Substance 3D Designer for Beginners

1. Introduction: Do you want to know how to make your own materials using substituted designer? Then I welcome you to the next good education synopsis to the designer for beginners. My name is Shadi, and I'll be your instructor for this course. In this course, we will learn substance to the designer interface and navigation. Making complex shapes inside a software security designer. Making building materials, making nature type materials using softwares to the designer, making a fabric material using subsist through the designer. Exporting as bizarre and texture passes. How to optimize your graph and render using MBTI. Even starts by knowing to stop sense to the designer, UI and navigation. In chapter two, we will start making materials by knowing how to make basic and complex shapes. In chapter three, we will learn how to make building materials. In chapter four, we learn how to make nature type materials. Finally, in Chapter five, we're going to make a fabric material. Biden love this course. You'll be able to work. It starts with 3D designer and make various materials. This course is designed to teach you how to be self-sufficient in making materials. This is a stalker course for beginners. It designed to teach you whatever you need to start using successively designer. I expect you to have some basic knowledgeable texturing. You should have substance to the designer version 11.3 and evolve in a starved your computer. Join me and they're off to use stops as 3D designer and make your own materials. 2. Download Project Files: Hi guys. In this video, I wanted to talk a little bit about the project files and using the project bonds. In this course, I prepare the project files. Let me show you. You can download them and using them. Project buys contains export textures. The actual SPSS file. I can use them and discovered them. And if you double-click it to open gain other screen they meet drag and drop it here. That's going to see it's good and optimize and labeled. So you can easily go through each notes and each group's t. Where does it de fat thick also contains a dependency. You have all the SVGs and also the mesh for trend there, the fabric. That's it. Also tell you to go rates and let us know what they can do to improve ourselves and manage better. For you. Let's go and learn sound. Substituted side. 3. Substance Designer navigation: Hey guys, and welcome to this part. And this part we are going to go over the navigation user-interface of the substance and 3D designer. As you can see, this stops the designer and we haven't. Usual suspects up here. File, menu, Edit until switch help. It's it's pretty much the same as any software. Edit performance and quite a few options. And blue Dad, we have new substance graph and new substance modeling graph, the new feature MDL graph, that's going to make us Andean materials for re render engine. Also opening save redo, undo button. Below that screen divided by this plates, these panels. Those are Explorer library, 3D view to the view, and also graph view and parameters. All right, let's go and start new substance graph by clicking on the add new substance graph or file new substance graph, we are not going to cover modeling graph and MDL graph in this course. So let's go and click stops the scarf. As you can see, we have quite a few presets or templates, such as metallic roughness. Is it throughout p with a roughness and coat at subsurface scattering sheen. And those are pretty much same. They are different. They have different outputs. You can create them by itself. And I'm going to use empty as always. Create my outputs myself. So let's name our graph. First. Let's add a size, our texture size, 2048, it's good. And also relative to parent in output format. It's going to tell a substance designer to drive the notes based on or drugged size of the node based on debts before the ad or parents not. So let's go and hit. Okay. It's going to bring us to this stage, this empty graph. We have unsaved package. This is our package and this is our graph. Is going to see first prepare tea and package and property. Let's go and first of all, safety and graph. To save dad. Now the names are the same. So let's click Graph and see what you have. Here. We have size. Indeed base parameters, output format that define the depth of the textures. If I change that absolute, I can change maybe to 16 bits, 16 bits. And also pixel size, exhilaration, square or stretched tightly mode that I'm going to leave that in H and V tiling. Going to tie horizontal and vertical. Also we have a random seed, not only in graph stage, also in every single node inside a graph. So keep that in mind. After that we have and identifying their debts name of the graph, and also label that names. And it's going to show in substance painter or whatever software that you are using stuffs, material in type, there's a new team. You can specify the type of your material. I'm going to change that to stand out material stops as painter can recognize this material as standard material or base material. We have ICANN does a good habit and to render your material and also load that image at PNG image inside here. After they're dead, you can have some description category and your name, your maybe art string name, your portfolio name tag, and so on. Also below that, we have parameters that you are going to expose for other users to use. And right now it's empty. So that's debt. Let's go and create our first notes. Let me find a debts. When you're opening, it stops us designer for the first time you see several notes or icons up here. Those are atomic nodes. The nodes. You will work them more often. And those are bitmap blend, blue, channel, Shofar curve, maybe directional blur and so on. And also you have control over the size. It's going to change the size of the entire graph each time you changing debts. Also some alignment tools, vertical, horizontal, and making it. Alright. Now let's go to library site of the UI. In here you can find all the asset that you need to start working with starts as designers such as Dare to nodes and grunge maps and generators. Generators and also some gradients. Here. Blow that we have some filters that we are going to use in discourse. And also material filters. Sum other filters. Functions that we are not going to cover in this course. The VD view contains HDR and Wyman's that you can use to light your scene and also HDR tools that you. With this you'll be able to create your own HDRI images. Also some pre-made material substance team created and put it here to you. You can test the software or even use dummy or predict. So those are free. And also substance modeling, debt we are not going to cover and also MDS. How do I make material? Alright? First of all, you need to learn how to make any knots. Designer. It's not based software. And it's going to vote by connecting nodes together and getting results at the end. Test debt. You can load naughts by hitting space and search for them. Or go to library and drag and drop them. Or for atomic notes, you can grab them for on top. But the more efficient way is the spacebar. Using space and search for your notes. By default, the atomic nodes is going to show here, but you can search for notes such as maybe. Tile generator. And if I hit enter or select the text editor, it's going to show up in our graph. Lot of naughts have inputs and outputs on the output or input. So let me show you. If I search for uniform color, it's not going to have any input cars, color generate or not. So It's going to generate color and it doesn't have to, doesn't need to have input, a connection. That's dad. So let's go and find it. Outputs denote, as name says, it is the output naught. So it doesn't have to, doesn't need to have a output and not just input. It's going to show our output results. So let's go. And it then inside a dump below the graph, we have 3D view. You can see that Q is the name of the mesh default mesh. Opengl is the render engine that we're using and 3D view, it's a name of the window. Inside 3D view. You can see the result of your creations. So this is it important view. It contains some minium. So Let's embrace them. Scene, it's going to contain some meshes, default measures such as maybe best and mesh is there under the cube and at two tiled sphere. Maybe. That's well. Also some inner box. And also you can select your mesh, go to a scene and save this state as current default state. And also low default save and so on. Also, you can see your UV. Yep. Beside that we have material. Material is a tricky one. So as you can see, by default, you have Adobe Standard Material defaulted with desolation displacement. Means if you assign a material with displacement height, it's going to show that in here, IT actual displacement. But below that we have products like collision. Let's anticipate debt by summoning at tile generator. Drag and drop it with a right-click. In this mesh, let me switch to run the cube. Drag a drought with right-click. And it's going to ask us what kind of export or output your dragging, I'm going to tell is a height. We have height, but we can't seek why. The cars we need to have normal verb. So let's create another node at two normal or the space unit, connect the output to input of the normal node. Right-click drag and throughout the normal set. Now we can see material clearly. And as you can see, we have actual geometry. Displace ink. If I switch to material, better looks. You can see d displacement, but if you see, it's not actually happening on the surface of the mich. This fief is faster and goods of good for lover and machines per deposit. The solution von, it's more. Inaccurate. Now, go and see the lights. We have some extra lights. Those are useless. Basically. If I enabled them. Maybe change the intensity. You see nothing is happening. All right, let's disable it. After that we have camera settings. You have control over the focal length. Something like this. And also some impulse, the effects. Going over this kind of things to after start building materials. Let's go to environment. If I go to environment, we have one option inside OpenGL renderer only. It's going to be invisible. It can see our HDRI and also rotation and exposure. If you want to change the environment, lighting, you can go to 3D view, HDRI Environment, and drag and drop off the HDI. Also. Let me find my M by meant a folder. You can grab which DRIs throughout them inside 2D view is going to ask you what kind of texture you dropping. You say HDRI. And it's going to edit to the scene. I'm zooming by screwing them all spot. You can zoom just like Maya, Alt and right-click. Rotate with just click, left-click, and pan with D, middle click. It's quite easy. Also the same shortcuts in here. To review. Zoom and pan. If you zoom in real close, you can pan with middle button. And also if you tap the space key, you can see or material tie link infinitely. And also if a means focus, 3D or 2D view and also in graph view. So that's that. Let's go and see the displaced display. That doesn't contain anything important, just wireframe and some display options. In a render render menu, we have ability to switch between OpenGL and Ira, Ira from media. So it's a GPU based rendering. If I switch to Ira, can see we have ray traced rendering inside Substance Designer. If you go to material default, you can see the material menu. It's quite changed. Just click Edit. And as you can see, we have it. Miss the menu. I don't know, then date fixing this mess. So now we need to work with whatever we have ability to tie our texture. Maybe five times. A switching between of engine and direct, normal. Some basic roughness, base color, collusion, and normal scale and displacement the scale. Let me add more displacement scale. Alright, now if you select the IRA, can go to scene idiots. In subdivision area. You have control over your subdivision, switch debt to parametric. Add more stuff division level to your mesh. We switch to OpenGL. Displacement. Stay there. So let's go back to parameters and don't forget you have ability to pin D panel. So let's dead. So let's go down and developed a scale. Add more distillation factor. Good. Now that we created displacement, black and white displacement and also not Monument Lab out of this displacement, we need to have some outputs. So let's go and create a output. To note, this two way to create output, not one of them would be here. I'm showing you create output node, go to attributes and hit this plus button. And look for your output. Maybe Base Color, Control C. And copy in identifying their labor. And it's going to be color. As you can see, it's colored. So let's go and hit Control D to duplicate the node. Go and delete the scholar. Create heights, paste and name and label. Also. Create NADH one map, copy and pasting label. Let's go back and change the color of space for the base color to sRGB, height to linear or luminous, and also Norman to sRGB. Now let's load a uniform color and change the color to something like this. Connect your input to your output and displace to the height and normal to the normal. And look what happens if I connect deep color input to the colored output. And also grayscale or black and white color to the black and white output, it's going to be grayed out. So now we have base color and normal. All right-click it in graph and hit View output intuitive view. Now we have yellowish color. This height, this normal. Another way to create outputs is to use base material. So Saman, be Smith area, and double-click. And choose your PBR workflow, specular blessedness or metallic roughness. So I'm going to chose metallic roughness and material preset. I'm going to use maybe gold. I'll so we have control over D. User *****, base color, normal, all the way down, can enable them. If you enable this material, as against here, it's going to create your inputs. Let me change the material preset. Let's go into. Overwrite everything. So normal to normal, base color to base color, height to height. Let's delete these outputs. And also we need to have ambient occlusion, metallic roughness. So metallic roughness and I'm inclusion are grayscale. So let's create uniform color and choose Grayscale. Add a rough color. Hit Control D to duplicate and make debt black. Substance designer knows dead material. It's now at the mid-side EQ. So for the degradation and you need to create ambient occlusion. Note HBO. Connect your height to the input. Change the size, and connect that to, I mean the collegial. This way. Substance Designer Chen. Make some fake shadows for your scene. Click, paste material, right-click, and let's go and create output notes. It's going to ask create NADPH for A1 connectors. Say No. Going to create your outputs for you. Get to see the height. It's not all the way. Full range, so let's go and fuller range to the height. So it's going to pass through. And now right-click View outputs these outwards to the view. Now let's change it is degenerate or parameters. A CDA result in 3D view. Let's add more glossiness. There are Ping Di slider on roughness value, little bit offset. Make a basic bass. Seek your basic. Alright. That's pretty much it. You will be more about the substance designer. Next chapters. So let's go and start building materials. I see you in next chapter. 4. Introduction to shape creation: Hey guys, and welcome to the second chapter of this course. In this chapter, I'm going to help you make your own shapes. So it doesn't matter what kind of meconium making. You need to know how to make your own shapes. And this is almost the important topic of the stuff system designer, almost. I'm going to make this one at first. Might seem really complicated, but don't worry, it just tied. You need to make only one of these shapes. Alright, let us start making. First of all, we need to have a graph. So start by going to File new substance glove or just click this icon and maybe give it a name. Ships. 2048. By 2048 is good. Relative to parent. Output format is good. Dad me. Yep. New package. That's good. And hit. Okay. You are working with the grayscale value. We are starting with grayscale, then making the colors. So just double-click and the graph, the substance graph, and go to base and parameters and go to output format, changed it to absolute and 16 bit per channel display, you have enough depth to forfeit. So let's go change the UI first. Let me grab this 2D view and put it here. 3d view, maybe under the 2D view or maybe it above. All right. A liability. Let's decade like dis and explorer is there, it's good. All right, now, let me move the parameters a little bit. Now we have enough space to work for really wanting that you need to keep in your mind is very clever and always analyze your shapes. Shapes. It might complicate it. Look complicated at first. But as you can see, it has some 90 degree angles. Right here. Seeing a rectangle right here. Alright. And also in other shape curve like maybe leaf or sung. And this actually inverted to be this one. So these tools are similar. Let's go and start making this inner part. First, two simple shapes. Let me size deep, pure ref, and put it here. For creating the shapes you need to hit a space, simple, simple space. You have access to all the nodes by, by default, you have access to atomic notes. As you can see, Gradient Map, blend, bluer, and so on. But you can search, and then you're searching for something, you're actually searching in library. So let's go and hit space and search for let me see, shape. This shape and naught contains several shapes. Let me collapse this base parameters. We don't need to see attribute and base parameters for now. And this thing here actually is the parameters for the shapes. Cell can change the shapes by. Using this drop-down, I'm going to use arrow key and look through shapes. And this one is nearly bit leafy and look alike. This slide. Alright, let's grab, let's save this one. Control D to duplicate the shape naught, or simply grab another shape. Note, this time let's go and grab a square. This is 2D view and V are seeing the shapes. If I scaled it down, you can see the actual square. As you can see, R-square is flats are lifting leafy leaf is actually a gradient. So let's go and flat distinct out by using node called histogram scan. Going to select a position in this gradient or add some contrast today. Now you have control over the whole shape. As you can see. Look alike. This one. Let's go and blend these two together. Space and look for blend or simply be enter space b Enter, it's going to create a blend not. So. Let's go ahead and put this foreground and background. So we have one input would be opacity or mask. We don't need mask for this specific situation. So now we have this blend, not this two node connected. And now you can change the blending what top node of foreground always showing in copy. So if I grab the opacity and drop that down, you can see shape behind it. Now let's go and change the blending mode to max or lighten. Combine the shapes to get. So let's go back to a square. Make it little bit smaller. Sum like this. Now we need to move them and we don't have any control over a moving. So you need to have a transform node transform tool, just typed TR and transport 2D is showing up. Click, dead, double-click. We don't need to have the tiling effect by default. In base parameters. Under tiling more to be half and V tiling, we don't need that. So cold air to the icon throughout down and change the relative to input two, absolute goal changed. No tight link. All right, let's make some copies of this transformed to D because we don't have to change this every time. Maybe you put it here. One of them, output f at each shape to the input and output of the transform to the background input. And also one for leaf. Same team. Nothing happens. Double-click on the Blend and all to see the result. And single click and D a transform and hold down. Maybe dummy, move this one up. Simply. What feeds these two sliders? Offset? Maybe somewhere here. Alright, now let's select the shape. Make it a bit bigger. Select the transform, hold control and hover over the controller Gizmo. If you're don't hold Control, you just changing in one direction. But if you hold Control, you can change it. Both side are part of AIG and make it a little bit point here. Also. Taller. Now, let's go and change square. Now we are here. We did something like this. Alright. Now let's go and make distinct here. We already made this part. We need to add a circle down here. Simple, but let's go and create distinct. So for debt, let's reuse our belief. Go and search for, sorry. It's going to rotate your node or shapes based on itself. And also your Chan move to kiss mall. To change the behavior. Changed my mind. Duplicate this, stick around, move it up, use one-off D is transform to get copied. Make this arrangement. Let's go and actually changed. So go back to thrill and maybe something like this. More rotation. You can edit that after combining them. So let's go and make another blend not or simply click this one, the old one, and click or hit Control D does shape the result of combining these two goes to back. This new shape goes to front. Also be new mutant needs to move there. Let's add a transform in-between. Double-click on the Blend and single transform. Let's move down here. Maybe. Something like this. It's changed a bit too weak. The result is something like this. Alright. Let's add another shape. Set the pattern to disk at another transform to the left. Duplicate this blend note. To put off the old blend, not the new one. Output of the transform to the foreground. All right, Now let's scale it down. Hold, shift and move down. Alright. Needs to be little bit squeezed. Squeezed, dad, scale it down. All right. Let's go back to this, Shay, I'm not happy with the result. Yes, that's a bit better. Let's add a mirror symmetry to this shape. So it is space. Look for symmetry or middle or Gretzky. It's going to middle of the shape based on mode, center, middle survive. And also you have control over the offsets. Now, I'm going to replace the inputs, see the results. Not too shabby. I believe we don't need to have this part. Let me see. Also, you can move the anchor point and put it somewhere here and rotate based on debt position. Not quite like that. It's not bad either. Me change among tough rotation. Now, let's go see what do we have here? Down here. Let's make this a little bit bigger. Make this one a little bit taller there. Also d, square or square shape. Make it bigger, smaller. X-value. Push it down. Push this down. This is Zoom and causation days over here. Something like this. Now let's go and grab another transform 2D. Make dis center almost, and also maybe a bit taller. Now, another transform, 2D. In this transform, Let's go and offset. To decide. But in this scenario, we need to have tiling. So let's go back to base parameters and let's go and select V tiling. D's two needs to be connected. So let's go to this transform 2D. Connect them and make them a little bit taller. Let's test this one and go to Search, creating space, and look for safe a transform grayscale. Don't forget VR. Working in grayscale value, connect debt, and make dead a tight net bed. And that's good. Now, let's go back to make more room here. Let's go to this, tie the trans form 2D space and look for a stretch, shape, Gretzky, acidic death, and double-click on the mask. And now we have two line. Also in settings. We have white that it's going to work in negative. Also. Me change deep. Now if I connect this one to D, Next, can't see the resolved 3D view. Now let's go and add a transform to double-click on safe transform, one click on Transform to D. Let's change the causation. Nothing this one. Let's go and grab it, transform 2D and put that in between. Let's change the blending mode to be. This way we have thrown over the shape overall. Looks. Let's delete that. And also, you can, I guess face shape, readout, but it kinda connections. Keep that in mind. Let me use a middle gray scale. As you can see, we already making some shapes based on domain shape, it simple. Another way to make something like this is to subtract shapes out of each other. So let's go and maybe copy or duplicate this leaf. Grab a blend, denote d not d. Transform. Know tiling makes some decades. And also let me select and predict the connections. Now we have to transform to the out of one shape. Select him, change the blending mode of the blend knowledge to subtract, going to disappear it. So let's go top von. Scale the bottom one by holding Shift and Alt and in the corner. Make it, lay it a bit bigger. The top on hold control and make it taller. Alright, now we have something like this. And always you have control over dy thickness. Let's make it ticker. Also the inner part. Now, same team with d squared change D shape to a square. Where is it? Up here? Let's go. Changed it also transmitted to the ER can always right-click and a reset transport. Set trust score. Let's go and scale this one down. A bit on this one as well. B, sorry. B blend. Add to transform after each blend. Selective blend change the blending mode to Max. And as you can see, we are seeing two shapes together. So let's change data. Possession. Going to make this layer a bit smaller and this something like this. And also can change the blending mode and have this kind of effect. Now if you want to subtract the inner part, you can always use this arrangement. Digit side. Grab a trans form. Now in this transform, can subtract. Subtracting. You need to have the CR squared on top. So let's go and select these two connection heat X and switch d inputs. Subtract, it's going to be subtract. And you can always have a control. In Max blending mode. Now connect them together. Change the cut. Now we have something like this. But did it do? So? Let's create another transform. Tiling. Maybe after. Shape is truck. Double-click and safe transfer. Maybe make this layer a bit bigger. All right, In the next part we are going to connect this one to Title Generator and tile it up to look like something like this. But as you can see, a little bit chunky. So let me grab this