Procedural Texturing in Blender 2. 8

1. Introduction: Hello, everyone. And welcome to this beginner video Siris on Procedural Tech Cering Inside Blender 2.8 My name is Derrick and I've been a blender user for almost 10 years before graduating with a B F A in computer graphics. Ice are using blender zahabi now. I've worked professionally as a three D generalised for the past three years and have been a two time top Taylor for you. Don't we design Achievement awards in this series? We'll take a look at two examples, demonstrating what procedural textures is and how we can leverage it to our advantage while recruiting these two materials. I'll also show you how to manage the note editor to keep complex set of organized and how to fully utilize blunders. Powerful looked of tools to achieve fast feedback while developing your materials. In addition, I'll show you a few of my favorite add ons that come included with Blunder to speed up your workflow. By taking this course, I'm assuming you have a baseline understanding of the core navigation within blender. As this isn't the primary focus of this course, however, I will be showing my keyboard shortcuts to minimize any confusion. You may have. Of course, it's impossible to include everything but you could do in this series. However, my goal is to provide a brief introduction into how to use the node slash material editor, as well as a springboard to kick start your curiosity and interest into what blunder has to offer. So with that said, let's dive in. 2. What does procedural mean?: right so very quickly. I want to go over what the term procedural tax free actually means well. To put it simply, procedural strictly refers to the ability to generate a texture through only mathematical means within a program. When referring to graphics, There are two different types. Raster in vector. Traditional texture mapping techniques usually require a bit mapped image, such as a dot P and g dot If or sometimes dodge a pig with procedural work flows, you aren't dependent on external linked data. Bit Map images are a raster image file, meaning that there are a limited amount of pixels available to use for a given resolution. While this approach is a very common one, this becomes problematic when you have two K texture. But your animation, for example, calls for more close up than you anticipated. You can't simply scale detector the four K because, as you may expect, if you try to scale open image larger than what it was initially created for, at least two picks, elation and blurry results. Since the information is finite, procedural text ring is similar to vector graphics in the sense that vector graphics are mathematically created, meaning they can have unlimited resolution, says they're being constantly updated as they're scaled up or down. They also have the advantage of being repeated easily an estate before. Don't rely on any external data, which often leads to lower memory slash storage usage. Dedicated programmes such a substance designer and quick sel sweet are examples of procedurally based work flows. Okay, now that you understand the advantages and inferences of procedural textural offers compared to bit map texture mapping, let's discover how to apply these ideas with a few examples. Grafton coffee and I'll see you in the next section. 3. Material 1 - Organic: before we start, you'll want to make sure you have the node Wrangler at on enabled. They should be on by default. But in case it isn't, navigated the edit menu at the top and click on user preferences from there. Just search for node Wrangler to verify there's installed. Now that we're in blender, you want to be sure you're in the E V render engine. You can check this by looking at his tab in the top left. I wanted to show the final result that we're looking to replicate here at the beginning. The node structure may look intimidating at first, but is actually quite simple once you break it down into its individual components. So let's start fresh with a new plan filed by pressing control End now, with a fresh scene, we're going to delete the default cube and navigated the shade and tab here at the top. In place of the usual shader ball model, I'm going to be adding a monkey head or commonly known as Suzanne. Be sure to right click and shade your model smooth. Next, I'm going to be adding HDR environment. This will help with the reflections and give them more detailed in a standard gray background. Unfortunately, due to copyright reasons, I cannot provide the one I'm using here. However, free ones do exist by pressing a new, but you can create a new material here. I'm gonna made naming mine organic underscore M To begin our node structure, I'm going to be adding a layer weight note and using the facing ratio output Put simply, this gives us a map based on the angle of the surface to the camera. Now I'm gonna be any in a color ramp. Note this is going to help us refine the map that we just created with this layer weight note. By pressing control shift and left click on a selected node, you can preview the output. I then changed the easing type two b b spline. I find this gives me a nice, smoother result. Notice how the black areas are always facing the camera. This is more commonly referred to as for Nell and essentially describes how much reflective surface has. Next. I'm gonna be pressing shifty to duplicate that color of node and adjust some of the parameters. Next, I'm going to be adding a wave texture this is going to act at the vascular blood like vessels that are going to be seeing on the curvature of the model. The numbers I'm using here are strictly personal preference and you may change these as you like with the way of texture selected press control T This will give you a mapping and texture. Coordinate note now use the object output and put it into the factor input. Additionally, you could use a UV output, but for this case, the object output would do just fine. Now I'm gonna be ending in a math note to combine the two mass that we just created. If you preview this note, you can start to see the effect starting to take shape. Although it's not perfect, I'm going to duplicate the color rap note. This will give me an additional level control as I just the flags. You could start to see that the level of control that I have and really dial in the effect Now I'm gonna be adding in color mixed note, which is essentially going to be defining the colors that will be using four are shater. Now it's time to hook the final mask