so I'm gonna keep it. Keep it low key, keep it dark, so it's a lighter color. So I want to get the hue correct. Once I get the hue correct of it's too light than I could just bring it down here. I like you. I like the orangey color. Bring that brightness right down. We comply that, and you can adjust the capacity. That's probably even a better way. And look at that. That is beautiful. That is simply stunning. Now if I turn on tiling Beautiful, beautiful look at it from above. It's beautiful. And the best part about this material is if I look at it from this angle, it's kind of hard to tell that it's repetitive, and that is something that is simply indispensable. When you're designing levels, as you've seen in many of the other levels, especially especially from a farther away view, any kind of repetition becomes more and more apparent. But with this, it only becomes apparent when you're about this far away, which, ideally, the player would not be without having some foliage and trees over shattering most of it, which would fix more repetition. So I guess the only thing that I want to fix about this is to turn the leaves a little more of little, little more crispy. And so I want to change the high frequency up a bit. Not not too much, but enoughto where it's a noticeable difference. I want them looking like they're actually on the surface, which that works just fine right there. I'm gonna mess with the height of these buffalo grass patches as well. I'm gonna turn off tiling while I'm editing that will affect your performance while editing . Just so you know. And since these air kind of harder to see up close individually, I'm gonna give myself a little more leeway with that. And, well, this is my mossy flora's faras a force floor, a swamp floor. This has been a fool intro to quick sel mixer for beginners. And I would definitely suggest using these tools for any ground floors for your projects and for anything that needs more than one material. Quicksand, mixers. Excellent for this. If you've watched this entire video, Thank you. So once ready, we'll be exporting this toe Unreal engine, and we'll see what we can do with it there. 3. Export to Unreal Engine: Hello, everyone. Welcome back to quick Sel mixer. In this lecture, I'm gonna show you how to bring this into unreal. Now the easy way. A stick of file export to library. Choose which maps you want. Choose a resolution. The category, the name and click export. Now, if you go into bridge, you will find under the mixer tab the material that you just exported. Once you're ready to bring it into unreal from bridge, you may click this export button and it will send it straight toe. Unreal. Now you'll find her here and sometimes it may miss some of the textures, which is unfortunate. But to fix that, you can hover over the image, click open and folder and here all the textures. Now you can drag the texture into the unreal engine content browser and there will appear. And then you can replace the missing textures by double clicking on the material and replacing them with these and put texture perimeter groups. We're just remember to save the material once you're done and click X to apply it to the scene. Now, once you're ready to apply it to something, drag it onto that object and there it is. And if I look at it, it looks good. It looks very good, especially as a blink ground asset. It looks very good now. If I wanted a really cool looking flyover, I would, of course, want test elation, which I would want to do in Blender three D, as opposed to unreal engine. So refer back to the test the Pretest Elation Lecture in the Blender three D section to learn how to do this and export this mesh into unreal. Additionally, if you move over to the export tab, you can choose an export location and export individual maps. Thankfully, it really is a simple is that I'm hopeful that you've enjoyed this section on quick sel mixer. It's a fun tool that adds a lot of value to the quick, so sweet. That's all for now. I'll see you next time