one. Alright, That's not bad. This is much better. Remember, if you have some kind of Jenkins Yes, over the corners. As you can see, if you have smooth corners. And in here, a little bit Genki and this coordinate is not good at all. The solution to do to make it cohesive is using blue or blue or blue or edge here I'm always using Blu-ray HQ, Chris's skill. So connect that to blue quality all the way and zoom over here, maybe add enough blue or too high D Genki corners. After at a histogram skin and change the pulsation. Also contrast. To make the shape looked like this. Don't forget to add another blur after that. This time. Adding a little bit around this around the edges, something like maybe 0.5 or less, 0.1. I'm not that low. 0.3. Yep. Good. All right. That's it. You've made your first shape. So let's delete this one. Let me hit Control S to save. Where is it? Safe? Let's go in next parts and tie this shape together. See you in next part. 5. Working with tile generators: Welcome back. In this part, we are going to make this shape that we created before and tie all that together. So let's go and see our options. We have several options for tiling, and those are all the names are starting with. If you top type tie, I typed it wrong. Tied, tight generator, random sampler and make it tile and patch diet this two or this for four. Scan based texturing. So we don't need to do anything with deaths. So we have tight journey toward tight random anti-spam better. And those have the tile generator random sampler in color. We don't need color, just need the grit scale. Let's tight random tile, sampler anti generator to the scene. Also we have one more tile generator that is more advanced. And for complicated materials, that would be shea per splatter shape, splatter blend shapes, splatter, color and so on. Let's shape splatter to scene as well. So first, let's look at the Thai random and as the name says, it's going to tie the shape and rent them all the time. Generators all tie sampler, have the exact same input. These two exact same input, but this a little bit more input. But they have similar inputs, such as pattern input and background input. So now we can connect our shapes as shape input or pattern Input. Double-click on tile random. And you can see in tight parameters that random parameters feel more than few sections. And let me explain them one by one. X and y amount. You know what that means? It's going to add more shaped to the tile generator pattern. You have control over the pattern. As you can see in patterns selection. You have control over default patterns or your pattern input. And symmetry random, it's going to random symmetry, cone, rotation, rotation random in pattern, split. This is specific for the type random. That's going to say the random as you can see into the view. And how much spillage need to have in shares. And also you have a multiplier. Size. Random X random. Why? Also you have control over shape, size and scale, random rotation, random position offset, offset random, and also another random color or it's going to random grid the scale value to have random height positions. And also masking random control over the inverted masking random. You don't need to work with. And it's not good for this kind of situation. So let's delete that. Title. Generator is little bit different. The same x and y amount. The same pattern inputs. But it has control over d. How much pattern you need to input. The same symmetry called random rotation, random and also scale, scaled random. Middle size. Scale, random, one, or a scale just one axis. And also your half scalar random seed, position offset and don't offset, and so on. This tile generator naught, let me scale this up a bit. You have control over luminosity or random colors. And Tyler randomness. And also you have control over D, mosque random such as check her mask, vertical, horizontal and also some randomness. Alright? Tile sampler and tile shape is split over. You're going to work with them. They're each chapter and the next chapter and chapter after that. So let me explain them. Den pretty similar. Let me delete them and also delete data generator and add another title generator, the fresh one. Alright. Now let's connect our output into the input. Go to tight generator and select the image input. And as you can see, our image is imported and our deep tight. Let's change among something like this. Make it bigger. Let me see. Make d y axes smaller, but less by axis, six to five. Maybe indeed a bit less. Dx or overall size, a bit bigger. Now we have something like this. And remember, if you want to check your tile to see your tile is tie level or your pattern is Tyler or not. Into 2D view, you can always hit space and make it infinity. So keep that in mind. Let's go back to shape, stroke, reskill. Make maybe a little bit wider. That's good. That's enough. Good. But we are going to some problem. I need to mask, make a mask for inside this sphere, can't. It's cool. From here, let's go ahead and duplicate the notes. Make the connection. Let's see what do we have and change the shapes. Make something like this. Let's see what happens if I invert that gray scale. Now we have this parts in white and despots and white as there's a little bit of problem. Here. Seats space. This node is tiling. It's fun to see. Maybe if I duplicate this one. Hold control and copy deep connection. Duplicate the generator. Maybe if I invert, going to watch, can use float field. Don't want to. So let me see if I can't solve the problem. Right here. Inverted Grayscale generator. These two needs to be laid a bit closer. The beauty of the substance designer. We can always go back, change the starting shapes. Friend, results. Those are similar, so good. For masking. Can use C. Let's duplicate the tile generator. Go to sitting all the way down color section here. And maybe use checkered pattern. Horizontal, vertical. Maybe checker. Let's go invert. Let's add invert grit scale before connecting to Title Generator. Let me see. Heat Control D and trans form to D. Let me make that smaller. Know tiling. Maybe use this tide and generate or no checker mask and change the input to change the scalar. Now we have this are used less. So now we have this bore their team and this inverted one. Let's go use note cards. Feel. Connect this to blood. We know it's going to add some color or analyze your black and white. Use another fluid-filled to a random grayscale and it's going to add some randomness. Also. You have control over the tiles, selected tiles by using histograms, select. This way. You can select different sides, different colors to them. Now let's test this shape and actual 3D models. So we need to have a base material, space type, base material. Change this setting to material type and dielectric. There a bit of roughness. Let me see height. Maybe one. Also in user-defined map, we need to have height input, a collision input, and normal inputs. So let's go and create a normal ward units to change the height value to normal value. Surface size. In enough depth. Connect it to normal input. Connect your height or tie generator to hide input. Now we have height of value and normal value created. Let's create a Ambient Occlusion based on height. So input, output of the height goes to input of D. Ambient occlusion, bit of height, depth, connect it to ambient air pollution. Went to heat 123. You can change the connection. One-by-one connect, multiple connection, or material connection. In this case, let's heat to one. Right-click and base material go to create output to note as create node for he didn't connection and no, we only need base color, normal roughness, metallic height, and pollution. So our height is not good. Go to base material. Height range of one. Let me see. Pulsations goes to 0.5, height range is one. Let's go right-click and via output in 3D view. And it's going to show in a 3D view. You can see it's quite a nice displacement. And if you want to have more fun and see only the shapes, not the bikes, you can create your own output as well. Just select one of the output and it's controlled deep or space outputs, NADH, double-click Name, Datev there the identifying the air. But let's select, Add Item, type or opacity. Copy the name. Sit dead on. Ok. Now I did it find out and I'll solve the label. Use this map as an opacity map. Viewing 3D view. And as you can see, if you have just displacement shapes. Also you have control over ds by using a stoke histogram wrench. It's going to change the range of the rescue. If I know c. You have control over how much a plus C DVR sink. Also, if you need to, more fun, we can always create a blend note, hold Control, Copy, and maybe make it here. Or the background. Create uniform color. You uniform color. Change the mode to grayscale. Maybe five int, float value goes to foreground. Also. Make a inverted mask. We are having two inverted mask. Inverted mask as opacity map. If I go and change the uniform color, can see I'm just changing dy background. So if I connect that to Opacity, I have control over opacity. Let's not use opacity for this project. Now. Locked in opacity. So let's hit Control Z and connect the uniform color to opacity. Hey kids, white. To have full opacity. So let's go and see the resolved up-close. And as I said before, you need to have data bit of gradients at the edges to avoid this jumpiness. So let's go and select this blurry HQ before tidy generator. More bluish. All right, that's good. Now if you want to make it a little bit thicker, but just insight, you can use. Maybe blending, space be blend. This one foreground, the same background. Let me see. Great. Let's create transferred to D. Also know tiling. Connect it to foreground. Set the blending mode to max. Scan. Trans for this layer, a bit thicker. Kind of debt to generator can see its ticker. Alright. Let's go to the top to this icon and hit clean to get rid of the extra naughts that we know how to use ink. And also acidic these inputs hit D to ducked him. This one, D, D, D, and D. Also. This one's now we have a beautiful organized graph. The next part we are going to add something like this. Flower teams and tiling in the background. After. We can maybe create this big parts and combine this little one with a big parts and color them up. Alright, see you in next part. 6. Making complex shapes: Welcome back. In this part, Let's go and create maybe this type shapes. Obviously, you can always use SVG vector map to create shapes. And it's nothing wrong with debt. But let's go and create them. Substance designers, knots. So let me, because this part only, alright, now, same as before. Let's go and start with simple shapes. In this situation, you can use another shape generator called polygon. Lord, your polygon. And it has quite a few settings. You can, you have control over the sides. And again, applaud a scale and size, x. Size, why? It's against C, can create interesting shapes just by working with this type of effects. And also we have some tiling going on. Here. Let's go and delete, load another fresh polygon. Let's go in. Create a transformed 2D and same as before, go to tiling mode and set that to no tight link. Make a few copies of this transform. The Noh Tae link. Right here. Let's grab one of them. Go to Transform 2D. First go to Polygon, and let's scale that down a little bit. Let's go to transfer to D, hold Control and drag. Now we may, we are made something like this. Make it rotate around, something you need to have not called. If I remember correctly. Platter circular, you can see it's going to load default shapes. And such as identity the same as journey TO it has some inputs and also has image input. Now you can connect your shape. Immediately we are getting something. So let's go and count 12345678. Set that to eight. Let's go and find the scale in India under the size. And scale that up. If you reach the end, can double-click and type whatever you want. Some like this, It's good. But we need to rotate it to find angle, rotation, radius, rotation, this type of rotation, ring rotation. Something like 22 degrees. Now. Go and create a square shapes. Make it blend in. Use, not used to transform. The shape generator has their own rotation, but in this type of situation, we need to have control over D, hold shape. Their result into one shape, starts shapes. So let's go and select the rotation. Hover over the edge and hold, shift and rotate 45 degree. Or simply go here, let me it got Rizzi, go here and type 45-degree. Go to the blend, set the blending mode to max. Now we have this middle shape. Alright, now let's go and create a blend, which blending mode set to max. Let's go back to shave the square and reduce the overall scale. Now we have this middle shape. Let's see what else we have. All right, let's go and now split error. This shape. Select the splatter control D duplicate dead and fit that shape result. So let's go into shape. A letter. Let's count 12345678, right? Let me see four here, four in the other side. So let's go down. And babies set that to 01234. All right. Let's go let's go up to the, all the way up to the pattern among pattern. There is a range amongst nattering amount, radius in position. Make it a bit bigger. Almost to the edge. Let me see. Something like this. Duplicate, this splatter one more time. Feed dad, distinct. Create a blend. Max, lightened mode. Now, select the second splatter. Now go all the way down to the ring rotation and rotate. Maybe five degree or maybe 22. Now, let me zoom and make the ring radius a bit bigger. For the top one. It a bit. Shapes needs to be a little bit bigger. Size. If it's bigger individual shapes, It's to rotate. Maybe 2322.5. All right, that's good enough. Now, let's create maybe this part. Tao would be the same shape as this. But how many? It's Control D and duplicate dose. Maybe duplicate over here. Blend, transform to D. This one goes up, this one goes down. Salts. Set the blending mode between two subjects. That we'll get a blend. Single kid again, top one. Moved up some like this C result and it's quite similar. Let's go and duplicate this and blend with Max, lighten and put in top. This one is Bec. Let's make this splatter. Whereas it drink. Maybe over here. Good. Now, let me find the middle. Maybe quite difficult to see. This rain can be made in the outside range. Let me go to the extra generators. Sci-fi have something degenerate random shapes. In the middle. I don't have any teeth. This is it fresh, such as design, they're installed. So let me try shape mapper another shape splattered. Similar thing but a bit different. Let's create random shapes. Maybe duplicate. Use this one. Create a blend, not max. It's quite nice. Blend together. And put that in here. Add a transform to the in-between. Select the result, double-click result, and one-click transform. Smaller. And also, we can use another trick. Use this shape. Use the shapes. So let me see if debt works. Control D on and blend. This one is goes to back. So let's grab another transform to D From this shape. Or maybe this shape. S1 is the top. Maybe rotate. Not going to work. So let me rotate. Layer needs to have more among eight time by a little bit of rotation to distill point at it Shutter, button one, and make it alright next, so now let's go and populate these areas. Maybe some black polygon. You may remember. We have control over D, explosion. This type of rotations. Now they made different shapes. 90 degree. A bit of something like this. Using a shape splatter. Duplicate the shape splatter. Can blend them together. Replicate the blend. Is it Control D? Goes to batch, this one front, whereas it in the middle. So let's go and change the radius. Also size. As always, you can copy this over. So let's go and do another trick. So Go summon and other transform 2D, but this time there would be tiling. So let's go and offset that too deep, expanded to the right and also to D butter. And if I hit X, can see it's going to tile infinite. So now we have the middle, some areas. So let's go see what do we have here? Maybe we not use distinct. Create another blend with Max. Lighten is fun background. Grab this and transform with no tiling and use this one in the middle. Rotate it a bit. Something like this, and maybe scale it down. Alright, now, let's add some fine details. Another splatter, Sackler, duplicate. But no tie link. Insert, no input image. Change D input tool may be something like maybe something like this. Add a histogram is scan for that debt. Go back to split or circular. Let me connect that to blend note, grab this, got to beg, and it goes to front. It's already showing here. Let's go back to radius. Maybe a little bit more. 14 maybe, and scale it. Down. More ideas. Let's rotate. Let me add 16. Now, 0 rotation. Now we have something like this. Also. We have empty spaces here. So let's reuse this one. Control D. Sit, the pattern amounted to four. Rotate the five degree. And also lend the old one. Go back to a splatter and make it bigger, bigger, bigger. You can see it's moving. So let's move here and make it inhibits speaker. Now we have something like this. Now. We have something like this here. Let's maybe let's not do that because we saw enough in this shapes. So you can create this type shapes like we did here. Let's use this one. Now. Duct some of this d, d, not going to dock. So Let's organize our graph. Fun goes up, one goes down d and d. This is the graph for shape creation. Now, let's go and put this shapes that grand off this shipped. So it's Haidt's plan cast, splint. I believe It's going to make a mask for us. First of all, let's duplicate the tile generator and that's not good. Let me reset some of the settings. Now connected to blend. All right, let's not do it. It's working. It's simple blend. Set that to x. We are going to use something like this color and use this masks for coloring our shapes. So this one is five by six, so let's use 646. All right, let's get into next parts. I'm going to make maybe this bottom parts. Big parts. Also combined the whole team together to make some results. If I connect this result, the output, it's going to be crazy. So let's hold, shift and move the connection. This is so crazy. But you can always control the height using histogram. Wrench. Connect the flavors are better and to histogram range and control the range by the position slider. Going to move them or push them back. And you have control over D. So maybe something like this. It's good. Let's not do that and do this in future videos. So see you in next part. 7. Combining shapes: Welcome back. Let's go and make this big parts down into button. So if you look closely, it's the same as D shapes. Top, so it's the same curve, but different in this area. Let's go and try making them. See there this is all tier. It can cut there. Maybe maybe over here. One in the middle, maybe 2.5. Let me see. First of all, let's blend node. Now let's use max transport, know tiling. Maybe here. Make it smaller. Let's match that to the upper shapes. Maybe here. Alright, now, let's go and make a shape. And no need to have a circle here, a square down. So let's blend. Subtract this shape. Input to a disc. Duplicate. Transform notes. Make some copies down. First of all, scale it down. Put it somewhere. Maybe somewhere around here. Let me try subtracting this part and create another shape. Square shape. Another blend it subtract this one, goes to this one fit transformed to the front. Let's make debts smaller and put it somewhere. Now, let's move to stress forms down. It's blend with Max blending modes. Blend this transform. Maybe from Gina shapes. Connect that to subtract. To make debt. This is our shape. Let's go add a grayscale. This shape. Struck. There are plenty. Mit, max. Now, blend shape, sphere, subtract, maybe add a transform, duplicate this transform. And at that instant, maybe a bit less strict board. Among quite a lot. Nuts, right? It goes to fixation. We have something like this. Eat top. Let me see if I can lower them together. Cute, Chris, quantity Oliver, something like this. All right, Now, histogram, we can bring peg D, D, grayscale value. Let's try something else. Actually move the bottom part. Let's go and move dead in x-value. Let me sit, sit this first. Happy with the results. Let's safe transform the whole team. Something like this. Maybe copied this. Blend. Subtract the whole team. Maybe S1 is max. Alright, now, let's go back to this part. Now. Another safe transform gray scale. Let's say mirror. Let me see. And we can do, we can mirror. That's good enough. Let's move this part. Move some of days. Hate D, make them organized. Acidic the outputs. Move them here. Now this is our output. Let's hold shift and move the connection. Now we have something like this. Maybe mirror exists. Let's go ahead, nice. Let me see there is Alt in 3D view as well. It's good. That's all right. Good. Indian. Next part. We need to colorize this. So c, Let's go at a height, blend. This one goes down or Background button, but all the way up on contrast. Set this into four grand. Now let's go and pushed him down. The mask area. Something like this. Now, you have some mask to work with. Let me connect this to output as well. All right, that's good. So let's go and indeed, next chapter, next video. Make some color for this simple material. Render that out. See you in next part. 8. Coloring and render: Alright guys, this part, if you are going to add some color to our base material, Let's go and start coloring. First of all, we need to have a background color. Let's go and find background. This is it. So did a blend note. Create a uniform color? Go to sample color, eye dropper and sample one of the colors from the background. Put dad back. Use this mask masking and connect that to blend obesity. Control D on uniform color. For now. And let's add a solid color or this flower thing. See, if I double-click the Blend and NADH, you can see we have this color as background and scholar as foreground. Simple. So that's debt. But you have always have a choice two, color the part of the mesh one by one. Dan Tyler it or to tiled them. Let me show you how I'm going to hit Control D to duplicate this blending mode, this arrangement. Let me see what we have here. Let's go and use this part as mask. This is the result. Pushed it down. Create another blend. And this time, let's go and add this output as background. Now let's go. Maybe. Let's use this part as mask. Duplicate, uniform color. Add another color, different color, and now we have distinct colored by using this mask. All right, Now let me see what we have. As you can see, we have these two diagrams here. Let's go and combine this to Instagram. Have them together by using max and blending mode. Create another blend. And use this as a mask, background and Control D uniform color. And maybe this time some kind of like this. And as you can see, we have this type of situation. Maybe there's something wrong. First mask. So let me see. Maybe using this one, it's not a bad idea. Now we have this things, this situation. Now, if you want to make it tile, can use the intelligent are obviously. But net this type of degenerate or cars, those are grayscale tight generators, space and look for site generator. This time tie genital color. Now. Go to Title Generator, grayscale. Go all the way to top to top of the parameters and saved it preset sound learning your disk. Go back to tight and curator color. As you can see, there are difference between input and output colors. Go ahead and load a preset. Load Presets. Connect your inputs all the way down. Let me see. Go all the way down and change the blending mode to max plant. It's quite nuts right? Wrong with D. And that's why I'm not using tiger ate or normal. Using died a sampler, it's better. So for this part, we are going to use tight jury took us, it's simpler. But in the chapter maybe four, we are going to use tight sampler. In this situation, we have another very, let's delete this mask. Did it? Maybe this foreground. Let's go select, float, feel. Connect your generator to the fluid-filled. And after dad's, let's go and look for a float VL2, random color. It's going to add random color to your types. Go and connect it to your land. Not as you can see, you have colors. Maybe a little bit. Let's go and just random seed. Now we need to show our colors in tributes. So let's go to basic material or a base meter. Double-click, look for user-defined map and release the base color. It's going too dark a color to material. But we have colored inputs. Now, let's go and drag and connect it to sin. That's going to color our scene. We need to have another layer. There would be this pattern. This pattern isn't really teens, so let's use struck, struck. Go to parameters, and maybe a little bit of something like this. Let's go blend the original shape. Max. There's a line here so you know that the soap go to Search and search for blue. Lord debt. Den. Stick it on the scan to find your shape. It's going T care now. Now another gris skill. Make it a bit nicer on the edges. Something like debts. Now let's go and switch D input. Also, let's use the same mask or same alpha for coloring this area. So dict4 blend this tooth opacity. Drag this down. This one is background and for foreground. Let's do different tricks. In this scenario. B can sampled color from surface, but this time using CMD gradient. If you hit for spares, gradient is always at the top. You can use this space to enter and create a gradient map. So the gradient map to blend naught, shift and transferred the connection. You can see we have myriad of problem. We don't have any colored going on because we are in this gradient. So let's go and open the gradient editor. You can add colored by double-click. To revamp. Maybe switch d or replace the black one, VT, some blue, white one with some red. We did it, right? But we don't have any external data surface to gradient to work with. So let's go and connect a gradient map to input of the gradients. Note, let's go and find a grunge map. Maybe this way. Texture generators and look for something smooth, something nice. Like this. Drive the mean level up connected to the input of the gradient. And as you can see, we