into the mix note, which is gonna act as our control. As mentioned previously. This mixed note is where we're gonna be defining our colors. I'm choosing red and white, but you can choose whatever you like. The reptiles value basically effects. How glossy and material is zero being completely mirror like one being completely defused. Now it's time, Mr Annie and the surface detail for the Shader. I saw her for the bomb down and plug it into the normal input and then start off with a Musgrave texture. I find this is good for achieving a very broad, low level sense of detail. Press control T to bring up the mapping in text, recorded a note and use the object output and then shifty to duplicate this grouping to let the Musgrave texture and add in a noise, texture. And then I just some parameters. I then add a math node toe. Add these two effects together. You'll notice that I'm l also adding a multiply note. This gives me an additional level of control, that last one to dial in the effect, much like the mask that we created earlier. After hooking everything up, I plugged the output of the ad note into the high input of the bump. And I also have to lower some values as currently there too high before. Forget less ad in our other shader, their work be using to mix with their principled GSDF. I'm using the translucent GSDF. Once you mix these two together, you can see the a factor of one and a factor zero will give you different ratios. Appreciator, respectively. Now I'm taking the facing ratio output and putting it into the factor input and start to see our shader take shape. Adjusting the color from white to red here will help us achieve that organic quality even further. Once we added a subsurface catering at this point, I realized that the colors are wrong and not wells intending. So I simply flipped the color ramp to achieve the correct colors. Now let's add in some sub surface scattering. I find a value 0.3 tens of work fairly well. You'll see the ad to be adjusted flags of the color ramp. You start to see more of the vascular blood like vessels appearing on the curvature of the model. As you can see the strength of the bump notice still far too high. A rule of thumb is. You don't want to go over kit with us. The more subtle the better. Here I'm just refining the mask a little bit more. You can do this as little or as much as you would like. You can really start to see on the curvature of the model. Now the effect that's taking place. At this point, the shader is more or less complete. Now it's time for some housekeeping task. I box select all these notes that are making up the mask of our main color and grouping together with Control J. Just as programmers need to be organized when writing code. When working in a note editor, it's imperative to be organized and efficient. I worked my way through the Shader network to group and name things accordingly. One final thing, the giver shader extra pop is to add post process filters such as Ambien, inclusion and screen space reflections. Changing the color of the sub surface Scattering can go a long way in adding additional warmth and believability, and here is our final result. I hope these concepts and techniques prove useful as you look to make other shader and textures. Thank you for watching, and I will see you in the next video. 4. Material 2 - Metallic : all right. In the last video, we discovered how to create an organic I like material without relatively simple set up in this section, we're going to take the same concepts that we learned and apply them to a new type of material. In this case, aged bronze slash copper material. Let's take a quick look at the example we're looking to replicate. You can see they were using the same technique regarding the for Nell effect as a mask to mix two colors. This is especially noticeable in the curvature of the model, where the glancing angles are more darkened in the straight on portions. Let's start off with a new plan file and try to replicate this material I'm going to press control in and like before. Dilute the default. Cuban navigated the shading tab. Let's add the monkey had one more time by personal shift A and searching for monkey here. I'm just scaling the monkey head up in applying a sub served modifier by pressing control one. I will also right click and shade the model smooth. Now let's get the monkey a material pushing new button and give it a name. I'm gonna call mine aged bronze Underscore M. Before we go any further, let's adjust some parameters of our main principle. Be SDF. Since we're going for a medal, we're going to be turning the metallic property all the way to one. Roughness is going to be driven by a simple noise texture, so we can leave this as is as well as the rest initiator settings. Okay, let's set up the base color like before I'm going to be using a layer weight note. We're going to plug the facing ratio output into the color AMP. Next, let it in our mix rgb node and take the color up with color ramp and plug it into the factor of the mixed RGB note. To give our color a little more punch, weaken at an RGB curves note. To modify the color even further, that's hooked the two up. Put the output into the tempo for the base color and shift control life. Click to preview in a Justin parameters like before, I'm gonna be switching to be spine. I prefer this method as I feel it gives me the smoothest result. The mix RGB note is where we're gonna be defying our base color for a bronze material. The top sake is going to be used for the surface that's most directly facing the camera, so it will be a lighter color. The bottom socket is gonna be for the curvature of the object. Here I'm making it the same color but darknet just a tad to give it more contrast. Now it's preview RGB curves node and start to modify some of those parameters. You can modify the curve any way you like. Here. I'm going for a simple ass pattern, which essentially dark in some areas but also bring up the highlights and others. Let's preview our main shader here and start to get a picture of what our share is going to look like. Like before. Let's press control be to put all of our notes in a frame and I press end brand the properties panel and give it a name. I mentioned earlier how we're gonna septa roughness with a texture. Let's do this now. I set up a color ramp and simply add a noise texture. I plug in the factor output into the input of the color ramp. I then modify some parameters to my preference like before I vetted in the color and to