Mathematical Realism using 1 texture only

1. Intro: Of the trade secrets to elevate the quality of your material is to use mathematical theories. In this lecture, I will teach you how to use them to introduce micro layers of detail in a single texture. I'm Artis three. Let's get started. 2. Lecture 1 Intro and getting started: Hi. Welcome to my new course. We will try to apply the Fibonacci mathematics rules to make realistic materials using only one texture. So if ban the idea that 34 level has two subs, more detailed levels like 21 and 13, and so on for 21 and 13. Let's use this idea in our case, first add an ICosphere with higher subdivision. Sit shade to smooth. Add a camera and zoom out to fit the sphere. For the texture, we will use the free texture from polygon called smudges. You can download it to follow with me. I will add it to the sphere shader now. Set the color mode to non color. We will do the whole process in the next searcher. 3. Lecture 2 Mathematics theory in CG: I will start by adding the Azure from Polly Haven called empty warehouse. This will be done in Warhada tab. I will position it like this for now. Now, start by making the ball metallic. Cro T to add mapping. Do the UV mapping and make it sphere projection. Add a color ramp, we will use it to control the range of the texture. You click Control Shift to see how I know look for now. To start making more microlayers, copy the current setup. Then copy again. To introduce microlayers of details, we will now change the scale of the texture to smaller amount. Now, at a mixed color node, this node works in a way that B is foreground, A is background, and FAC is the opacity for the foreground. We will now mix the texture and make the third one at the opacity filter. Circular mot overlay. We can make small changes by changing location or rotation. We are always trying to preserve as much details as possible. In early textures, beef spline does it well. Duplicate it now and make more changes to see if more different details. The same general process is done every time. You make another variation here. A We will now merge our final textures look. We will do it using color mixed node and add an opeti layer above to see more variations. F. Now, add the color ramp here. The whole setup will be assigned to roughness at first. It looks good for me. Now we'll adjust the color mapping to make it more contrasting while preserving the color details. Here you will see the start of getting back to all past values and play with it until you see a good result. To rescue more details from the past, I will use Bispline at the mode for coral ramp and then change the ramp in the final adjustment. You can see that coral ramp is acting as control to the texture and range. Okay. Now we will add bumps. This is horrible. So make the strength so low to make it so subtle. Okay. Now we'll make some micro coolor details change. I skipped this part here. What I did is that I got a couple of metal colours like silver and aluminum. I made as many variations here. All should be so subtle. You will keep working on it until you are happy with it. We will now enter the next phase of realism, which is displacement. Displacement makes the shader more real and much more believable that only Noron maps on the cost of computer power. The more subdivision, the better here. Is strength is too much, so make it much smaller. A I set some dark and tones in here. Now, enter the final phase, where you go back and forth until you find the best panels for your shader. We will now add a camera and then a object that will lead the depth of field effect. We will use guys to make the composition of the shot to make it in balance. I'm happy with what we got here, so I will end this lecture for now. 4. Lecture 3 Outro: I hope you got something useful from it. Until next time, be safe.