have some data open degraded eight or warmer time. And if I add another color, the ramp, It's something like yellow. It's going to replace this color of it. That data in the grease get value. One more time, something like black, white color. This way you can colorize the grayscale value. So that's nuts, nice to look at. So let's go and pick a gradient. They're on. Let's go and pick a gradient off our image. Drag from darker color to a lighter color. As you can see, some things going on into surface. Let's go back to our fractal. Some base. Change the noise parameters. This is our result. Let me see some like this. But first, let's work on our grayscale value first. Maybe didn't have any spots. Blend our fractal. It's multiplied blending. Alright, let's add a histogram range after that to control the height values or grayscale arrange, connect that to the inputs. Let's see the result. Let's add little bit of damage to the edge of the shapes. Let's find our shape up here and look for slop. Grayscale. And going to work with slippery slope blur a little bit more in the next chapter. So let's grab our output and put it inside the grayscale input. And let's load a noise. Noise. Set the mode to mean. All live it up. Less intensity. And it's going to look for something like this gray DNS and destroy grayscale value of this input. Can see it's quite damaged. So let's go switch the inputs. Yep. That is damaged. Or maybe a little bit less. Nice. Let's go and combine dead damaged surface. Meet our took it on noise. We're creating the color, so let's blend back ground. This one, it goes to foreground. Multiply. Let me see, That's good. Connected to input. Can see we have some things going on. Bring back the, there are some tone or concept. Open the gradient and pick again. Also can use this slider to get different results. All right, that's good. Let's go and add another layer to color. Maybe. Move this out a bit. And colors goes up. Another blend background. Now that uniform color with maybe some lighter color. And select your output damage the surface. First of all, let's add a little bit of imperfection. Maybe something like this. Maybe discuss stick. I don't know. Maybe this one. Create a blend. Top back. Maybe you subtract throughout the opacity a bit and add a level naught, it's going to level are not, can use level to target specific areas like this. And use this mask, this new mask as something to drive. Set that to multiply. Shift, disconnect and connect again, less opacity. And also create a site to normal or this base unit. Connect to your normal value or height value. Maybe for Trump this snot. After going to use a curvature is smooth to find our curvature. And after that, another level. Look for damaged snake is to not hit Control. D. Use this as mask. This time. Use Linear Dodge. Can see it's going to highlight edges not to normal map. Back to this throughout the height. What these integrations like this right now. And let's go to our ambient occlusion and add more sample data, bit less height, depth. And also our background color here. Maybe make it a bit darker. Blue. Maybe sit. We can also use all of these masks to drive a roughness value. So let's do that. Get a blend note. Let me see what do we have here? Hold control and mask. Use uniform color. But this time in grayscale value, remember, roughness is Gretzky value. Alright, now let's add a fairly, the rough value for the background. This one is masking the foreground. So let's go create another one and add the layer, name it off, blessedness, duplicate and this blend, this phi goes to peck. For the next part. You're going to use. Dismissed. This time is going to be more Shroff. You can see the difference. So we have this mask. I'm going to create another blend here, copy this mask and put that as alpha. This one goes to back control D and copied at uniform color. A bit less roughness. And now we have good lesson is over here. Or maybe invert that mask. So let's create a inverse. Hello copy. Maybe, maybe nuts, maybe this mask, and it's at less roughness value. And this map. Let me up go to base material and this time release the metal, this roughness, sorry, connected roughness value to the new roughness that you just meet. Now if I go back to the background and add more glossiness, video, hold Control and Shift and right-click. And then the line you can see clearly the roughness value, It's going on here. That's, it. Can always go back in this style generator and maybe put something like four by four. Also. Color. The color. I'm not using Qatar, yeah. I can make deep decoration speaker. Also. Let's add more value to heights. Little bit of imperfection to the declarations by using maybe load one, lend, multiply that, tie. Note several times. Now we have some imperfection. Alright, now we are successfully created our shapes and colored them. Also, you can use a histogram. Histogram is use saturation to change your colors behavior. Maybe more light, dark, less saturated. Changing d here. Also. In this gradient HSL. Good habit to have a HSL after color and change the color at all. All right, Let's go to library 3D view and HDR environment and change the light situation scenario. Rotates ARM night. Let me connect this material output or somewhere safe, 3D. Render. It's going to grab your material. And your night input source and run their dead indeed, 2D view. So let's go and double-click. Scale down to displacement. Inhibit less. Rotate here. Where is it the environment? A bit more displacement. And also render setting 128 some posts. Let's go back color. You can recompute your normally metrical adjustment. We have some post production That's not going to use. We have some shapes to use. Sphere plan or slant. Scaled it down. The sphere is nicer. One in scale, and maybe near them enough quotation. Alright. Let me see. It's connected this one to d ground to have some surface area damage. Let's look now. Not been replaced. Alignment. Maybe need a bit more. Decorations, heights, Dead much. 95. Let's go back to our APRN. They're not. In this chapter. We learned how to go from this simple shapes to more complex shapes. Tie line like this, and also combined n-bit, odder shapes. Go for something like this to combine doors together and have a nice shape. And also learned how to add basic colors as simple render. That's it for this chapter. And the next chapter we are going to make our first material, actually material and new and complex knots and have a nicer materials. So see you in the next chapter. 9. Building displacement: All right guys. Welcome to this chapter. And in the chapter, we are going to make our first material for actual material, for new material. For this chapter, I'm planning to do something like this. I'm sure you saw something like this before. Indeed, material area. It's going to be fun. You're going to make the window and door and Aldi, other parts except the roof. Maybe this pipe, maybe start baking. Go to file and new, new substance graph or click and say add new subs graph. We need to give it a little bit of name. I'm going to keep that like this for now. 2048. By 2048, it's good enough. Output format. It's going to be relative to parent. Yep. Okay. Now we are in the material creation graph. Let's start by doing the door first. I'm going to put the constant somewhere like alright. Now, let's hit space and look for shape. Lord, the shape node. Shape node is contains several patterns, default patterns such as squared, d SQL and standard patterns. It can tie. We need to reduce the escape to CD tiling. Can tie and act as little bit tile generator or something like that. But in this case we don't need that. Keep it in a scale of one. Exercise. Why size all in one? Alright? Now we need to have a transform to transform this cube or this square to desire size. So let's hit space and look for transform 2D. Unfortunately, there's no way to keep the transform 2D. To be not I linked by default. We need to make it several copy of this. After sitting there to know tiling cutthroat D. That's enough for now. Let's use one of them. Drag the outboard of the shape node to the input of transfer. Now inside the transform, we need to reduce the size or make it smaller. To do that, we need to control. Go to the one side and drag, or go to the corner. Hold, Shift Alt and drag, just like Photoshop. So let's create another one of this combination of this two notes. So select him, hit Control D to duplicate and change the input shape tool disk. Now we need to build in these two together to make the outline of the door. It space, look for blend or hit B and enter after debts. Remember, B and tissue. It's going to make the blend mode. So let's connect the output to the foreground and output of the square to the background. Go to Blend property. Set the blending mode to max. Now, we can't see anything. When they're done, shape, square shape. So let's go to Transform 2D for the shape control and make it smaller and no control and reduce the height. All right, something like that. Go to Transform for Sukkot and hold shift and drag down to make it a smaller hold Shift and drag up For the corners. To make it a little bit, little bit higher. Focus on this area. Go to Transform for the square and make it a bit less toddler. Now created this cavity ink and door frame. The next step would be subtracting same mesh, same as shape, same all fall out of this door. So let's duplicate the whole team and maybe move this transforms. Move this up here and hit space b Enter to make a blend node. Connect this one to the top, to foreground. And the background. We need to subtract these shapes is top shaped, top area of this bottom area. So we need to dismantle the top, set the blend mode to subtract and it's going to disappear. So let's go and make this shape smaller. Can do this by tweaking main shape area. Maybe make it something like 0.5.8 shape. This shape also 0.8 and divide is 0.8. So we can do this off here, or 0.8 is going to be a little bit smaller. And insight. Let me see. Created this. Alright. Now let's do this again. Let me copy the whole thing or maybe copied this part and make this one little bit smaller, maybe 0.6.6 and D area. It's Control D and D blend mode to duplicate the blend with same setting. All right, now we have this Fonda mainframe, this one, and also this one. So let's blend these two together. In order to make the height and different than the other shave, you need to use height but end. Simply space, type height and choose the height blend. Select the height bent and make the contrast on this one to the back. It's fun to do foreground and tweak the height offsets. As you can see, we have a little bit of a height difference. Alright, now, let's see it is whole team to the, through the 3D view. So first of all, let's create a base material. This is the basic material that has output and input part. The inputs are disabled by default. So let's go and enable the normal height and a collision for now. All right. We have the height and displacement, or height actually is the Alpha that we're creating right now. So let's connect the pool to the height. And all right-click and the base material. Select the Create output notes. It's going to ask you to create nodes for he didn't. Connectors. Let's say No. Going to create base color, normal, roughness, metallic height, and ambient or collagen because we are working in metric draft Nas work for us. So right-click on the empty part of the graph and select View output in TW. Going to show us nothing. Course. Design their needs to have non-model to shore height or anything. So let's create our basic normal by creating a height at two normal unit. Connect the output of the height to the normal. It's going to create a normal. I'm going to walk on Pangea. You can bargain dx x as a Val is going to be invert the green. So there's no actual difference. So a bit of surface, less stepped connect DI, normal. And now we can see D0 door frame inside the 3D view. So let's do eat, eat based metadata. Little bit. Double-click on the base material and select the material presets and change that to dielectric. Now, see roughness dielectric and high value. High range of one. Because we have no ambient occlusion is going to be, show us the dark cube. So let's create our first B into collusion, HB Ao, Di out, put off the height. It's going to create a window collage up for us. Double-click on the ambient occlusion and use devoted unit is enabled by default. Change the height depth if you want, and quality samples if you want as well. So let's connect the output to the input of ambient occlusion. And now we have a little bit off material showing 2D view as against if you have actual displacement. You can change it by going to material default edit. Let's paint a setting because we are using that frequently. Pin. And if I go at all, let's say normal and double-click either normal or normal. Property is going to be in a new tab. Go down to the height, Height section and increase the height value. Tessellation value. We have quantity like dead as well. Now we have our door. We have to live or laugh and the resulting concrete or cement, maybe three-level, maybe. Alright, now, if you want, you can create deep levels by predicting this area. Blend, max, blend, a subtract, and also the shapes. Hitting Control D. Move it a little bit up. Let's decrease the value, something like 0.4. Connect the output of this c0 output. Let me see the arrangement disturbed. Connect to the backend of the each subtract blend. All right, let's see it. Once rho d Andy blend, acidic the heights blend, put it in foreground. Take this new, subtract it to the back. It's tweaked D. Now we have distinct I'm not sure about the frame. It's going to it doesn't have anymore enough room to put it door insights. So let's go and maybe let's change some of these settings. This one, maybe 0.9, not dead tomorrow. Let's go up. You can double-click on the result graph or at the end graph and single click and D graph, you want to change and change the setting and see the result. Maybe 0.7 or 6.5. Change this one to d, 6.5 and change this to something like this, 0.5555. Guess. That is enough room for fantasy door that VA seeing here. Don't forget, you can always change D. Or you can always make the door wider by using transform to transform that we duplicated. So let's select that, connect to the output and control. Make it a bit wider. Alright, now let's connect to the material preset. Let's move this over here. This one here. In order to move the whole connection to the a new output, you need to hold, Shift, click, drag, and let go. Now we are good to go. As you can see, we have Jenkins side of the door frame and that's because we didn't have enough subdivision level. Not going to add more subdivisions because that's going to kill my machine. So let's add a bluer. Blower HQ, Gretzky, we are working on grayscale. So let's use blue reticule, greatest conversion, connect deep input. As you can see, it's going to blur out the entire door frame. So let's increase the quality and decrease the intensity. Zoom all the way to have lift off ramp going on. So let's see. This is only interior the view and hold shift and move to. Now we have smooth transition. That's enough. So let's move this to your heights blends. Select both of the notes, right-click and add frame. Selected frame, changed the name to the heights blend. These three are Subtract. So first of all, let's select 30. Often. Get HD, align vertically. Add a frame, change the frame to sub, select Keyhole. Before subtract n at frame. Maybe. Men shapes. Alright. Now in here we have the door created a door frame. So let's create D actual door. So we need to use d inside of the door, but not quite. Let's not do the add and let's create door based on maybe this mask, not the main bond. Maybe, maybe, maybe this one. So let's test that. Create a height and blend. Connect this output to the background. Contrast to the von. Let's connect maybe discipline to the foreground and see the result. Not that bad. So let's add a transform. In order to connect d. Already connected output. You need to, you have to weigh. You can hold the shift and do that, or you can hold Control and make a copy. So now we have distinct. So let's double-click on the Blend and single click and it transform. As you remember, the change divide, transform to the copy, duplicate your actual today transplant that they created and get through the FDA is transformed to the. To do that, you can select the transform to de Becker space to remove the node without predicting D connection. So go and connect this. Now let's do the height offset and push it back. Before this lever. Now we have 123 and the fourth level is detour. So let's hold Shift and transmit the connection to this one. Now, we can control the door height. Decides blend. Watch the review. We can decide to door to door. Good P. So this one up here. Now, let's create the glasses. So in order to do that, I'm going to use Tyler generator. Maybe. We have tight generator and Tyler sampler and also tie random and also shape a splitter. They are basically do the same tink. Digest a title generator. It's a simple one. And after that tile, random a little bit more options. Tight sandpaper is more advanced and the last one is shaped. Splatter can generate shape based on background, and also it has some height, extra height options that we are going to discuss later. For now, we need just a simple tie journey towards, let's add maybe four to make a tile four-by-four and change the pattern to maybe a square and reduced size, something like maybe 0.94 now. All right, now we have a simple tied. Go ahead and make a blend space B and put the door frame or door alpha to the opacity or mask area antigenic toward to the foreground. And that's going to predict the Alpha based on tile generator. All right, now we have this kind of stuff. Let's change the blending mode to something like divide. And it's going to divide the Alpha and give us D dividers. Use this divider. So first of all, move this up because we need to, we need more room. Let me see. Let's make another copy of this. Transform 2D wider. So this one like so. Now, let's hide, blend them together, change the options, and make another frame for the door. It's going to be something like this. And height mask. We need to invert the height mask. I'm not going to use the height output. I'm going to use height mask, drag and let go and look for invert. Because we are working in a grayscale value, It's going to filter based on grayscale. So now we have this door frame. Let's hit B enter and, and other plant. Put it in a grand, this one is foreground and change the blending mode to mix. Now we have something like this. Simple. Alright, now, let's go and blend this together. But did not the basic blend. You need to have heights blend. So output of this height blend into the background. This one to the foreground. Now we have this one. Set the contrast one and change the background offset. Now we lose lusty door frames. So let's go to D. Does transport, hold control and move it a bit. Doubt control and moved to deliver it down. Alright. Hold Shift and transfer the connection. All right, now we have this kind of tink. This change the height value to something like five, and change the value of the door frame. As you can see, we have 1234, the level of the height. Fifth line, it's going to be D actual door. Yet we can control that as well. Then. We need to have a frame down here as well. Indeed. All we have to frame, let me see. We have frame in mind. Now. We can control D glass amongst. So let's go to Title Generator. And it changed the last tile in y amongst and also the examined. All right, Good. Now look what happens if I connect the output result to the simple tile generator. Let's hit Control D on this tile generator that we are already connected created. So let's go and change that to maybe two-by-two. Give it a little bit of scale. Alright? Now connect the output height to the pattern input. Nothing happens. So let's go to the generator and change the pattern to image inputs. As you can see, the R now have the four doors. Let's transfer the connection to tie generator and maybe reduce the height value that a bit. Let's change the lighting situation or lighting scenario. Go to library 3D view, HDRI Environment. Let's use this one. Drag and drop into 3D view and hold Control Shift, right-click and rotate the night. This change to studio, maybe, maybe something like steel white. Alright, that's good. Now let's delete the tiger a tour by heating eigenspace or not. Let's transmit the connection to denote before and let's delete the dial and generator. Now, let's go and maybe move. It's no, it's a little bit. Select them, make a frame and change the name to let me see. Dual enter R So you can change the color as well. Alright, grads, You made your first door. And as always, you can go to let me see. I need to add little bit more Bloor to the frame. All right, now you can go to the collision. Note and more height depth to see the door more clearly. Now, let's stop here. And in the next part we're going to make the window. This is more complicated. Then doors. After that, we're going to make the mobs. See you in the next spot. 10. Continue on displacement: Alright, let's make our window. Where is it here? Let's make this window and window frame so same as before. We need to have these two shapes because we have linear bit of care up here, not quite circular. So let's select this combination of notes and hit Control D. Duplicate them. Move it down. Now. Let us see them individually. So let's squeeze this circle by control. Keeping control. C, the result. Net bet. Let's select the square von. Move it a bit up. Alright. Now let's copy or duplicate these two nodes. Circular transport, space b. Enter to create blend. Let's put this one to the background, to the foreground and select the max in blending mode of transport, move that Up. Control, squeeze up, site, maybe a little bit bigger. Now we have distinct, maybe a bit up, go back to square, circle and squeezed down. Alright. Now, same as before. Let's go and duplicate the whole thing. Create another blend in background and dysphonia foreground. Change the blending mode to subjects. Now, go back to main shape. Let's reduce the scale to something like 0.8 x axis. Circle 0.8 as this one. Let me see. No this going to work or not. Let's keep dat and duplicate this one more time. This time let's go and duplicate. Shape and transform. Create a blend note, go, gap one F D transforms output of this transform to input, this transform, output of this to here and here. Something like that. Right? Now. Let's create another blend, this fun background foreground, and make it subtract. Let's move. First of all, let's add this one. Here. I'm bypass, hold, shift and move. Maybe a bit. Squeeze. Obviously this is not going to work. So let's go back to the one. This is a good stage. Now, let's try another one. Let's go and grab a transform to connect this one to transform. And let's disconnect connections to blend and use this bland. Subtract, select, Transform, control. Make something like this. Let's try changing the shapes. C, D on this part of the graph. Let's change this to 0.1 to May be some like this. Move, this one a bit down. Squeeze inner parts. All right, now we have this shape. Domain share. Something like this. Subtracted shape, something like this. We don't need this too to deterrence. For more. Let's go to the spot and make it a little bit thicker. That's more like it. Let's do this part. Create a shape note, and steal this to transform and make it a smaller. Let's say. It's first blender. Maximum blending mode, and change D shapes size. Something like this. Now, let's move that down. Maybe. Here. Let me see. Let's move this one down. Also the subtracted one. Go back and inhibit down. Maybe. Alright. Now let's duplicate this to. We blend them together. Or maybe height blend them together. Did it to blend and **** for ICT blend. One down, one up. This up, a bit of height difference. Now let's blend them. This time also, let's use blend. Alright. Let's make the top one day it a bit wider. Now let's see the result in 3D view. Drag. And throughout the connection. Now we have this thing. Alright. Now it's a good time to hit Save and saved the graph. Now we need to have inner part door. You remember something like this? Let me see. Can use the old trick. Let's go here. Maybe duplicate this part. Alright. Now let's go and create eight heights. Blend D or gentle to the back. To front. This time. It's different. Now. Let me see here. Let's drag this one down. This one also. That was a problem. We need to have a inner part. So let's go and see what we have here. And its height. Blend. This part before the button parts. Push it down. And let's use spot. Also. Could use doors, day window frame as a subtract. So maybe It's better. Let's test it. Let's create the window frame by duplicating dis. Scale this down. Maybe six for now. Alright, now let's go to maybe parts. First of all, let's create a uniform color. Switched to grayscale value and making it flights. Put it in grand off the height, blend this onto the foreground. That it's changed the height value. To have something to subtract this part, I'll tough. So let's go and get a blend. This one to output, output to the back. Good enough to blend this move up. This one as subtext. Needs to have some changes. And maybe put it before. Alright, That's better. Let's go and move this down a bit. And also this one down, a bit up. Maybe make it a little bit narrow. So now let's go and connect the output. Here. Now let's look at the outwards result and change D. Subtract one, maybe make it somewhere here. Now. Not bet. In this part anymore. It's add some frames and make it an intimate organized. Here. I'm going to make a frame named at frame, subtract. And they're often not named dad. Whole teaching at frame, maybe mainframe or some like that. All right. Now we have our door and window bought. At actual window. We have a distinct we have eight frame to create a door, something like this that VR did before. So let's go and copy these two node D. Drag