give me an additional layer of control, You can really start to define the dark and white areas even more precisely with this method, let's plug the color up into the roughness of the main shader. No, let's preview and we could start to see what the color ramp has allowed us to do. The areas that are black are now almost mirror like while the areas and white have been given a roughness of one s sexually meaning no reflection. You can see right here on the edge of the monkey head like we don't before I'm adding a frame to the roughness nodes and giving it a name naming it appropriately. I'm also going to be giving it a color to make it easily findable in the future. I'm going to do the same for the base color group here. For the bump, we're going to combine a Musgrave in wave texture for the Musgrave texture. I find that the scale in detail are the only parameters I need to adjust the other four. I don't use that often down here in the wave. I'm gonna be doing the same thing. Scale and distortion of my primary ones. I usually modify now, like earlier in the lesson. Select either texture, note and press control. T to edit, mapping and textured coordinate. Note. Make sure the object up what is being used in the texture. Coordinate note, and the output of the mapping note is hooked up to the texture nodes. More stuff it just the settings simply add in a math note and said it to add by previewing the ad. Know that we just added you could start to see the final result were looking for for a bump . Now I'm gonna be adding in a bump note. Simply connect the two sockets and put the normal output into the normal input of the shader. Now connect dementia ter to the material output, and you can see that the bump is far too strong. We won't have to adjust some settings here like before. I find that a very subtle amount of bump goes extremely far in conveying detail. Great, that's looking a lot better. You can really start to see the details and see how our bronze shader is starting to take shape before we go any further. I'm going to group our bump note structure here and given a name and a color like we've done previously. Very nice. Now we have our bras material, but it doesn't look aged yet. Let's fix that. I start off by framing our main shooter that we've used thus far and giving it name in this case, copper. Now, to make our patina material, I'm going to box select all these nodes shifty to duplicate. Just to make life a little easier for the base color of our patina material. I'm going to be using a similar structure to what we used for a copper material. However, I'm gonna be using a color and prints have a color mixed note. I want to show a different approach here for getting the base color as either method. That views thus far are perfectly valid. You'll notice here that initially start off with the interpretation mode set the beast line . However, after thinking about it for a while, I changed it back to linear as detector that we're going for is more of a course hard texture. I then slipped the base color for our patina. Here you've used a hex color I'm using or create your own. As I pan around the model, you can start to see the base color of our patina Shader. Now I'm gonna be grouping the bump note structure of our patina shader and like before giving a color and a name, I then do the same thing for a roughness nodes, and then finally hook up our base color. Frame it, give it a name and a color. The last thing I'm going to dio is frame are pretty initiator and you probably know the drill by now. Give it a color and a name. Since we're not dealing with metallic material distemper around this valley goes all the way to zero every preview, our final fader, you can see that's very glossy, which is not what we want. We can adjust the roughest Qala Ram to get a more diffuse result ever after. Subtle is good, but the bump texture is a little too subtle for my taste. So I'm gonna be adjusting to strength value to give it more of a rocklike texture. You can also just these parameters as well to give you extra layers of control. Great. Now we have our copper and a pretty initiator. The last thing we have to do now is to create a mask to mix the two together. If you shift control right, click and drag, you'll see that the note has now turned green. This is a shortcut for node Wrangler and allows you to add a mix shader very quickly. Now you'll see that we haven't even 50 50 split of our Bettina and her copper material, which looks great but snipe happy what we're after. We're on the homestretch now. The last thing we have to do is create a mask to control this mix. Shader. We can do this by adding in an MBI inclusion note and you guessed it. I'm gonna be adding a color ramp to give me an extra layer of control. You'll probably knows by previewing this note that nothing happens. That's because you have to enable to and be inclusion check box over here on the right. This essentially tells E V to approximate the light that's hitting the model. This results in the dark crevices, giving the model a lot more dimension. We can then use our color ramp here to give him or definition as we desire. If you can't tell by now, the color ramp is probably one my favorite notes for the fact that we're going for We're gonna want to flip the color ramp so that white is not the character of the model, and the black portions are the areas that are facing directly towards the camera. Once we hook up our main shater and put the color I put into the factor you can start to see. The final result, albeit a little too strong for my taste will fix in a moment to change the influence that the patina has on the model. We can simply drag the white and black flags to get either more or less of result that we're after Somewhere around here, I think it's appropriate. If we took a look around the model, you can start to see that the curvature and the crevasses are starting to take on this bettin material. Of course, you can justice as much or as little as you like, but for the sake of this tutorial, I'm going to call this complete to take it a step further. You could apply these same techniques and apply it to a rusted metal or damage still material. For example, there are so many possibilities. One last thing before I go, If you press the screen space reflection button, you start to get a more detailed reflection map. This, of course, is totally up to you and completely optional. Thanks so much for watching this video, and I hope I was able to teach you a thing or two.