them down here. Now, let's put the mask into the bank. Now we have something like this. Value. We need to have 12341234. Needs to meet, move down to pulsation and offset vertically. Like this. Maybe need a bit more. All right, 1234 and same as before, we need to have for AIM as well. So let me see what day. All right. Let's go and create. Let's borrow solve, transform to this. Create a height blend the frame and transform to D. Let's double-click on the height mask output and say D to D trans form. Let me see. Yeah, make it a bit smaller. And see there is salts. Alright, net bad. Let's invert by Grab drag and search for invert grayscale. And now we have our frame. The best frame. Good enough. Let's make another blend. Put this in bag and make dead max. And I bet. Now window frame. To do that we need to have height splint, height difference, Shift and drag the connections. Alright, data bit of height, scale something like days, and go to this part. Here. Let's put it all right here. Put this down. That's not bet. We have our window. Create it. Before. Maybe. Combining these two together, we need to add a blue or gray scale. Quality, a 100% of blur intensity. Now we have nice looking heights. Maybe not here, and disconnect here. And also make a duplicate and puts. All right, Good. Now let's combine them together. It's concerned S. You can combine them by hand and arrange the window and door as desired. And also we can use tile journey. What did I make? Generator? Put the door. Pattern input, change the pattern inside the degenerate to appropriately to MH. Make it to bite to a half for change the pattern input non-motor to change the pattern number by number. But during distribution. Now the vendor and put it in pattern to. Now let's go and select these two. The gray one that you see in 2D view, height blend and uniform Kinetic Control. Drag and drop it here. Let's combine them with D door. A bit less detail. Generate or now go back. And let's reduce. Let's see. Let's go to a height. Blend. May be, make it the exact same. Let's copy it again, control D, Select drag, and throughout this, Let's see, Did not the same. So let's change the value to some like this. Let's go back to door. We have 12. So let's go to here and push the sick and live a little bit in front. Let's discuss to be back door. Push it out. Another height blend. Let's connect the generator to the output shift. Drag. Now let's use our eyes to balance the height. All right. As you can see, two door needs to be down and window ops. So let's drag and drop this into input connect Shift and hit X and display. We can add a NTDs. So let's go back to material. As you remember, already pinned down material setting here, material default to edit. Let's go down. Change the height is something like this. This is good. Now, in the next part I'm going to break vol, I guess in the top and disseminate wall, the bottom and also continue this frame, this frame, and make it a bit more plans and to look. Alright. See you in next part. 11. Adding details on displacement: Alright, now that we have the door and window created sitting there, Let's add more details. First of all, let's go and add a transform 2D. Did the door before connecting to the tile generator, called a shift out in the corner and make it a bit smaller. A little bit more. All right, let's leave it there and arranged more. After adding details. Same thing to Window. Add a transform. Basic parameters and absolute no tiling. This is Iowa's dot gov out. This is more a bit annoying to do this every time. Because it dead I creating the duplicate off transform to D with no tight link that to the front. And let's make the window smaller. Can see I'm going shrinking window with backgrounds so I don't have the background no more. So let's go and fix this problem. Add a uniform color, make it grayscale, and maybe go to something like 0.5 int float value and connect that to the background. That's not the solution. So let's go. Let's disconnect this height blend here. Alright, alright, alright. Let's add the acute, the heights blend. But let's mask it. Using this mask. Not maybe this mask. See. Not need to invert the mask. Let's add invert grayscale and invert this mask. All right, Now let's bring that mistake. If I disable this, I'm going to lose this part. So let's make that part again. Going to drag this blend to have to fill this gap right here. Let's go see what we have. All right, Let's use Invert. Invert this part. Now we have two separate white area divided by this black area. Now we can use fluid-filled to make them different. Flowed feel to random grayscale to divide them. Right, and now let's add a histogram. Select to select a part of the grayscale value. Obviously, it's not decays in this scenario. Let me see. Maybe if I create another inverts and invert this part, blend these two together. Let me see what we have here. This is our window. So let's copy the window throughout D. Move it over here. Delete these parts. It's cool. Invert D window. Now let's heat blend, maybe in debt. So let's create a blend. Now push it a little bit down. Now. Let's go and move this up. Grab one off. This transforms. Use maybe this shape. More time to the mask or a plus C, D input of the blend. And make it not. It's greater than other blend. Same arrangement, but in another blend. Keep it in a copy blending mode. Alright, now, push this up, connected to hide splint. And yet it's going to work successfully, bring back D frame. And also bypassed it. Bluer. And at the blue or maybe little bit more blue. That's good. Now we're going to need to have heights blend background for the doors. So let's get rid of debt. And now we have let me double-click. Now we have disc arrangement. All right, that's better. Much better. All right, Let's select this part named at the window. Good. Now let's add a brick wall. The top. Let's go. Tile edge in the right order. Generator. Put the pattern in square, make it less and less. Among. Make it little bit bigger. Let us now go down to offsets. 0.512 set. Now we have break lot. Maybe need a bit more gap, dad much between bricks. So now we are here. Let's add a little bit of luminous randomness to deep breaks. If I connect the brakes to the altitude and connect the only breaks. So let's see what happens. This is the result of bricks having a little bit off. Randomness to luminous. If I drop down slider, you can see debriefs have the same height. But if I bring back the randomness, as you can see, there are, have different heights randomly. Let's go and add this breaks to the top part, the window part, maybe maybe to the bottom part. Let's see. I can see I used tile generator and tile generator is a little bit basic for this. Let's use TI sampler. Sampler has the same settings. Default in square pattern. Native bit more breaks, more scale, something like this. Maybe a bit less. 95. More breaks in y-axis. Six to 40, maybe less. Why? White? Maybe more. Overall, scale. Same as before. Offset, find the offsetting causation and put that at the 0.5 value. In color section, let's add a kind of random desk the same as eliminates random color, random little bit. See, sampler. All right, that's pretty much the same. So there is an amusing tie sampler overtime generator is I can tell that the brakes to generate in certain part of the tile by using mask. So let's find our mask. This can be my arm mask. So let's create a sticker on a scan to target the white areas position all the way. And you don't need to contrast. Contrast to position is good enough. Soap. Bringing this down and connect the output to D. What is it? Mask, map, input, nothing happening. So let's go and go down to the color section. And you can find mosque Mab a threshold in a all the way. As you can see, we need to invert the mask. And as a result, we have predicts in some parts. Now let's heights and blend. The door. Bricks. Blend door in front or foreground or top. Bricks in background. That's it. This is the result. So obviously has some problems. Can be solved by introducing more breaks. But veto need to do. So. Let's say, but the connection down to the color, no mosque MAP threshold and also no height blend. So let's use this door has mask. Let's go and create simple blend. This one. Does it. Background this one to the mask? And as you can see, we have this part of the model mask it. So let's add this spot of ground. Maybe. Hold shift. This one to foreground. Was good enough so it's used heights but end. And put this in back. Put the door in front. And as you can see, if you have some gaps going on here. And that would be because f d door, the door is exact size of the mosque, the exact size of the door. So let's add a lure the door and add another histogram, scan after blues. Now we can control the door position in a bit. Let's add that to the mask. And as you can see to GAVI is gone. Let's go back to histogram a scan and have some fun. So if I move this slider, as you can see, we can change the position. That's good. Let's keep our graph organized so you can select the node and hit D to duck denote. To get around inside the, for example, the blend not moved this connection to the top. Now we have bricks. We did door. And also we have control over the door depth. This for now. Height blend value to the generator. The connections can see if you have to connect density button. You can see if you have going on the button parts. All right, that's good. So let's go and add a frame between Windows. And maybe at frame all the way to the whole tank would be possible by using an older maybe tile sampler or tight generator. Let's use Sandler Control D to duplicate. Now. That's use, maybe see those shapes and keep it square. Connect the output to input and you know, the trail go down to Color, SQL, input. It's all gone. Go back to shape and scale that down. Again. See, we have some predicts going on. And the reason is missing some parts because D offsets. So let's go back and use no offset. Let's make them or a square like this. All right, now let's see what we can do. Disk parts. Let's add that to the spot first. Duplicate the height and blend, not. Go and add this bar to predict batch. Let's tweak D. Add more breaks. Scale the mask up. Also. You can use the full size mass and change the maybe IX video. Alright, let's go and maybe the brakes. Let's elevate something like this and put that to the tile generator. And this is the result. Now we need to get rid FDI. Color, randomness, maybe size, make this escape and gender. Or overall. One. This is scale, maybe 95. Alright. No color. Right now we have something offset. That's good. That is really good. Let's get through this. Jenkins by, you know, where does it to below HQ Kruskal, more quantity and less intensity. Zoom, zoom and see the video. All right. That's good. Let's make him more square. Maybe. This good. Now. Ve created the half of tile. So let's go to Window. Where does it mean? No here. But first, let me arrange this. Parts. Unlike dis. Also in this situation, as you can see, D connection goes behind the timestamp or they're not pleasant. So hold the Alt and how that connection can move the divider. Put it here. All right, Now let's move this here. Heat can de, too dark and a D to the bank. Alright, now, so tight generator of the outputs. Let's go and add something to the window. Maybe something similar, but maybe something like d is in concept a frame. So let's go and create a shape. Note squared is good. Be entered and blend. And also, let's duplicate this same shape. Go to Blend Mode, switch the blending mode to subtract, go to the top, shave and make it a smaller, simpler. So maybe a bit less. And the x-value more. Maybe 995, 0.9595, and d overall escape. Alright, now, let's add another shape. It's Control D. You enough, this 2D transforms. Alright. Now let's shrink. In y axis. It blends, blend, and maybe blend them together. I'm trying to do this part. All right. Let's move this thing down. At some elevation. Move it a bit down. And mortar squeeze. Let me see. Some like this. Alright, now, let's go and maybe blend them to get her with a window. Max. Let's hit gas static output and put it in pattern one. This is the result. Let's go back to maybe this part. Push this down a bit, and go to this bar. Ab, push it down at it a bit. Make it bigger in y. That's good. That's really good. So let's go back here to the second shape and make this bigger, something like this. And that's good. Before connecting. Here, we need to add something to act as concrete. Here. Let's go. Maybe go to texture and generators. Maybe grab DQ and BMW, spot three. And also I believe we have a software fractal, some acidic and means to the middle to have something like this. Let's add a histogram range. Range off one, branch off one n. Sum like this. Select and putting a blend, blend them together by using a guess, multiply. But this opacity to have soft effect. All right, let's hit D and D to dock all of them. Let's use another heights and blend. Bear for armed and push it back. Here. Put it to blend. That's not too bad, but lost the window. So let's go. Maybe. Let me see something like this. C2 mask. Let's check our masks. Mask is good. We need to subtract the window. So let's hit blend. What did him back? Not that the mask in batch. Let's find the window, maybe this and subtract. That's it. This is the one. We need to have a blue HQ control. Let's add a histogram. Skin Control, D y dot, d dot. Alright, now we have this part in white into the mask greater than other blend. Put it in for this one in mask. All right, we need to use a duplicate version of this transform today as we already change the mask. All right, let me change. We need to have this part, alright. Great. An inverted Grayscale. Connect to the Transform tool. Inverts. Again, not Sophie invert. D to dock. This nods there again to drop to the opacity. Now we have something like this. Now. We have our window back. Now the same team D, whereas it the door mask, we need to have this arrangement. Let's throw D, bring dim it down. Here. Connect the window mask, a bit of below. Now replace the input. Now we have no gap here. That's great. Let's add a bit of blue here. Create another blurry HQ and less intensity. Maybe here after I blend. That's good. Now we need to have. A frame, a deep button. So let's go to the door and it's see, VRB can put D frame here. So let's create shape. Use this transform to make that smaller in y. And we need to subtract the door. So let's go and find maybe this BAD blend right here. And put that in front, grabbed it blend, put it over here. This one is back in big and subtract. Now we have this part, only. Go get it another height splint. Put that in. Grand. This one is background, and that's not good enough. So let's use a transform. Our maybe duplicate this to come thrown. See the result. Go back to transform and it's smoothed at something like this. Let's come through the elevation. Now connected to the tile sampler title generator. Because we are using transform retinol tiling. It's not going to tiles. We can use a three-week select the transform to D, hold control and ******** outside of the UV area. Now we have distinct right now to bet. So in this part DO created the brick wall, some frames, some basic concrete, and now we have some like this. Alright. Indeed, next spot, you're going to destroy the whole ting and add some damage, cracks and other effects. I see you in next part. 12. Making surface damage: Alright, let's go and add some details. But first of all, let's make this column a little bit wider. So let's find that here. So select the shape, make it a bit wider. It's good. Now for adding details or damage to the breaks or other things. I'm usually using. Solve my creations all my notes that I created before. Dad, I'm going to use them. Other sections of the tutorial. But in this part I'm going to use basic methods. Let's go and start maybe from here. Yeah, this is good. So let's go and damage to the door frame. To do that, you have several options. But the best option that I'm going to show you is using slope blurs, snippet or gray scaling this case. So let's go and connect the slope Lord to grayscale value. Output, the output node of the door frame. For a slope, Let's go and use maybe inside texture, grinds or texture. Or is it let me make this wider texture generators. Let's go and maybe find one or two. Let's test them. If I connect the output of the Cloud to slope, it's going to destroy the whole shape. We need to change the mode to mean. To target the minimum brightness and put the sample on the top all the way up throughout the intensity. And let me zoom. If I decrease the intensity, as you can see, we have some damage going on. All right. It's good. If you need to make the damage more bigger or NADH sub-L, you can use Transform 2D and zoom to the Cloud, to the grunge. Do that, select the connection space and looked for transplant 2D. It's going to add in between denotes. So let me arrange them. Select, Transform 2D, right-click and scale up or scale down. Now, let's try scaling down. As you can see, Dad going to FFD. Overall, size of the locked, does the actual size of the cloud. And this is the result. Now, let's look at the 3D view. Now connect the damage. One. Can see we have we have damage around the frame. Now, as I remember correctly, yeah, we have blower here. Let's increase the blue. That's going to make more room to damage. Also, you can change the mode of the slope floor as you desire. But the mean is better. Let's go and maybe change the texture. 2d Pelley, nice. Let's try curling and pulling notes going to add more bigger damage. You can see some new NYC VOP effects going on right now. If I duplicate the slope blue, Let's duck this by hitting D. It's cutthroat D. Delete the Perlin noise in second von. Replace that. Now we have two shapes off stage of damage. All right, after the peak damage, let's connect it to slope. At some finite damage. That's good. The surface damage I'm going to use normal for that. Going to do that in this part. So let's go and use the same technique over and over. It's Control D. Let's use the maybe on predicts. Just replace the input. Let's see the result. As you can see, all the body are damaged. So let's go back to Perlin noise. Just one-click, change the size. And also one click on slope blur and change the size of the intensity has gets C, it's going to break up. Alright, something like that. And let's go. And delete D, transform to d by hitting backspace. Alright. Now, maybe let's see, use different cloud cloud for this one. Delete the Cloud D and let's go and see the results. Much better. Maybe less effect. And also, we can use a gray scale to add a bit of roundness around the edge of the bricks to have more room to add damage. So let's go to that slope blur. Maybe. Also, you can control the effect of the Cloud by using histogram. Let's select the connection space and you stick it on her ranch. So let's go and change the range and to change the position all the way down. Let me zoom. Let's see, this is 0 position or no effect. And if I increase the size is he can't see we can introduce the effect D, D too dark. So let's go and replace that. Now we have our obliques damaged. It's at histograms, range f there. Perlin noise and control, the purlin effects. All right, let's go to material edits and putting d. Where does it the height, little bit down. Like this may be 1.5 is good. Alright, now let's go to tile. Some players have less gaps, bit more. And also layered emit less. Alright. Now it's stuck. This notes. Maybe move down here. Maybe select notes by holding Control. Move them a bit back here. Alright. Now we need to do the same team here, button frame. So let's go and hit D, duplicate D and move them up. This connection to their HQ. Let's see, there is. Alright, let's change some sitting in Instagram range to add more damage. Also move them here and replace the connection. Now we have damage here as well. Now we need to this one they inhibit up something like this. And maybe this one lid a bit down, up, down. Now, made a mistake. I need to see the frame. All right. Now it's safe. And also it's gone through D. Same team. Go to this title sampler board there. That's good enough. And also nobler. Less histogram under Perlin noise side. More blue. All right. Now, it's at some cracks. I believe the half crack here, correct? Scratch? No. I believe we have something to work with. So let's select the texture generators and change the icons to maybe medium. All right. It's dry cell one and cell three. Cell one is good. So let's put over maybe here. All right. Now, first of all, if you need to change the escape hardness and that's going to get As contrast. So we have disorder there as well. So we need to deform. So let's go and use a new node called var up. Alright. So let's go and input D cell to input. Now part of the VOP and maybe use Perlin noise to derive the warp. All right, As you can see, it's going to destroy the whole tank. So let's go and drop the intensity. Scale d, Perlin noise. Sci Fi, have something else to use. Maybe cloud is better. Now we have some cracks in overall. Let's go and add a blend note to the back. Now maybe add a purlin foreground. Set the blending mode to multiply. I'm going to subtract this better. It's going to hide some part of the cracks. Alright, let's add the correct Maybe this part hit and B to create a blend. Dysfunction to forget on this one too, background. Subtract, Zoom and look closely. Now let's go back to sell and change the scale. Also the hardness. It's good. Now if you want to add more randomness and big D uniform that you can see here. You can use fluid-filled. Let's use a fluid-filled. There are maybe yep. This grit skills slope blur. If you float feel it's going to look like this. After data use for letting me to random grayscale. Going to add more randomness. Now, you can use blend before this blend before blending the cracks, use another blend. Dad, cracking back, slope, random grad school in front. Subtract. Maybe multiply. Let's select the connections IX to invert and maybe use C. B can use. Let me go find that again. It x can use subtract, multiply, and we need to. A histogram, histogram select sig debt. Let's see you sitting to target specific predicts. Delete this blend. Maybe add more contrast. Alright, use this as mask. Now what we are telling the substances I know the only part that you allow to visualize corrects is this pretty extensively are selected. So let's see the result. We have Craig's on some breaks and not others. Let's change the selection. Histogram select position. Can see we have some movements. All right, Let's change the hardness. Also VR, subtracting the cracks out of D bricks. We have control over the depth of the correct. Now let's switch. Correct. No crack vault and see the result. And via port. Yeah, we have some cracks, successfully iterate it. Alright. Now we can use this trick. Maybe this part of the model. Let's reuse the cracks. So let's go and create a blend. Subtract, maybe duplicate this part and fit Dad. We need to use the original select deep breaks columns and put it in back. This one is mask and this one is good. And as you can see, you have crag on the columns. It's changed the column inputs. Maybe less, correct. Also, let's hit duplicate and crack. Here. Let's look closely. Little bit of randomness. Maybe less, maybe more hardness. All right, That's good. Let's go select this parts. Maybe D, C range. And this damage is a codon. Now, go and find D damage in here. This is our h damage. This is our Correct. Organize data. Frame, change the name. And this is the bottom frame. So now let's move down Alt and click here, make it point. Up. This up. Yeah. Now we need to, we need to add a damage to outside frame of the window as well. To copy this damage. It duplicates. Let's find out various D outside frame here. Alright, let's change that. Let's see the result. This to match. Control that. All right, switch back to the damage. One less bloody. Same team. For AIM. Dark shapes first, it's going to populate the graph freely bed. So it's Control D on damage. The frame. Delete this blue. Replace damaged. And as you can see, if you have damage going on. Alright, good. I'm going to name this part later. So let's find out cement. Here it is. So let's go put that in, maybe front or back and create a Perlin noise. Kit little bit, beak. Double-click on Blend and change the blending mode to maybe multiply. Acidic the connection space and a histogram. Drench range. One. Something like this. It's going to add some variation and height, dear friends between part of the concrete. So let's replace that. Let me zoom. A change D pulsation. As you can see, it's going to move the part of the segment. So let's go and duck at these grid and other planned before masking the window out. Didn't back. And let's find a really damaged grunge Sunday, maybe to the front. Let's go to Blending Mode and change debt. To something like Max is good but less opacity. By Lance, less contrast. Let's add debt. Can see we have some radiation to concrete, but it's a little bit big. So let's go and use a new node called net, new in Substance Designer new for you and safe transfer to save transform. As the name says, it's going to tile more upset and rotate safely. Repeat. Buy Tide debt two times nel feet deep blend. It's going to tie in that safety in too tight. So let's drop the opacity. That's good. Now, maybe dark this too. All right, Let's go to this column. And maybe a little bit of color variation or color random. That was the problem. Do the debt. You can add color random after tight sampler weights off the field. And also for let V random and grit scale. So we already have that. So let's go and expand this frame. Like so. Create another blend that in back. Let's put this file in front, the fluid-filled to random grid scale and make it multiply. Not so less opacity. Now fit the slope. Love this. You can see we have some variation in the height department to the columns. And you have cones rollover debt by using opacity. Now it's a good time to add little bit of random rotation or random position in columns and also in bricks. So little bit of random position and rotation. A bit of random rotation. That much. All right, good. Alright. And also in bricks, go and select this date stamp for the bricks and go all the way down. Maybe a little bit of rotation. And also a bit off causation. And maybe offset 5k and find. Alright, can use the offset and put it off. All right, that's good. Wood pattern and color for dv1 door. I'm going to add in normal part, normal part of the video and also the roughness. So this is good for now. But something is missing. And as it declines alone for a year window, where is it? Here? Before? Combine them together by ICT blend. Let's add a blend naught, this is close to beg. And let me see. Maybe something like three, maybe at that to the front and multiply low. Several times. Maybe David less opacity. All right, that's good as well. It d too dark. Now we are good to go to the next spot and that would be normal. I think some detail in normal Department off their debt if you are creating DIY roughness and metal to have some shininess to four windows and less shiny on the bricks and cement. So I see you in next part. 13. Adding normal details: Alright, now let's go and watch on our normal. Move this tink and select the whole team and put it in frame called heights. Alright, let's change the color as well. Something like this. Now move to hold height section, maybe I'll hear. All right. Let's go change the position after the last note. Note. We have already made already normal map, but it's a normal generate it for ARM height. This is not bad. We can use this and combine debt to other normal value. We don't have any surface value. The only part we have surface value is cement. So let's go and find the bricks. Here. Add a height to normal. What you need. Let's maybe use one. Let me go to Performance and find the graph. Now. Need to change the normal value. To direct OpenGL by default. Let's add more surface size. Let's tidy hello. Several times. Let me see. Maybe von being dispatch. Let's see Use naught called normal. Is it normal blend? Normal blend is basically isn't just a normal, basic basic blend mode like NADH. The only thing is difference as the blending mode is locked it to, I believe at SOP. Let's test that theory. But that foreground and background, yeah. That's basically the same result as normal blend, but none of the lens, it's going to use a mask to drive the normal. So let's go and add the mask. See, blend that before. Let's go. Maybe duplicate this time. Did it to tie top menu, place the bottom value, distinct? Use this as a mask. I'm not quite sure. Let's use normal blend. For now. Go to tidy generator. Maybe. Let's narrow our search to something like this. Alright, let's use the mask. Going to see Dr. D. Normal details over DI, normal output. But these are wrong vase. So let's go ahead and maybe normal details to this height value. Creating the height to normal. Duplicate these heights are normal or the space. Use this breaks as input. Can see, we have normal input value. Let's increase the depth. Put it down. No mask. Saved it here. This one. Let's go. Maybe find D. This one. Duplicate. Use this as inputs and maybe change the input noise to something else. You can use masking. A blending mode if you want. Simply at a histogram skin naught at something like this, d opacity. Now you have noise only. Andi column parts. Also hit Control D control and copied the bricks used as big mask. Now, we can combine this two together by using another blend. Note. Duplicate this one, delete connections, foreground and background. Maybe. Something like this. This way you can make your Norman's separate from the height value. In this case, I'm going to use AI to normal board space units. At this values to the height. And let the substance designer generate the normal for me is the height here. I'm going to blend this part. Multiply less opacity. It's delete this. So each debt this normal, Alright, that's good. It's going to bring back the value or the columns. Now, the columns Control D on Blend Mode. Now, switch the inputs with new noise. More NYSE, and switch the input. Now we have some stone vaulting going on. Also the same team for the button frame, whereas it up here, go up here, and switch in a, in a bit. Also columns. Now, the window part, you need to sum takes chair, seat. Frame here. Before blending the frame it a window. Add a note. Maybe you some like this. Could multiply something like this. That's a window. It's good. Also. I believe I'm using D window. That's all right. All right. For the doors. Same tank door. Nuts. Concert D made a mistake. Dam was. Let's find the door. All right, Now we have some effects going on, on deep frame of the door. Now for D concrete frame after door, we need to find a place to do that. Maybe here. D detail apart and replace the Input value. Now let's see there is a bit too much more, less opacity. Same thing, the exact same team for window frame. Where is it? Here? Maybe more of a city. Replace the inputs. It's too much. That's good. All right, I think we're done with the non-Muslim displacement. Abnormal result is this little bit of error here. Let's find the mass mask for Simmons here. Alright, now that's done. We need to push this codons. It's finding the height blend off the columns. Here. Pushed him down a bit. Let's push out to break bones. Now. Maybe we need to add some more terms between bricks. Let's find the brakes. Clean breaks. Something like this. More advanced technique. What I'm going to teach you anyway, because we are not going to make another PDQ. So it's good to know histogram. Whereas it scan. Maybe here. Let's select our bricks gray scale. Now we have something like this. Let's go and make your blend. Subdirectory. Door, door, maybe subtract out, breaks. Maybe use eight, transform 2D control and copied it. Connection control, make it a little bit bigger. All right, now, let's use and gnawed called Monte direction on or is it my t direction? Barf in grayscale? Alright, but before that, let's use a blue HQ to expand the more towers. Maybe a histograms scan after the bluer. All right, Now, let's see what some who like. Where is it? Two feet that to the intensity. Now we have something like this. Now, let's add a non uniform. Let me see. Did the wrong notes. So let's go and let's use a non-uniform blue or gray scale. And put the output in inputs. More sample, less intensity. And Dan feed that to my directional. Going to create our Siemens or more targets for us. Now we have some more tours. So let's heights blend. 2d maybe. Here. It breaks. Height blend predicts mortality in front. Use the offsets belongs to derive D Simmons. How beautiful is dead? We have Simmons between our bricks. We have control over death. Can see. Let's see you same technique. This note. To drive DSM and off the columns. We need to move height up. Maybe from here, bring debt down. Let's use same technique. I guess. D. D. We need to invert that before connecting to blur. Maybe. You need to have Histogram scan or not. Let me see. Oh, we have the histogram is scan. One can see that's going to create the cement or this part automatically. Let's see if I have deep mask. We don't have to mask. So Let's go maybe use this invert lawn. Let's use this inverted one. Display survived. Use histogram a scan. This is it. Select the mortar. Lend mask. Needs to be inverted. Inverted Grayscale. Now this is our Simmons. Let's hide, blend that two columns. Goes to back to foreground and let's see up close. All right, now, let's replace that. Now we have some segment, but I'm not happy with this mask. So let's delete the mask. Make a shape. Maybe days in background. Put this in foreground. Subtract. Let's change the X video of the mask. And as you can see, also we have control over the Simmon's position. That's nice. Guys. Successfully created segment. So the only thing that bothers me is the cement. It's not thick enough to fill the gaps. Increase the blue. And it's going to solve that problem. Let's go to non-uniform directional. Maybe a bit lists. And also in height blend. That's good enough. So let's go and the next part, work on D, roughness, value or shininess of the whole immaterial. And after the coloring, I see you in next part. 14. Working on roughness: All right, As you can see, it's quite a graph right now, so let's make it bigger. Let's go and change the roughness values. And to do that, we need to have roughness for each part den, use the same tangent editor tool, Tyler roughness value. Let's go find it. First. Maybe have some invert this part. Duplicate the glass. Maybe set that to switch. And this is our glass parts. As you can see. Now, it's splitting this down. We need to find our door glass and they would switch as well. Putting back down. Here, we have two glass. We need to find our frame for the window. And there would be maybe here. Let's use that one. I'm putting here, putting it here, and let's find the door frame, maybe here before the blending. All right. Now, let's go and create a uniform color. This is going to be our base roughness. Let's set that to maybe set that to one full year enoughness and create a blend, not use the door frame. Has mask. Put this in background, Control D, and create new uniform and put in France. And maybe a little bit less rough. Same thing for the window frame. Let's search window frame. See we have breaks, so let's use the brakes. Put the windows down. Create another Blend. Blend Mode to beg off the frame. Uniform. Let's use predicts. Also make them off. We already have the roughness value for the bricks are going to be a bit off. So let's go. It to blend duplicate D uniform to the foreground. We are going to use the glass mask. Background. Acidic does make you less off. Alright, bye. I need to add more variation to the roughness. So let's go find, find. Something like this. Sql or SQL blend. Blend by using Multiply, maybe to create something like this. Now we have some other variation here. Maybe native it less. Alright. Now let's do the same tank. Use deep mask window frame as input. Acidic the wrong thing. No. Door. And this is the window. Sure. Yep. Mass. So let's switch them. All right, now as you can see, we need to cut the button. So let's go ahead and find GSD. To find here. Staying it's to be cuts the window. So let's create a histogram. Scan and putting debt down. Make and blend and subtract. Dan connect, doing. Alright, That's right. Now. Let's use the generator control D. Bottom part is a window door. All right, now we have some roughness going on. Let's go to our base material. User-defined maps enable the roughness, roughness to D, material input. All right, you have some errors. See the results. We see me find the door. Sci fi, select the wrong door frame. Let me see if I did. I did transforms. Let's select Transform. And maybe you see it. Also in here. That's layered a bit better. Control shift and rotate the light. Less roughness to the Windows. Need to cut this part out. So let's find this part. Let me see. Let's create another blend. Take this and put it in foreground. All the way down. Subtract. Yep, that's going to push the roughness inside the glass, not outside. Can see if you have roughness. Only. Last part. Now, let's add our metallic. Let's go and create another blend and a uniform color. And make it invite and make it black. Simple. We need to set deep white in front and black and back and use this mask. Now, this area would be metallic. Let's move that over here. Enable the middle leak. Input by default is black. So let's go and connect debt. Debt. Let's go and used same tile generator. Now. Part of all, let's solve the roughness problem. Now I'm going to save indeed metallic for now. Now let's go and see what's the problem. Create a blend not borrowed is Suan and foreground. Blend. Subtract that. Dan, connect it to SQL. I believe we have transform. This is it, it Control D. Let's go here. D here. The window part is good. Now, let's go and use this mask to Dr. D or S stuffed metallic. So in order to do that, we can blend the top fin door and button window. No, I can't do it. Let's go and duplicate this. This time, use the window glass mask. Dare to the tile generator. Now we have this mask. Let's go to our base material, enable the metallic. Now as you can see, we have metallic glass. Alright, let's add, delete 1.5 days inputs and share them between two nodes. We can control the metallic over OneNote octets, not D part. White one. We need to change. Being dead back a little bit. Change the HDR. Something like this. So we can see the HDR affliction. So we're doing good. Let me see. More roughness, variation. Here to the Windows. Also. Doors. That's good. Now hit Save. Let's name dismiss for AIM or is it a frame? Let's name dat roughness. And also this part as well. This one. Let me see. Frame. Metallic. Yeah, that's good. Now, if you want to, we can add effects after the tide and add that to roughness value. Maybe you need to have some rain stain over the top, the top of the building. Something like, let me go to texture generators. Find maybe some like this, whereas it here. All right, now let's it blend Berlin dad, title generator, roughness, tight generator. And let's go and blend. This two to gather this. Maybe not blend, Let's go and use histograms. Addict. Ringo's inverts the Cresco. Now we have something like this. Now we also have breaks in Thai generator inside the height. So let's go and blend this grunge dietary taught before blending the glasses. Let's go at it. Maybe multiply a bit less. Now we have this thing. Here, we have more glossiness and let's see the result. We have more shininess. Some places. As I change the parliaments. Now, let's go and add a histogram, range control and copd value of the in displacement. Like this. Replace that with the input. Now. Introduce more roughness to some parts. Can see we have roughness here and often is here and less than S down here. And also you can mask deaths. So maybe blend shape to the front. Selected connection transformed to a t, go to base, but I'm thirsty and change to absolute tiling. All right, let's connect that to see suits deep blending mode to subtract, change scale. Now let's connect it to blend. Now we have in SNS only on top. Let's go and hire. Can see we have this over here. So let's go and change this blending mode. Let's go change the HDR. Some like maybe to see more clearly. We need to have. All right, that's good. To have gluttonous just up here. Now it's good. Let's go and do. In the next part. Finish up the material. Alright. See you in the next video. 15. Basic color: All right, let's go on and start building the color. Right now we are using discover. You need to part of the model their own color. So let's start masking. We already made the mask for glass. Let's continue do debt. And may mask for baby. Bricks. Discuss them. And also the curve DSR, also window frame. So let's go and find the brakes. See. All right. This is good. Starving our bricks and mortars. Let's go and use a hostile scan. The bricks. Let's go and select them like so. Does our bricks. Same team for more targets. Ramp over here. Maybe let's use the same tank. This histogram, this is already perfect. So let's go and blend them. Let me see. All right. Let's create a blend, not be enter and use the bricks as mask. Maybe uniform solid color, maybe some color out. This image predicts. Now, let's go and duplicate this color. Make it a bit darker. In bench. Duplicate this. And use the mortar as mask. Maybe select the lighter color. Delete the background and use the brakes. A background. As you can see, we're already making some progress. Maybe using stuck around. It's another bad idea. Because as you can see, if you have a plus C, d, E is going on here. Hold control and move the connection. Now we have more total colors showing. Now, let's go and maybe find d. This. Create a blend, not put a mask, move them, blend more naught to the US. Does S1 S background color? Duplicate the color? Let me duplicate this color and add more light. Now we have something like this. Also we can blend dismissed. So let's blend frame. Where is it the bottom frame? If I can find debt Yep. And blending. Max. Now kind of debts. Now we have something like this. Now let's distinct be here. Go to the Window and find D masks. All right, now let me see. We have, we have this frame. So let's use, see it's a construct deep and move this one over here. This is our frame. We need to have this frame as well. So let's find here. Before that. Maybe, yeah, That's good. Now, create a blend. Note. This one back. This one. Max blending mode. Alright, now let's go create a blend not duplicate and this uniform color. Use the mask, duplicate the color in back, and maybe make it a bit lighter. Now we have something like this. Now let's find the doors. Door frame. So we already find the door frames. Here. I guess this is the right. But we need to add transform you as this as mass. You can create a blend layer blend, and no other one is background. Let me sample the color. Here. This one is foreground. We need to cut the bottom part. So this this is necessary. Let me see. I believe I cut the hit Control D One more time, Control D. And this part up here. And replace the back. Good. Let's duplicate D. Yeah, I guess that's good. Duck ****. Yet now we have the window selected and colored. So let's go and cut out the door. Another blend. This one is background. Let's find the door frame. This is also we need to make a duplicate of this transformed to move debt over here and use it as a mask to get discolored. Put that in for grant. Yeah, but we have something over here. Let's go and make another blend. This one is background. The button here is foreground. Subtract and use a death mask. Not good. So let me see what's the problem. All right, no worries. Let's go and create a shape. Also. Transform 2D base at parameters and absolute no tie link for ground. Let's see. I believe this one, intimate beak. This is big. So let's go make it a bit smaller. I hope it's walk. So let's duplicate this tine generator. But in this degenerate tour, if I generate one, as you can see, we have digital gray-scale color, so we can't use this degenerate or for color value. So let's go and in type generator parameters, go and save the presets. I'm going to save that in disk name of acetals and make pile, generate tour, color, go and load presets. That's good. Let's see. Add in output. Go to base material and release the base color. Now everything is dark. The outputs and connect to the inputs. All right. Now we have some issues. Nuts. And the window, no limit on the door. And also this color. Let's go and solve them. I didn't include the column. And before. Another blend, this one background. It's fine. Two columns. Here. Let me see if I have a histogram is skin or not. Have that. So let's go and create histograms, scan vital signs. Now, let me see. Let's combine this two together. Max. Now we have our column spec, also the columns mortar. So let's go and use this. Stick it on the skin one more time. Here. Blend these two together. Next video. Of course. Also. This one is mask X to switch. S1 is max. And hit Copy. All right, now we have all Tank set. Something is wrong here. Alright? Alright, I'm going to use this one mask for and use this as a mask for this. It's controversy. Problem exactly. This. One more time reviewing arrange. This is our base breaks. After dad's we added predicts more tar. Good. After dad's. Add the column. Cut em more tough. So let's go. And did it this one. Duplicate the background and use the mortar. Let's see. All right, the problem is the ordering. Let's go to the heights blend. And also heights Berlin for is it the color and mortar? This is the exact mortar that comes out of the bricks or is it this is the mortar that I used. So that's a problem. Use this mortar. Debt problems solved. Let me see the other problem. Heights blend mask. We need to get rid off this white area. So let's find a mask. Something like make a histogram. Skin. Maybe. Find another. This is it. Let's go and delete this one. If I did that teach, so find one for more tar I did already. This one for let me see. Let's combine to put splints and create something like this. Maybe. We have some problem here. The more tariff t We can use. Dismiss being shaped node and its subtract x value and subtract debt. Go and use stats. Now we have some problem on the door and or frame. It's fine to door frame. Here. Let me see what I use. Or door frame. Use this one. So obviously that's maybe discipline, but I need to remove the door first. Maybe using this one is not a bad idea. So let's go and use this one for the door frame. But it's a bit taller. Duplicate debt, Move dead in France. Connect and change D. That's good. All right, now we can connect this blend and this blend the discipline to make this mask. All right, That's not too bad. It's duck. Have a profit. Here. To use a blend. Let me see. This part. Control and subtract. Problems solved. I guess the only problem here is the window frame. So let me see what they use the 10k to use dismiss SQL. But first of all, we need to blend this mask by ds and verts, subtract to get something like this. Move debt over here and use it to frame. Not quite. Maybe use another transport to make it wider. Netstat. I need to go over details in the next video. See you in the next part. 16. Finishing colors and render: Let's add some details, such as ambient occlusion, character dirt, and so on. Let's go maybe see, let's go on. Indeed, normal. After normal. And let's create a parameter, a small note, it's going to convert the normal or create curvatures based on normal value. You can use to target a specific locations. Acidic, deep level, and hit Auto Level. Let's play with D. And don'ts. Maybe do something like this. Alright. Now we have a mask. Go up. First of all, at more. Hopefully optimize this. Let me move this tings and D. Now let's add this effect. After generator. Let's go and create a blend, not put this mask. This one is background and uniform color. And maybe use a gray color. Maybe at the bottom color. Shift and Transfer connects, you can see some edge sharpness. Dropped the opacity. That's good. Right? Now. Let's add a bit of grant the arts. So maybe duck this one. Create a blend. See his face and look for grant dirt. It's going to use your position. You don't have position. So we can be our model and use position. Let's do dad go to Explorer. We didn't import our model. Isn't an option, so let's go maybe grab it dirt. Somebody did this thing. Blend. Gradient. Linear. One. Also can use gradient. Mask. Dad in foreground. Acidic deep connection, add a sticker on skin. Gradient. Now you can have control over the gradient map. And used that as a mask. Maybe darker color, skin. See, we have some grants that we need to thrive properly. Let's add a safe transform grayscale after the grunge. Few times. Now, It's fine. D doors. Maybe maybe IMRT version of this. Inverted in grayscale. Move that over here. Duplicate the clinic. Maybe blend. Nice. Now we have depth Only in here. So let's go and throw up the opacity. Also. Go a bit further by using ambient occlusion. Ambient altough our height splint to mask together. Max, blending mode, put that shift and connect. And as you can see, we have this kind of effects going on. All right, let's have enough color to Windows. We already have the window. Seat. Duplicate and this node go up. Blend. This one is background. This is our mask. Make another uniform and did a bit of blue color. Something like this. List. Now we have window. Alright, that's quite good. Control S Now, for the render part, we need to use up, actually, we have two options. You can use this Bengio render, a safety render, or you can use a Ira render engine or D render naught. Naught is going to grab your material and grab your employment. May have had some options to render your material aren't properly. Let's use this one for chapter and next chapter I'm going to use IRI. Great. Now, double-click and the PBR render or not. Let me see. All right, Good to go. So let's go and hit three on your keyboard. Grabbed him material and connect that to the material input. And as you can see in 2D view, we have automatically render based on new environments. So let's go and maybe grab this environment. Import as a resource is connected to employment map. Now we have our light situation. Select it and rendered. So let's go to the Render, not choose a plan. Go ahead and rotate the environment. Displacement, intensity, little bit less. Go to adjustments and recompute normals is too much. No den go to render setting and maybe put the sun at 128. Shape scaled to fit the view. Also you can used is to rotate. The entire mesh. Actually changed my mind. So let's delete this. Not unlike the PPRN, they're not in this situation. So let's go and save first and switched the render engine to Ira. And it's going to ruin already. Almost everything on. Let's go to Scene edits and changed subdivision Beta-2 parametric. Go ahead and add maybe five iteration of subdivision material. In this case, I'm going to use OpenGL. So let's add a bit of a hiatus skill. Now, let's go to Alignment edits and enabled dig grand. Let me move the view. That's good. Is it D render Edit, Render Settings, max time. I'm going to put that on 1 second. Material. Normal scale inhibit higher, rotates light. Unlike the slides. Let's find light. And also a bit more occlusion. Maybe. All right. Let me see if I can find a better lighting scenario. This is the best. Now, change D camera. Effie, It's good. Let's overwrite the resolution. I'm going to use 248 by 48. And also we can enable post production. Maybe. And maybe near to this saturation, more. Contrast. Brightness. Temperature also can use saturation, maybe. Before this window. Green. Let me lighter color. Also, lighter color for distinct frame column. Nice. Let's switch to OpenGL for now. And 2D bricks. Here. This is a bricks. So let's go a little bit of randomness. So let's go ahead and create blend back. And maybe distinct. Again. Use HSL is saturation. Let me find a maybe see used here. Let me use this tank at a histogram. Silicon and scan. Histogram select. Let's find some parts of the brakes. Maybe something like this, and move down, use that as a mask. Maybe it's multiply, multiply, and dark. And right now we have some parts darker down other. Also you can change the hue as well. Not in this case. Maybe make DEM little bit lighter. Switch back to Ira. That's good. Now let's go to render edits and change the render setting. Also. Post the noise there. If I enable that, it's going to use denoted TSR, render dead faster. So let's go and put maybe $1 int deep max sample and maybe hundreds seconds. In three minutes and 20 seconds, it's going to render distinct out. It has target off and doves into half iteration to reach. I'm going to leave that to be rendered. That's it for this chapter. In the next chapter, we are going to make a nature material debt would be more complex than this one. So I see you in next chapter. 17. Stones displacement: Hey guys and welcome to this chapter. In this chapter, we're going to make a nature type materials and Iraqi grand specifically. So let's start by creating a new and stop since graph. Maybe named at grand time to make a starting point for ourself and create a material a base material. To start every time. Me, dad, to create any type of materials. They made this before. So space, search for base material and double-click all the way down to user-defined maps. Release. For now. Roughness, been to collusion, mental illness. Also. Alright, double-click and change the height range to one. Height can pass through. Next step would be right-click and paste material and create output. Now, create node for hidden connectors, know for input. Let's go create some uniforms for roughness and metallic. Now. Change it to increase scale video for nothingness. And let's make it off and it would be white. Connect it to roughness. Control D. For metallic and nonmetallic by using a black color. Select these two and d. All right, now for height also, we need to have normal. So release the normal. Let me grab a brick, tie. This one. Brick to not big generator. Yeah, that's good. So let's create a height to normal space. Connect deep, default height. And let me change some of these options, maybe five and height and depth in normal values. Let's go and connect that to normal D to duct there. Let's right-click in the empty space off graph, detour and chose view art boards. In 3D view. You don't have any collisions, so it's going to be dark. And also we need to have a height. That height is our output value, outputs of any off the graph creation. Let B be empty. So let's go and connect it to. For now. Let's go and create ambient occlusion and NADH HBO connect the height. Go to settings by default using a void space units. So would it be less height, dipped 0, maybe connected to ambient occlusion and you have it. So let's go and duct is by hitting D on your keyboard. Select output nodes, right-click and frame. Let's call it outputs. Let's delete our picture later. All right, now let's go and save this graph somewhere, maybe disk. Let me call that base for now. And each time you need to start creation a grading new material, just load that file and save it to be other names. And always you have a base material ready to go. Let's go and create some stones, some big stones. To do that, we need to have a shape, a basic shape. I'm going to create a shape note. Maybe they'll, probably it is good. So let me scale it a little bit down. And also, we need to have warp in this shape based on a noise. So we need to have eight noise. Perlin noise. Best choice. So let's go and select the belly. It's going to destroy the surface of the shape. So let's go select the pearly. Make it be something like this. Alright. Now, let's go and create a histogram, skin danger depolarization. Something like maybe this, let me change the long, tough day. Vop intensity and go to nor a penalty noise and change the something like this. Now, let's go and connect that to notice square. Whereas it non-uniform blue or gray scale. And it's going to add a gradient, the shape based on shape itself, so it can at that gradient based on other shapes as well. But in this situation I'm going to use shape itself. Now it's around and nice. Now let's add a slip blue or gray scale. Don't forget to be using Chris scale value. Let's connect it to grayscale. Now we knew into a 8.5 noise. So let's go and hit control D on Perlin noise, or simply create another Perlin noise. Now as you can see, it's going to, it's going to be look like a stone. Maybe changed it. Pulsation, data bit less. Loss of something like this. Now, we need to add a little bit of damage to the surface. So let's go and create a blend. Put that in background for this matter, and let's go and create a connect entity foreground. Choose the blending mode, Multiply, select D. Maybe. This situation. Let me see what's the ride is good. Covid divide. All right, now let's create a sampler. Because we need to have a mask. Connect D, put node of your Shape Tool pattern input one. Go to type sampler settings. Maybe add a value of six by six in x and y exists. Change the pattern to pattern input. Now, maybe you symmetry random. You can see it's going to be rotate it symmetrically. So now let's go to escape. Scale it up. If you escaped it really grainy and make them really big. You can make some interesting patterns. Let me connect output to normal, a collision and also the height skin to see. Let's go to the material all the way down and increase the height. Also little bit off. Height depth in ambient or collision node can see something. Limit back to tight sampler. Make them smaller. Here. Date, look like ice cream. So let's go here and drop the blending mode limit cause these lines made from this cell. So also go to material, pin deep material settings. So let's go down to the height. Where is it height? Decrease the radio. It's good to subtract. Not drag this a little bit nicer. Slope blur and emit too much. Maybe set that to blur, blur it better in this situations, so good. Let me switch the mesh from around that Q12 plan, high-res. This plan is subdivided by default. And also we need to have different lighting scenarios. So let's go to 3D view and DRI alignments. Grabs some of these. Dris and that's a nice. So let's go back to tight sampler. Go to Pattern, go to scale or size section. Change the scale a bit. And also scaled random. Look to Rudy 2D view. So let's change the positions. Something like this. Offset. And it's really coming to shape. So let's go down, down and random rotation. Also, let's go down to the color section and change the color random. Now they have different heights. Let's go pay to material setting. Increase the height. Where does it the high tide here. Something like this. Now and it's good too deep on ventricle login. Add depth to see more clearly. All right, this seems nice. Now it school and Dutch notes predict and hit Control D to duplicate them. Put some of this up here. Go to type sampler, all the way to the pattern inputs. And it's two inputs, can see some of them are going to be disappeared. So now let's go to maybe shaping. Put this time. First of all, connect this one to input, pattern to go to shape. Let's change the shape. As you can see, it's going to work with any kind of shapes. So it's going to be something like this. And after dad here, something like this. Alright. Now I guess that's good. Maybe a little bit more scaled random pattern section, nuts size section 30. And make them bigger. And more randomness. Alright, That's good. Now let's go and maybe after tight sampler at a slip look gray scale, hit a space look for maybe this time. Love to connect that to slope. Some fed all the way up. Set the mode to mean intensity. Let's hold shift, transferred the connection to its bad idea. So let's go to search and search for Cloud, maybe one. Connect, small. Let's go and select the connection. It space. Look for transfer to double-click on transport, can see gizmo, right-click and make them bigger. All right, let's try this one. We want to smell ClO2 as well. So like the C, go to normal. And also let's add a bit of normal value of normal depth. Maybe let's use a panel in noise. Now. Load isn't near it a bit better. Also set that to Max to affect the white part of the mesh or alpha. Indeed, this notes D to duck this one. There's another way to make a stone boulder or something like that. And that would be using a note card. 3d 3D cube. It's going to replicate, replicate a 3D cube and it has some gizmos to change the rotation. So if I position definite something like this and maybe copy this section. And C, and copy this section. Just changed the input stone. Maybe PD vata has an M enough. Slip blue and blend. Maybe after. Maybe square uniform, non-uniform blur. Chris scale. Not a bad idea to smooth the edges. Let me see if blur HQ gris scaler works the same. It's going to do just fine. So now we have this kind of arrangement. But if I double-click on the Arizona single click and deep cube 3D input and rotate. It can see it's die in VR getting difference result. You can always change the amount of sales, subtract, or cell size or cell disorder. They're connected to the tight sampler. Go to pattern but an input number and add another input number. It's dead. It's going to look like some rocky ground. Hard rock ground. Go steep. City, maybe down. They are they look like some flat stones. If you want to have more big stones, go too tight sampler and add another input. Shift, drag, drop, and make some room in pattern to maybe connect same pattern to D, two different inputs. All right, now let's go and stay in them. They're a bit more also scalar and dorm as Control S to save. Now we have three types of stones. Here, here, and here. Alright, now let's go and change the stones scale based on scape map, multiplayer. And what's that? You can always connect a grayscale value, something ****, maybe Perlin noise. As it gets you paranoids has white area or any noise at white atria and dark area and then dark means smaller, and white means bigger. So if I connect D out, foot off the noise to input scale map, nothing's happening. But if I change the scale map multiplayer, it's going to change based on my noise. If I change my noise scale, they going to be change as well. Let's go to Save a random scale and let the noise input decide randomness. And also we can always have control over dy. All there. I'll just scale or general escape and make it bigger, something like five. Let's go back to Perlin noise. Change the scale a little bit. Let me go to noise library and choose different noise, something like maybe a gradient, not these type of gradient. Let me space and the court gradient, maybe this one connect that to mapping. Put n, As you can see, we have bigger rocks here. Smaller rocks here, or no racks. If I change the polarization. As you can see, we have bigger rocks outside and almost no rocks. Here. Let me rotate the gradient. Let me choose another gradient. Something like this. Connect damped. Let's change the polarization. This way. Also again, make really interesting animations. I'll so a linear gradient and also a linear gradient at PSU or maybe you have to. You can have a really nice river effects by inverting this gradient. Something like this. Or tiling can put a river over here. Also, if you wanted to control the gradient value, you can use histogram scan. Connect the inverted gradient or gradient to the histogram is scan and change the position. It's kind of like this one. You can see we have some array 13 going on here. Also. Be good. Relax. All right, now we have some other inputs as well. Displacement, let me hold Shift and interconnect and connect the gradient to the scale map, displacement map. So let's double-click on sampler. Let me go to escaping map multiple layer and put that in 0. And go to where is it? Displacement Map? I believe it's over here in position displacement map, intensity change. And it's going to change based on your input map. That is going to create a really nice results. Maybe leave debts. Input displacement map. Maybe let's decide if they're stones and completed. So let's discover other inputs. Also, we have a rotation map inputs, shift, drag, and connect that to rotation. Go to rotation as section and rotation map, multiply here and change the rotation map based on your input. And also all of them. It's going to work with vector math multiplayer as well. So let's discovered that as well. You need to have a colored map. This type of input, I always use a height to normal board the space and connect a maybe noise. And it's going to create kind of vector map. So let's go and connect. Disconnect D rotation. And let's go to maybe rotation. Change the vector math input. And it's going to change based on your input. If I change the Perlin noise, they're going to change. Let me disconnect that and go to rotation. And where is it? Let me put that in 0. So now that we have our stones go up and change the scaled random later bit. Maybe make them later a bit or on. So let's go and create a blog. Something like this. Shift. A bit too much. Maybe, maybe a little bit less slope. Something like maybe a bit less opacity on. Subtract to blend and I'll change the settings menu. Did sell notes. By adding a histogram branch. Maybe range of fun and causation of something like 0.2. Let's try it. Not bet. It's Control D. D to ducked him. Go to sampler. Make them a bit smaller and more random. Little bit more slope. Now. Now we need to have, first of all, to do that, we need to add a mask. So let's go and copy this section. It's gone through D. Make the shape layer a bit bigger. Inverts, great skill to invert D shape. And also add a transform 2D. Go to base parameters and timing mode absolute, no tight link. Connect this to mosque map input. Go all the way down to the color section. We have mosque map, a threshold, increase the threshold. As you can see, stones in this area, it's gone. They're gone and you have control over the stones. This way. Let's select the threshold, maybe scale it a bit down, Transform and Move the maybe over here, or This time. Let's go and change the tiling H and V to avoid this kind of situation here and transform 2D. Now, if I move the mask, as you can see, we have a bit of room here for our pedal or lighter. Let's go and make the shape little bit bigger. Let's create another sampler, maybe the same setting. So let's construct D and delete the connections. And maybe use these to only select the pattern input and converts it to. It's not showing anything. So let's go all the way down to color and put the mask MAP threshold to 0. Almost another scale random and a scale them down. Maybe at a transform 2D for this small stone. Could lead a bit. Be careful. Alright, now, let's go up to x and y amount and increase maybe something that maybe 14. And also make them a bit bigger. All right, now, let's do some magic. Create a Ambient Occlusion edge PAO, and connect the output of first tie sampler. Let's change some value. Add a invert grayscale. He stood on a scan in-between. Let's find maybe something like this. Some white areas around D stones. The original stance. And put this at annealed or a mask to mask map input and double-click. Go all the way down to Color section and mosque MAP threshold. Maybe go up and add more stones. As you can see, they going to collect around the original stones. So let's go and change the, combine them together. So maybe height blend, connect this one to stop this 12 back. And as you can see, they are generated and almost perfect locations. We can use de, ambient occlusion note to drive maybe. And causation. Something like this. Alright, let's go back to height blend. Change the contrast one, and change the height value. Now let's go and see them here in 2D view. So they are really pointy. Let's cool. And add a histogram range to the second type. Branch off one. Connect. Dad changed. Something like this. Alright, now let's go and maybe somehow clinic this too. This whole thing and this mask, connect them together to create a combined mask. All right, now, maybe if I blend this to, maybe not this to this to get their change to position. Something like yeah, it's good, but it needs to have. Native enough. He stick it on the skin. So it's kinda like debt first two histograms scan and change the contrast. And plus hn. Then connect it to this one. So let's connect this one to debt. In Second one, you need to have a bit of maybe maybe they'd have enough inverted map of this. Let me see. It's an acidic D connection. Inverted Grayscale. Go. Good. So let's go maybe create another stone, sampler. Same stones. Maybe put this one as mask and create something like this. And also, let me delete these two notes. Now we have three dice sampler limit, organize them to see more clearly. Dark deep mask. Move this to little bit up as inputs. Maybe blend this whole Perlin noise, something like this. And maybe add eight bluer middle of the connection. So this, Let's add the blue F there. Alright, now connect this as mask. Go to tight sampler color section. Control D threshold. Go up and down. More stones. And same deal. Duplicate the height blend. And he's still going on range. Connect a histogram range to stores and this height Berlin to the bank. Transfer the connection by holding Shift and left-click. And let's change the stroke around for. All right, I'm not happy with detailed one, so let's transfer the connection to second one and delete this side completely. You're going to need a bit more indeed. Future. So now let's go and change D. Maybe. This second title, generate mask. Bit more height, depth to have more dark values. Histogram, and reduce the pulsation. Maybe this time using this map to derive D scaling map. Scalar multiplier. Stones are really tiny now. Maybe add randomness more. Also, we have in size section size random in, on the x only y value overall scale. And also we have mosque random. That's good. For now. Let me see, maybe add more randomness to rotation, more randomness to set the randomness to causation. And this second ties, so add a bit of good. Leave. Maternity like this. And in the next video, and you're going to make some soil and at debt to our material after dad made a bit of debris or branch or something like this. So see you in next parts. 18. Soil displacement: Welcome back. In this part, we're going to create a simple soil. Create debt by using three or two or more than two noises. So let's go and see noise little bit bigger or smaller, icon or medium Icon yet it's going to walk, make this smaller. Let's use close to maybe BMW spots. Also. Let me see what we have here. Fructose SON base. Let me go to ClO2, blue gray scale HQ. And make debt blurry. Make a blend, not put the background foreground. It change the blending mode to something like multiply and reduce t plus c t little bit. Also add a histogram. Ranch. Jeff, one position maybe or on going to eight, then emit less blurry. Maybe. That's good. Also. It's Control D to the blend. Put this impact ground and BMW noise or grand, inhibit this opacity. All right, now, let's go and connect. This simple soil blend by using another heights will end. Contrast of one discipline to the background or bottom and this one to the top. Let's see the result in 2D view. Something like this. Changed. He stood on the stones. Connect that to our outputs. Change the height, blend. Something like this. Maybe they inhibit higher. Maybe a little bit more scale to the BMW noise. That's nice. Just need to have maybe something like I don't know, maybe sell. Beaker cells add more randomness. Still mean and mean is much better. Causation. This is stones linear with higher box. Let's use another node called high-pass. High-pass grayscale. Change the height of the stones. Something decent and push them down. Happy when not to use. Ideal to use. Let's go to second tight as sampler and maybe this time maybe a bit less random. Maybe this heights plant makes him a little bit bigger. Scale random. Great. Now, let me find a line detained and maybe something like this. Linear Dodge. And connect to heights blend. Now, connection selected connection, threatened sperm to make him a bit bigger. In heights. Blend mask is the actual heights, but then, and this is our mask areas to add stolons, I think. So. This mask add a blue. Let me see. More quality, nearly bit less density and blend that. Maybe one. Would that mean a guess? Yeah. And more. Maybe nuts in mean. Subtract d, d and d. Let's blend these two together. Many of us have something that I like. This result. Let me check the normal value to see if there's any empty a spot like this. Now we can control the spread of this noise. This noise based on the blue intensity. Something like this in the anti edge of the stones. All right, Now let's go to Ambient Occlusion, maybe. Also. Now we can use another blend with the whole height and inverted mask of this grayscale. Drag and drop it here. Subtract. This shift, transformed a connection to here. Now we have almost 0 height here, the black height, 0 to one at the top of the stones. And if I change the position or scale of the shape, this mask can thrive. Not only D stands for soil as well. Let's say using grew, use gradient as mask. Let me see. Here. We need to invert debt for. So let's go and create a inverse Gretzky shift and connection. Now we have this type of effect. Change the position of declare a to something like this. And as you can see, we can have in the middle, maybe rotate your river. Also. Always you can have eight connected to your river mask. Something like Perlin noise. Big, pearly, nice. Big number on intensity. Change the shape of the river. Let me transfer connection getting center like this. Change the gradient. Linear is much better. So maybe let's go and add a histogram scan to change the position of the gradient. And add more plot. Also, we have some iodine's here in here. This is good. A bit. Smaller, smaller. That's nice. That's good. Let me go to Planner. Planner for big stones and maybe make it smaller, more srand. Now let's go and connect this to scale inputs. In size. Scan map. Entrepreneur, you know, random effect. Not good. I'm telling tight sampler to have no stones in dark area and more light area and it's almost white into a site. So let me see if I can solve the problem. So let's go and some in a non uniform more intensity. Now we have a nice ramp. Connect this one. All right, that's going to work. Just fine. I guess. Maybe live with more. Also be half angle. That's not going to work. This blades. It's going to act as something like contrast. An ESA therapy. Overall random scale. Maybe add little bit more stones. Maybe by eight. Andy are really pointy. Now. Let me find them. Alright, in this connection. First of all, let's go and change the height overall and add a. He's stuck it on range, range of one. Sampler. Connect to height and blend and change D. What's a little bit nice? Let's go. Maybe same mask to displacement. Inside. This changed the displacement also. Maybe something like this. Also we have global offset as well. You can globally change the polarization. Maybe add more random. That's good. If you want, you can change D Section F outputs. You can maybe add another tide sampler. Use same mask here to drive some desire shaves something like maybe some specific stones at the edge of the ERD verse. So let's create a histogram to cynic part of the mask. Something like grab that, drag and drop here and connect that to color map are not masked. Map input go to tight sampler, go all the way down to color and mosque threshold. And it's changed d pattern to pattern input, maybe uncontrolled copy this. Paste it here. Mole, scale up. Random offset, random position, a little bit. Random rotation. Now let's go and use sites and blend. Add them to your scene. Now. First, use a histogram range. It changed the position of stones. Here. It's good to Histogram select. If I change the range position. As you can see, we have control over. Is stones at the edge. I'm going to do. Now. It's delete, they're also now, let's save D is for now. Let's change the input mask to see if our mask works or not. Instagram is scan, name is acidic. This all right, now we have a hole in the middle or a river. River. And also you can switch between them. Then you add a transform to D here. But this notes back, does our inputs. So if you wanted to switch between your inputs, you can simply use Switch node, space. Search for multi switch, Gretzky, set to input. By default, you can change the input numbers, I think 20th, 20. This is our input selection. Let's add this one to input one and discipline into input to connect debt to output. And now we have here something like this. And if I see you get the different result. They meet at a transform to D, rotates 90 degree, sit that to Max and have it crust and connect that. Now we have a cross-section off reverse. Alright, now let's go organize the graph a little bit. Maybe hold Alt. Click and the lines maybe put here, and another one, alt click here. This one the Debits up. Yet. It's good for now. Indie. Next part I'm going to add some debris is, or maybe two branch some random shapes in the scene cell. See you in next spot. 19. Branches displacement: All right guys. Let's go and some branch around the river. First of all, let's go and start making a branch. I'm using shape, square shapes. So I'm going to use nu naught called trapezoid. Trapezoid grayscale. It's going to, let me first escape and d squares, little bit something like this. The trapezoid is going to stretch top or a stretch button. And it's going to create interesting effects, but we don't need to have this match lines. So let's go to trapezoid. Base parameters in tiny mod, set that to absolute and not leak. Now we have a wooden ship. Go back to shape, maybe a bit less in the y-value as well. Go back to it throughout the site and maybe make it a bit select this right? Now. We need to make this around. To do that, I'm going to use non-uniform blur scaled, connect the trapezoid to two inputs and layer them enough sample. You can control the intensity. Like soap. After Dad, we need to stretch this branch tank. So to do that, I'm going to use directional bluish debt and it's going to replicate the motion blue. So if I add more intensity, going to do debt, let's rotate the bluer and 90 degree. And it's going to make something like this. We need to add a little bit off. So let's do dads and Perlin noise as usual. Bigger Perlin noise. And maybe a little bit less. Warm up. Now it's flopped. Now we need to cut one end of the branch. So let's go and create a blend. Put this in background and create another shape. Also, a youth transform to sit the tiling mod absolute no tiling and connect that to foreground. Now let's go to the blend. Make debt, subtract, acidic the transform gizmo down to somewhere. Maybe here. Also, if you wanted to control the hardness of the transform 2D, you can always add a blues, set the blur intensity, and then connect it to your blend mode. Blend, not sorry. Now we have something like this. Alright, let's go and maybe a little bit less stretch. Let's good. If you want to, you can add maybe something like. Cut branch or maybe a bit of grain or something like that at the surface. So let me add a maybe blend this in batch. Go to our noise, maybe Grinder 005. Get something like this. Go to Blending Mode to subtract. Let me see, what do we have here? Multiply, It's good. Less opacity. And also you can add a transform 2D. And this time tiling mode enabled Hn feet horizontal and vertical, and select it and transform hold Control. Push, grunge. Look like something maybe like this. Alright, That's good. Now, let's go and temporarily transferred the connection to the output. This one. Look closely. Less opacity. In, maybe, maybe a little bit. Move this knots as good enough. Let's go plus CT and wood grain or wood chips. We have I believe we have some I don't know, foot pattern or something like that. If I can find it. Obviously it's not here. Alright. Let's go and add maybe something like whereas it, for maybe something like this. It's Control D and blend. Put this in bag, put this one in bronze. And let's see. Maybe switch to add or subtract. Maybe use di addiction or bluer, again. 90 degree. Yeah, that's good enough. Let's see that in output. Let's go and create another and tight sampler. Cause we need to drive these three branches are on D, maybe edge of the petal. Let's go and connect the two pattern CHD pattern to an input. A bit less. Scale. Offsets. Maybe pulsation, random, rotation, maybe native enough, symmetry, random. Alright. Now, let's go and use this mask and connect it to mask. Map inputs. Go all the way down to color, must commit threshold. You can also invert the mask map. Let's go up and more scaled down x-value to make them Tina, add a histogram. Select transferred to connection. Best place. Here. We need to invert the mask map. All right, Good. Little bit off. Random but maybe inhibit in light and more position and also more hit. And it's connected to outputs with heights blend. Contrast all the way. One, put this in top. This one is background. Let's transfer the style transfer and connections to regenerate all to see the result. Don't worry. This course because we have too much high to scale. All right, let's go and transfer the connection here. Let's go and add a histogram wrench range of one. Connect right here. Also, you can arrange the branches to avoid The Astonishing as well. So let's go and find a mask for our stones. May be something like this. So let's go to our mask. Heap blend note in the back. Good Up, decent mask, put it front. Set the blending mode to subtract, den, connect it to mask. Now, it's avoiding day. Maybe size in y axis. Maybe couple of randoms in base parameters. Sit them, avoid each other. To make the heights inhibits different than each other. That's good. Name. You're gonna grab on this branches, move them maybe to the top. That's better in these two notes. Down. Hold Alt, Click. Move this here. We need to create maybe two or three type of three branch. So let's move this up. And D couple of times. Maybe more. All right. This is fun up. It's safe. Maybe duplicate the whole tink. Maybe. Let me see. Here. Let's add a blend and transform to d base parameters. No tiling. Grab this one, put it in front. Let me see. Let's add a height splint for this matter. Back and tap delete the height. And it's transfer to the side and rotate. Shift, drag. Maybe. Go to white kids to be something like this. Also, you can use make this layer a bit. Also from D and also control deeds. Move that over here. Hold control and select all the notes. Moved him down, go-to sampler, add one more inputs. Let me see the result. All right, Those are nice. And also let's add another inputs. This time. Maybe. No, stretch it a bit more. Alright, something like this. And also you can use maybe something like this. Grunge, create a blend, not subtract, make something like this. And we don't need despots, need this button that's d psi. So let's move that down. Maybe C, D. Instead of subtract stead to be copy and connect this to the foreground, this one to the mask. Now we can see the only thing showing it's this spot. So let's go and change debts. That's good. Also, if you want, you can go even further and maybe not. And use something like this. Maybe more bluer, have more effects. Use debt as mask. And now you have these effects at the top end. But let me slip law or this matter. Mask to grayscale. Maybe same noise. Mean. Some are not nice. Nice. Let me add maybe one. Let me try. Direction on warp. Inputs. Use grunge to drive cloud to ground up. Yet, That's good. All right. That's the one. So it's going to dad and use debt as mask. It's used to create this type of effect. Let me add a bit of blue or after create the mask quantity all the way up in density and edit it. Let's connect this to input three. Now we have these type of votes. Maybe add a little bit more. Make them bigger. Just go to Size. Make him today and a bit beaker. At some random height difference by using color random. I don't like this situation. Seed options. We can use a splatter or shape splatter because that's going to respect the height. And also some options to avoid or escape nor overlap. Let me try this one. It's going to get heights and background and would be or is it staying? It's our heights background. So limit grab that, connect that to height inputs. Three inputs, one pattern 23. Control, Copy D, turns. And you can see they going to show up. C doesn't have to give me. Randomize them a bit. Skate up. Avoid overlapping and rotate your random does not have a distribution. Maybe, maybe we can use pattern distribution. Use map and various d pattern distribution. Map multiplier inside and pattern. That's not. Maybe pulsation or skin map, shape rotation, height offset Musk at random. I don't know, maybe shift the mask. Let me go to color, maybe masking, multiplier. That's going to work just fine. Let's go up to the size, scale them up a little bit down. First of all, Let's move the connection to this thing, right? Date little bit big. So let's go back to size or scale them down. Scaling down in x-axis. Let me see. Have a bit too much. Subtract meat. Reduce debt. All right, now let's go back to shape splatter. Go all the way down. In height section, you'll have little bit of control and the height value scale or to adjust through, not offset. All right, offset random height of setting up multiple layers. We don't have that. And also we have confirmed to background. If I use this slide's going to get displaced. You can confirm to your background, your background is your stone. So smooth comfort. Skew a little bit. That going to slow smoothness. It's a bit too much. This one is not around enough, so let's go back all the way here to the none uniform blue grayscale. Make it little bit more around. It's a little bit too much of the branches. So let's go to maybe ten by ten. And also a bit less. Offset. Height, randomize scale overall. Something like this. You can have as many inputs as you want, but maximum is six or maybe seven. Let me see. Yeah, let's go. This way. You can have more than dorm votes. So this one is not rounding off as well. So let's go back to non-uniform blur and make it a little bit more around me. Go back to splatter and find a problem with this one. Maybe first use. No overlap. And also distribution and run down during index. Alright, That's not bad. If you use shapes split term, you have some extra data. This thing is exporting for you would be your shapes. And you can find your shapes, study easily. As you can see. It's cut, it cut the stones out. And they can use float field to random grayscale and have your shapes BEQ. Also can use histogram is scan, wine, dim, all, add a blue gray scale. A bit of blur. May color just for the votes. I'm going to do that. Indeed, color part. So not do that now. Ready, now we have something like this. And if you want to change the pulsation, FDA votes, votes, maybe in the middle. You can change the histogram, select, and thrive devotes. Maybe in the middle, as you can see. But let's not do that. All right, Now, it's good. We are almost finish. I'm going to add a little bit of mass. Maybe on the surface of the rocks and call it a day. After dead. We can use masks to create different values and after dad some color. All right. See you next video. 20. Moss displacement: All right guys. In this part, we're going to make some must affect maybe at the top of the stones and maybe some top of the votes. Let's get to it. First of all, in order to make mass, we need to combine some few noises. So let me check my their device, either a script. Alright. Now, let's go and find inside texture generators noises. Noise called, fair to select the noise and change the rotation. And a little bit more scale. After debt. Look for V1. Now, let's go and create a blend naught. Connect them. Change the blending mode to subtract, to make something like this. Can add more scale. For. Let's go and blend. This fair. A uniform color set to gray scale and black. We need to sit and blend this in black to have more control of the height. If I reduce the capacity, we have more height value in mosses. And if I go all the way one, we have nothing. Now, the last stage is this one. So the shape is splatter. So we need to blend mass on top. Seen in background. Set the blending mode to screen. Now let's go and hold, Shift, drag and drop the connection to the last stage. Now we have most effect everywhere. Can see. Let's control the height a little bit in this blend, not more. Now let's decide where we need to show the mass. Let me create a temporary mask by using histograms, select and use this last stage. And maybe add a bit of and also a bit of French. Alright? Now connect that to the mask. Let me alright. Now you can see we have a bit of mass effects at the top of the stones. Let me see, we have a root mask out off. This shape is splatter, as you can see. Connected to, feel, connected to float, to be random to grayscale and he's stuck on the skin. And Bueller add more blue. Or maybe let me try. Non-uniform blur, grayscale, more sample and a bit less effect. Let's blend that or add that to our mask. Max blending mode. Now clinic there. We have some mass effects up here. And you can control that by dropping the opacity. Can see they're going to disappear and data a bit more. That's good for now. This is a simple way to create the master effects. Control D. If several times to duck this. Notes. Arrange them like so. That's it. That's it for mass. And let's see, use the rest of this session to organize our graph. I'm going to dark as possible to avoid graph to be HE huge. Move this one up. Now. Several notes here. Let me move this down a little bit. Let me see what's this? Let's delete this one up. See, this is our base mask for EVA. We need this histogram to control the river, so see if debts Still volts. Yep. That's going to work perfectly. Is almost a magical. Alright. Let me see what's this? It's good. Soil. Maybe. This one really messy. Just move this one on this one down. This is our biggest stones and smallest stones or gravels. Heights blended together. This is our soil stones. It's blended. And what does this roots by? Its shape is splatter tight sampler. Is this the hedge? Time I create a devotes? This tight Sanford is, seems to be unnecessary. So let me add bypass. Using bypassed it by this. Let me see. Remember why I did this. I have all the patterns, but one of them only showing net debt is bad. But I think it's not right. I don't know. I don't know. Debt's not bad, but it's not necessarily you can use one of them. I don't know. I really don't know. There is almost as good. Let me move this over here. Select, Add a frame. Maybe what their mess. And also this one can go in sight. Now if I wanted, I can move the whole water mass graph around. Maybe also this one, maybe this section can be controlled select and right-click Add frame. This section can be stones. This is height blend. This part is this. Maybe let me see, is spot is soil blend. Maybe can Put that in this foramen as well. Frame. Maybe move him down. Select this frame. Mask, blank, branch out, everything you wanted to call that litter part is the mass. What is this divot blend? All right. All right. Also, you can maybe in multistage, you can add a comment has been frame, right-click, add, comment. Edit the command, switch. And you can move the comment. Now, every time you go back and look at the graph, we can easily find D, every function cell. All right, that's good for now. Next spot I'm going to go over D, roughness except the river water and the water we are going to create that weights. Where does it end D. What? Next parts? 21. Adding colors: Welcome back. In this part, we're going to make the base color layer and add some color to this scene. Let us get started. I have a little bit off for a source gathered and I'm going to sample some color from this source. It's put them. Second screen. In order to and create a base color, we need to have masks for every part of the model. So let's go and find our masks for the soil. The soil gray scale. And this is inverted. And we can use this one as mask. Added enough to dismiss. Good. Let me see. Let's put this here for now. Make a corner for entire grand including the stones. The stones on top. Maybe this way is more convenience. A grayscale of grand to a gradient map. Go to noises. Let's add some mean liberal later bit up. Blend. Grand bag, Frog doll in front. Let's go. Maybe a copy. It's a bit less opacity. And connect that to Gradient Map. And this output. Let's take a look. That's not too shabby. Double-click on Gradient Map. Gradient property, open the gradient editor. Maybe let's sample color From. See. Maybe this one is good. Gradient, dark to light. And it's going to add that color. Generate that color based on your input in grayscale and edit to your scene. All right, let's go and change this. To add more points. Maybe center, one more time. Maybe high-pass histogram. Histogram. Whereas if the histogram branch, Let's see which one is better. Connect the high-pass and some pill one more time range to the same gradient. High-pass phone, It's animate better. Let's open up the gradient editor. Maybe. Select one of these points, deep, dark ones. Delete them. All right. Now let's see. First of all, let me solve this. Displacement problem. Would be in here. So SKU, any histogram range, range of fun, position it a bit up, maybe 0.7. Debt of heights blend. Now, change the blending, Blending slider. All right. Now that stuff, it's this black dots dominated by Ambient Occlusion. Add more sample are little bit less. And go. Now use this gray blue or gray scale Moscow off I'd splint. Let's add a HSL or saturation and connect the same gradient. Move this to add a blend, not use, this one is mask top. And now let's go to our HSL. Volcanic. Move to connection. Let's change some options. C, we need to invert the mask emerged grayscale. Go to HSB. Maybe at situation in a bit of darkness. Let me go to a high-pass. And also this blend. All right, now let's go into a collision or just duplicate this existing on Binta collusion Control D. Connect. This two inputs may be the same. Connection. Let's blend the gray scale. It's multiply and less opacity. Nuts, go and move debt in front. And as you can see, the moment I connect the colored value to blend with gray scale value or the other way. So it's going to predict the connection. You can't fix that by selecting the connection and add a gradient. That gradient is going to convert your grayscale value to the color video. All right, now we have multiply enabled in blending mode and multiplying the ambient occlusion to the color will be getting this effect bit too much. So and it's that are up the opacity. Now, let's move to the next. So let's go and add a colored basic color to the histones. So we have the stones mask out. This is the girl, not the grand, this is biggest stones. Let's go and inverted Grayscale. Now we have biggest stones and add a blue or gray scale. Inhibit DH. Let's blend. May be the end of India spots. It ain't overlay to lead a bit of smoothness, weird details at the edges. And it's going to be beaker by as it did. It's going to be bigger with bluer intensities. So keep that in mind. Let's move that down. Create a blend. To the background. This one is our biggest stones mask. And let's go and create a menu for biggest stones. Blend back. And maybe this one to the front and multiply. Maybe multi-decade. Whereas it direction on warp. We did self. All right. Now we have something like this. Move this one down. Maybe add an auto liver to bring back the lost data. Let's go and add a gradient map. The background, these grand color, foreground is gradient for beak stones. Behalf biggest stones, mask. Double-click for moved the connection. Now we have something like this. Some problems here, and that's going to be soluble gas by adding indeed, declare stones at the top. So don't worry about it now. Open the gradient editor. Maybe sampled from maybe this stone, dark to light. There's nothing half grayscale value. Maybe. Blend, hit Copy and drop the opacity. A bit. Good idea. This time. Sample from here. All right, maybe let's leave debts here and use the stones. And maybe filters. Look for Tice, hold, Control and Alt depending. Add steps. Maybe add a blue and a bit. Then blend and blend that with the same grayscale value. Maybe this gray scale value may be changed depending what to mean. Max. Let me go down. Find the overlay. Alright. Now let's go and hit Control D, D gradient and have this steps to the Gradient Map. And it's going to generate our steps. Jay tape blend. Let me see. Maybe maybe I didn't copy. Let me see. And happy. Let's ignore that for now. But then it be because definitely going to use that in some point. All right, Now let's go. Let's go and find the little stones. Let's connect to a histogram. Scan little stones and play with the slider to find them. Move the mask down, create a blend to the mask. This one did it back good on. Let's use a uniform color to find the stones. Leave it in this mask. Blend this to the bag, this one today. Subtract, connect it back. All right, now we have our stance. Let me copy this part. Change the input. Did it inverts it? See you have the details at the edge. To blend it a bit better. Create a gradient man, delete this color, edit. But then we have two different ground. Maybe. Reuse this high-pass. Let's create a new grayscale. Fructose, some blend. One. Maybe lighten bit more. Get to the gradient. D and d for Dutch. Select the gradient map. And some elders. Now to go to change some of these sliders. More scale. Maybe it's used the same grade because stones do debt. For now. Now let's go and create a blend. Whereas the ambient collusion maybe multiplied it. Adsorb. Let me duplicate the collusion. Change the position. Go to Gradient Map. Let me duplicate the Gradient Map and save this one. Go to this image assembly again. This one is a bit better. We need to maybe remove this color. Maybe remove it. All right, something like this. Now let's add a HSL. After biggest. Change the hue. Saturated, darker. And same tank. After. Stands. Saturated and darker. I can now is go back to bypass the inches. Let me some pills. Maybe. Here. This is Q1. So you need to be more patient. Sku and change. Something darker. Let me see. Let me have him blend. I pass. Let's bypass the high-pass. High-pass in inches l, less saturate it. A bit lighter. Saved. Now we need to have laid a bit of variation are on DI, water. So let's find our mask maybe here and blend the mask. Me to maybe add a histogram, select, copy the input, replace the input. Now. Use high-pass grayscale. After the high-pass. Let me use histogram range, range of fun software. Maybe this time bluer, it's going to be better. Now, play with the still good I'm select. Let me move this to the fronds here after soil. And let's move the stones, inhibit further. Blend. Day intimate. Use this as a mask. Or let me add a gradient map after dad and connect US, maybe multiply, change the inputs, change the soft light. A bit. Opacity. You have control over D. This isolated area by using pulsation. Also contrast range in this opacity. Almost good. Let's go back to HSL. Maybe make it a bit darker. Hsl off the biggest stones were here, make him a bit darker. And also stones. Safe and go and add color. The swan is inhibit. Genki new find. Here. Is it? Alright to add? Maybe a little bit of non-uniform will regress skill itself. Here. At the inputs, we have non-uniform. I believe here. More guessed it's not. Let me find a problem. See. Me to add in the mass into the normal level. So let's transfer on a d's. Let's transfer that. Let me see why distinct. Let me see what's the problem with this. Single would be this week out any mass. It's not good. Bypass. Maybe debts could see this up-close. Just distinct exports. Let's leave that there. Maybe clean apart. After I solved a problem. Back, back to the equation. But for now, let's go and have a mask. X, change the position of blend setting to have mask from four votes. So let's go to the here maybe biggest stones. It's duplicate this mask. Now we have a proper mask from some move them up. Blend. Let me see pulsation. Let me test that with the solid color. But inside the sampler, we have too much height variation. Random, let me change. Maybe at a debt much random rotation. Position. Maybe a bit, something like that. Rotation. Assuming three rotation, random rotation. Let's go down and create a gradient. Maybe combination of map and a BMW spots. Blend them together and multiply X to invert the connections. Grant map to balance. Some like that, connect that to Gradient Map and integrate into color. All right, now let's go in and find maybe something like this leaf gradient editor and a bit yellowish, orangey. This is not to bet. Let me change this position. All right. Let's go. Whereas the heights blend of boards, we have inverted version D to undock it, float feel. You have this kind of fact. Fluid filter, random grayscale, have random masks. Histogram to select some of the votes. Maybe something like this. Alright, now, use same blend mode with BMW spot to have a much nicer looking mask, D Duck. Kd blend. At HSL, connect the same output and use this one as Mask, Shift and transfer D connection. Go to adjust and make them darker or desaturated. Maybe change the hue, maybe less saturated. Let me connect the same. Let's duplicate the HSL and put it after. It's color. That's not too bad. Maybe go to material, pin debt. Bit more height. Also. Go back to maybe hear the ground. Create a blend. Ground. Gray scale to the back. Inverted version. Off the pedal. Subtract it. Native and more. Maybe not inverted one. So let's go to invert and save more height. Finance the height. Now let me see DIY mask for D. We have a histogram, select for and push them, inhibit out next. So all right, that's better. Good thing it comes from S. Let's go back and front and move the output first. Let me find the maybe a little bit of color. Convert the output mask. Not convert. Use histograms. I need this edge line, so let's blend. Based on this mask. A uniform color, light color. Let me find the realization that right possession in blend, a bit less. Ct transferred the outputs. Lighter color, maybe bluish. Also, we can change the blending mode to something like break this. Outlining the dean. Blend. Maybe cloud to subtract, scaled it up, and use this mask. Instead. We have on the, in some areas D, D. Let me find the whole section of the votes. Now we have something like this. Alright, let's go and maybe move the different sections. What is DSD? Stones? Stones, move them down. You need this one. Biggest stones maybe move up. Votes, the same limit as grand, sorry, stones. Let me create a non-modern map based on little stones. Height to normal ward unit control and copy. Maybe add more depth. Curvature is smart. Level not find some edges. Something like this, a little bit too high. So let's go back to normal. Change that. Go to and find the edges. Let me see how I mask deep stones. From here to here. D. Now we have some highlights to add to the Stones. Go and connect it to a gradient map. Blend. Frond or for grant. Maybe choose at linear Dutch plus CT. Move the connection. Maybe some colors. Maybe change the copy. Go back to blend this highlight mask. Where is it the grayscale value for the stance color connected to Gradient Map? Sample some colors. Let me change the blending mode. Opacity one more time. Now, let's add the letter level. First of all in place mentally and let's release the base color. Gather here to put off the base material. All right, now IT space and look for three to collapse the outputs. Connect all the outputs to the input of D and also to the viewport. Now go to deliver something like darkness, maybe less wetness, and let's change the HDRI lighting. Something like this to have more proper reflection. Maybe less sludge dept, sledge up a CT and a bit. That's good. A bit more maybe more water level now. A bit more, something like this. It's almost perfect. Let's add a maybe elevate the height. First of all, add a auto liver after output height. Chronic liver. It's at eight blend, maybe before connecting to base material, put that in background and foreground. Let's copy, maybe added in grand. Throughout the opacity a little bit. Elevate the arts. If I add more lightness, it's going to create a hole in the middle. But it's also going to eat the liver. Not crazy opacity. Now we can In working with the water level and add more water level. Let me see here. Yeah. Perfect. So let's go and create a blend. Copy data. Go back to noises and maybe clout to let me connect distinct. All right, this way we have more randomness. Going to have enough height difference or high randomness to the whole scene. Let me first at that, now. Now we can add a base height booster. Good. Let's go back to limit a bit more edge wetness distance. And also let's push the votes out of the water with this histogram. Select not there. Let me see the modes. And also lead him enough. Height. Let's do much. And exo. Alright. The next part, I'm going to add more variation to the scene, to the color and also add roughness. More important. Export this material and maybe render it out. Monomer set C and D. And next part. 22. Finishing the material: All right guys, let's add a little bit more details to the base color and finish up this material. First of all, I need to push the water back. As you can see here. This distance. Maybe the native bit more water. Let me switch to mask. In Multiservo. Type two. Yes, not to bet. It's a bit too shiny. Caused by water darkness. Maybe this height mask. Overwrite it. It's changed maybe shape or depth of these by changing the opacity. Maybe shape of the mask here. And maybe slope blur, sorry, slip. Look, Let's go. And maybe close. As slope. Change the mode to mean sample all the way. Something like this. Blue are going to be look like something like this. Little bit less. Let me see. This opacity. Change the water darkness. Alright? You have a mask out of the water level that you can add some normal or overwrite D. Look. So let me change back to D. That's more like it. All right. Let's add the mass must affect at the mass effect to the normal level. It's detached him normal. Move Dad up here. Let's go and create another height to normal 1D space unit or simply hit Control D. Let's go and make a normal out off days. Muscularis scale value. See what we have here. Delete all of them. Less height. You have something like this. Maybe non-model blend. This is good stuff. This one be needed to have a mask. So let's go and create one. Alright, let me see what do we have? Maybe this one blend is deep beak stones up here. This height, but this one close to use a blend black disconnection here. Let me see. Did I do to create a mask for small stones? Graph? So let me move them. Move the connection. They don't need to splint. Now let's bypass this blend. Let me change the skin pulsation and find the top of the stance. And have something like this. Blend. And blend these together with Max. And a histogram. After dad to select the part that we need the mass to be. So let's select all these and move them up. And move all of the. Now we have eight mass, grayscale mass, normal, normal for everything else and mask. So let's kind of mask to OPCD. Now we have loss generated here. Also. We have opacity level. As I sit before, we're usually using a blend for blending, normal blending mode. This is much nicer. I have more control. It's connecting normal or transport this connection. Let me just zoom here and increase the opacity. Right now we have mass in some places. Let's go and use this mosque to dry our mosque. Base colors. Create the mass based on the muscarinic. Create a gradient map connect to get a scale to grayscale inputs. Me grab my source or color sample, email, open gradient. Some colors. Alright, let's move down here. Eight blend naught goes to top. The colors, goes to a mask. Now let's transfer the connection or simply connect this one to color. And there you go. You have mass. Now, let's go and create a blend before this moss and duplicate this whole mask. Move the mask layer a bit down. Here. In this version, Let's move the pulsation they inhibit further. Connect it to mask. Let's duplicate this color. Maybe some pill. Let me see these type of mass, the dead mass, mass. More green. Connect it to front. Connect this one to back. Let me see, connect this one to back. See what the diaetae do. I connect this one to bag. And then another blend, use this mask. Connect this one to this one to back. Now we have this transition. Now let's go and connect this one to front. No mask. Almost. Now let's play with this mask. Push this one. Maybe change the BMW noise, this something else. Maybe cloud. More, a bit more. Subtract. Let me add the color. A bit less saturated. Also, let me go to my TV on and emit less height. It's too much. Inside D heights blend of two stones. Let me change the height of the latest stones. And also this histogram, this histogram or no one histogram D, greenish mass, sorry. Vedic the white area by using maybe dismiss this grant. And you subtract. Maybe this one. It's good. Combine brownish mass. Maybe this one, but not at this position. Let's add a sampler. Use this as inputs, change the input pattern inputs. Maybe a little bit of this for good. Not to make deep scale a little bit bigger. Let me see. Yes, something like that. Maybe something like that. Let me break dad as well. Grab this one, this grant 007, and blend the result of that generator and subtract something like that. And let's blend max this opacity and use it as a mask that we have. A bit of brownish mass everywhere. Also, you can do the same smaller one or niche. Also, you can use this mask to drive D normal as well. Now we have some normal value. Grand. Go to normal and add more height. Normal value. Alright, green. Saturation. Also, let's include the vote's going to move this mask. This mask. Find the roots. Could wrap that up. I think already half. Proper would mask. Let me see. This one. Maybe this one got that up and connect that to blend. Maybe grab bits, shift, and click to the foreground at this one to the background, and switch to blending. What MIX? Something like this. You connect it to normal and also to color. Now we have a layer limit of mass. Andy, maybe. Let me grab the other. Subtract this mask. Altough. They're not, and blend it to get every pro niche mouse. Max, doesn't matter. Alright, that's good. Now that we have in the left graph inhibit this mess up. Two color of this layer a bit further. All of these up. Also, we can always go and change the behavior of the lines to something more angular. Now let's go and add some roughness. Go to emptied, df, dy and graphic detour and start to blend. A default form first, create a uniform grid scale and at default, a full roughness. D. Maybe. Because our grand be overwrite it here in the live L. Let's start with grand background and stones because stolons for grants. So let me grab the stones. Mask. Where is it? Here? Maybe here. Yeah. It's grabbed. Connected to mask. Select the foreground and add a bit of blessedness. Selecting this to construct deep. Move forward. Connect this one to background. This time let's go and find d. Little assistance connecting the background. Change. Here. Now. Again and move it forward. Discipline to background. And maybe this time, find the votes. Here. This one too, background. A bit more glossiness. Alright, let me connect that to roughness. Or roughness is here. This uniform color. Delete debt, glossy. It's control that connect this to the roughness value. Now we have control over d or roughness. Biggest stones, you can make them shiny. Near off, maybe somewhere in middle. Smallest stance. A bit more shiny. What's more shiny? Also, duplicate debt back ground. And let's use this one, this mass mask and add more, less than s, something like that. And you push the small stones in a bit. Something like this. Add a histogram range. We have Histogram range. Me change the pulsation. So pointy like that. Maybe fight pushed him or not. No more. Deep biggest stones. That's going to solve the problem. Good. Alright. Mass. Steal it a bit too. Green. Let's find down and saturation. And also let me grab a curvature is smooth out off normal. And select the level. It's level it l. Find. Maybe invert that first, invert grayscale. Double-click, double-click on grayscale and single KCL level. Let me find a chair between the stones. Something like this. Let me add that. Maybe burrowing niche mass. First of all, let me duplicate this normal connect that to D, D and D down. Blend, maybe up. And change the blending mode to max. Let me connect it to moss. Let's go to level. Changed. Alright, now let's go move this data a bit down. Creating an octet to background. Maybe. Is snot, this grunge 09. Subtract bleak the white areas. Now kind of debt. Now we have this new mask. Sambar, more dean. There. Maybe a little bit less. Blessedness and roughness on the mass. Good. Maybe push it out. Let me go to maybe change the white. Some of them, maybe this one make them a bit bigger. This one. Now, it's changed the chance these are predicting this green mass at deep top off the biggest stones. Same grunge. Connected it back to the front and subtract. Now let's connect it. All right, That's more than that. Kids also laid a bit of mass at the edge of the water. So let me find D. Let me see this one. All right. He stood on Select. Find. Nice. Move this to the back. Blend. This to an inverter with Max, David less and connect it. Change the position, push it out. So the range, It's good. Let's go to alternative or maybe add more darkness to water. It's safe. And let's change the normal. Based on this mask. Create a blend, not connect this one to detect ground. And maybe add a height to plan to earn normal space unit. Some details based on this mask. At SOP. Something like this. Let me grab the he's still going up. Alright, maybe let me connect it to normal output. This is too much. Throughout the height. Also, add a transform to D in-between. Right-click. Make it a bit bigger. Something like that. It's check our normal. That's not too bad. It saved. Let me show you. Forget to show you for creation, the stance. Let me grab a five, maybe. Something like that. At a histogram scan. We find the points. Alright, now, create eight notecards and distends Perlin noise as a source input. Let me change this to same input. Node is not good. Let's go to maybe tied to greater, change that to something like this. Small offset. And the offset random. Let me change the size. Randomize. Well, now connect entities stance, push, dead distance out. Delete. This node is going to fill up the distance between this notes and fill the empty spaces. After that, we can use a note called what is it? Edge and detect. It's going to detect change. The rain is small. Now we have something like this. Wrongness. More edge. All right, now we have something like this. Let me grab it. Look, feel. And after that flow to feel too gradient. Now it's going to make gradient from one side to other. Safe debt. It's Control D, make another one. And random angle, maybe angle variation in this one as well. Blend. And maybe mean. It's going to combine them Vint, based on darker sites. Not have you deem foot, find. Connect this one. And it transformed to That's more like it possible you can duplicate this again. More variation, different angles and multiply them together to have this kind of effect. Now we can add eight bluer, go back and add more roundness to have more rounded edges. Alright, let's see what we have. Let me connect this one again. Now we have the stance that we can predict the edges with D, slip blur, maybe fractal. First of all, purlin. Bigger effects. And some stuff. And you see it. Now I've got a slip blur. Maybe a bit less. Now if you heights, but in debt, maybe. Let me add a bluer. This one to act as grand. You can easily make a stone and push it out off. Girl. And also, you can add a difference between heights are different. You can have a different heights. Same 30k but flow to fill the random grayscale. Just connect the flow to fill. Before slope blur. Blend. Connect to background, foreground. And let me go to result here. Multiply. Now we have control over the heights. Alright, this is d, one bay for creation of the Estonians or any type of Valls stone or breaks or something like that. Select this one. Maybe connect that to detect edge. Let's go to result. You go, you have this kind of effect. Let me grab **** in front. Control S to save me connect to create a height to normal or the space you need. Right now. Connect it to normal. Connect this one to collusion, as well as heights, color. Let's go to whatever level. They're up. There you go. You have different effects. Let's hit Control Z. And go back to our grant. This one here might include and this one to predict fight. As an exemple. Why nuts, that's good. Let me reduce the blur and add more surface. A bit more height. Also, let me create a compelling, nice beak to act as grand. And also maybe a high-pass grayscale. Flat D. Higher values. And blend this dummy spot three. Multiply it less and less. High-pass. In here, maybe less intensity. And in here also. And as a result, really simple, really fast, really effective, but you have no control over D. Maybe this reverting or can't move the, for example, the smallest stones based on biggest stones and debt based on dismiss SQL. That's good for this team, good for fast. Grand creation. Maybe use maybe this noise. All right. Find the edges. Connect this. Let me see the result. Ridiculous. But it's something that's beautiful. Can you stat maybe something Nick days. So we change it to something like this. Here we add more edges. Something like this. Alright. Grab this Control C. And also you can't do the acidic part of the graph, Control C and create another graph. Test, sort of V. And create a base material. Maybe dielectric non-model. I'm into collision and height, release them range of one normal to an onload. This one to height and also create a ambient occlusion. Native bit more sample heights. Create output to note and no clinic and viewing 3D view. There you go. You have a Rucker ground. Fast and simple. Let's go to base material at more roughness. Go to blend and play with the height. Maybe add a histogram. Range. Sit the range to one down, maybe high-pass grayscale, and make them like this. Let me add little bit of maybe some noise. This blend to multiply. Less porosity. Now highpass grayscale. Now Berlin to the max, maybe connect that to the background. And now we have enough grant situation by pestis. Maybe you saw motor level before. And also we have snow cover that you can use. Three, connect the material and pitch. We need to change our someting to DUE. This. Go to snow. A bit less fresh snow. Melted snow, more fresh snow, and beat it up. Use a nice-looking also, you can use called Credit journey tour. Going to create journey that random lines. And you have control on number of splines. Mix, segment, spline rotation, random, split, scalar, spline, light that you can type your own. Desire. Light illuminates friend. Maybe almost a fate mod or stars or both, or none. After days you need to add after this, you need to add the blue. Let me add the heights blend here. Let me hide blend. The old Heights blend. Goes to the top. Can see you can. Something like this to the scene. Let me add a histogram range, range of one, less. Push them out. Maybe likes, branch likes or anything. So this is a fast way and this is more complex way. You have more control over where these kind of material. Let me go to Edit. Going to reset the height each time you switch to a different graph. Alright. Now, let's go and talk about exporting textures. Of course, you can export your textures as good as material. I'm going to discuss this. Material or SPSS are materials in the next chapter. In this chapter, Let's wrap things up. Export and texture only. So let me switch back to such TRR and hit Control S in order to export your textures. Textures, these outputs. And you can see up here the base color, normal roughness and other things. You can go to this ranch and export outputs. You can change the location format. I'm suggesting TIF, but if you want, you can choose any formats. And also this naming pattern. It's going to be starting with the ground, the name off the graph underline, and identifying their, for example, base color. Also you can choose your color space, sRGB, rainy, linear, or usually set the everything in her at all except base color. And simply export, export, done. Let me open up the sport. And here as you can see, it's exported the textures. You can simply open up the model set to Lubeck. Go and grab a mish already. Substance Designer mesh up here. Maybe change the light. This is something else. This sunflower, It's from HDR haven. So I'm going to include debt as well. Change the mode to color vector up. And maybe darker. Default material. We need to have displacement height, scale of 0 based the 0, and also collusion. Let's drag and drop the height to displacement. It's going to displace the surface. Normal to normal roughness to roughness and non-metal illness. So it's got the albedo and also convergent evolution. Right now. We have our material inside set to go up and escaping the height. It a bit lucky. It control there in ray trace mode. As you can see, our mesh and bit lower as simply go to round cube mesh enables sub-divide Clark and maybe two times or even more. Scared and let me rotate the light. Alright, that's good. Let me grab another mesh. Maybe spheres to tides. High, deep Round Cube, go to sub-divide. Three times more. Yep. That's it. Can't go to Render. Let me go into germinate based on your height image section output and change the resolution. And some pill. Know denoise there and hit Render. This way you can render your material pretty basic in marmoset tool bag. But inside Substance Designer and let me hit Control S Again. You can go to Ira. Go to scene. Changed its sub-division method to parametric maybe five times. Go to material added is going to default to the x. I'm using OpenGL, so let me switch dad. Like the light. Let me change that beaker. Let's see which light is better. Or this scenario. Alright, maybe can change the height scale and other things. Go to render at max Santa, maybe 1500, and add more time to render. As you can see, 500 iteration and one minutes. Alright, that's it. Let me switch to OpenGL. Next chapter we're going to make some that breaks based on SVG. Victors. Make some patterns and export the material and the rendered inside Substance. Painter. See you in next chapter. 23. Introduction to SVG: Hey guys, and welcome to the last chapter of this course. In this chapter, and we're going to make some fabrics, not exactly this kind of close enough. We're going to make them with SVGs. Svgs dad created outside the substance designer or inside a substance designer. Alright. We're going to work with m vectors. We need to have a vector to work with. And you can work with vectors that export it outside. Software like Adobe Illustrator or maybe another vector software. Just keep this in your mind. You need to have your SVG, indeed only one layer, and it has to be on one layer. And then you can save that. With SVG. Now we can import your SVG. But if you have, if you don't access to Adobe, adobe Illustrator or software later, you can always convert your image to the SVG in so many sites. And this converts Sheol is one of them. So I'm going to choose a JPEG, black and white JPEG, and convert these two vector, SVG and convert it. Going to upload then come birth and download. Close that up. Now we need to import this feature to do just hit space. As you can see inside the search box. Svg is one of the atomic. Now let's so we can find it here or you can simply search for svg. When your dad's going to ask you if you want to create a new speech or import the SVG. In this case, we need to import that. So let me get up to test. After debt is going to ask you if you want to link the resource or just import it. If you just import the resource every time you change the resource, not going to affect the important one. It's safe to link the resource. So I'm going to choose link. Can see our SVG is loaded. But there's nothing show up into. First of all, you need to convert it to grayscale and change D. Convert the black to white. Set the color to white, and that's going to show up. It's inverted cars. We are working with white value. Simply drag and drop the outputs or create a inverse Gretzky. If you drag and let go look for invert, it, just going to show the invert grayscale. Now we can work with the vector, but it So jacket at the outside edges. So let me fix that first. Bluer HQ girls could connect the and imbedded vector quality all the way. Layer a bit bluer enough to cover the jagged edge. And if I connect that to output, by the way, this is the output that we created in a previous chapter. I to normal. And also height inputs. Connect to each input. There you go. You have your Is svg loaded and ready? Let me add one. Alright, let's nice. And just like any shapes and sites such as designers, you can always create a tile maybe sampler. Connect these two inputs. And let me close this base parameters and just work be it. Tight sampler parameters. Go to patterns section, change the button to better an input. And it's going to load in your tile generator or die sampler. You state them on tough. Tides. Shift transferred, the connection has too much height, so let's go to Material Editor. Material default edit. I already paying debt here. So let's go down and reduce the height. It's has a bit too much a collusion. So now we can go to tile sampler and do anything you want. Size change, scaled, and in this case, it's not good to have scaled random. So keep that in mind. Maybe leave a bit of rotation, not random rotation, overall rotation. Something like this. It's a nice pattern. Maybe a little bit smaller. Here. There you go. If you want to carve that, you can kind of make this connection or here and add a in birds. Great skill. Let me debt. We need to add that after ten samples. Imrt grayscale connect to invert and connect them back. And as you can see, we have subtracted four on the box. Alright? Now, the next option is to create your own SVG inside and Substance Designer. To do that space search or just select the SVG. This time until the substance designer you need to create your squeegee based on new resource. It's going to ask you about name and dimension. I'm going to leave that in five to 55 to hit. Okay. And as you can see, it's has nothing in it. So you need to create your svg data. Switched it to grayscale and maybe background of black. Leave that in black. And inside 2D view, you have two options. Foreground and background. Brush, pen, simple shapes, and did a bit of editing tools. Substance Designer is a good or great software, but it's lacking some features. And SVG is one of them. It's not good, but you can make your specie. Let me select the brush and make that a bit bigger. And draw something. As you can see, it's rather simple. Now you have your output. Also. There's a, let me see if I have a nice example for you. Let me go to my folders and find maybe. Oh yeah. Here. Limit, grab this, breaks. Import the resource, and show you what you can do with SVG. So let me create a SVG from new resource. Maybe this time, 2048. By 2048. As you can see, svg is, it has input value as well. Just connect your a square image input. Now you can't see it. And create maybe sprayC. Let me move that each time you draw it's going to add that to the previous one. So don't worry, it's going to be added or set by default to max. Needs a bit patient, but it's a nice technique to have exactly. In this case the same breaks. I'm not going to do all of them just for you. So let me do this one as well. Maybe this one. Alright, now, let's go and disconnect the background. Switched e2 gray scale, and now you have some bricks. Let me quickly add a maybe non-uniform blur grayscale, connect that to both inputs. Add more sample, little bit less blue. Let me invert inverted from blues knots. Let me create a new bluer. Multi-directional walk Rescue. Maybe two. At least a bit of randomness to make a more tar out of insight. Adrs, white areas. All right, now let's go and add a height blend back fronds, you know, did. So. Now let me hide, blend them together. It's quite effective techniques, so let's connect them to use the same background. Connect that to need to release the change the connecting mode. You can't find it up here. One standard to material and compact. Let's go and connect it to color. Can see you have maybe go to IT, scale. You have your menu based on your image. Any few need to change the shape. You can go back to speech. She had a bit of white values. And it's going to be process all the way to the end. Somatically. Maybe. And this break. All right, let's see. Let me double-click on this one and single click here. Here. Again, see if I create a new white area inside SVG, it's going to affect all the way to the end result. You can see here. Let me switch to Ira and go to Material Editor. Let me see what we have here. A little bit of scale. Seen, a deed subdivision with Todd, parametric and maybe three. With this technique, you can easily create your brakes based on your image. In our foot. Limit, delete them, go back to our patterns. All right, let me delete this. Svg is good, but let me show you the points. Something like Adobe Illustrator. You can edit basic shapes and maybe add basic shapes as well. Add another here. Something in the middle. And it's going to see something really rough drawing reader off. So let me delete them. In this parts. In this chapter we're going to work with import the switches. Let me import SVGs, SVGs, delete them all. Import a new SVG from file and not here. Here. Svg I have 19 CPGs link resource. They are quite simple, something like this. 19. So let's hit Control D. Duplicate. How many of you have 12345678910. I meant three more. Let's go to second one. And it's going to see if you double-click and deep Sui Ji or any file. It's going to show you basic parameters and also some fair specific parameters. In this case, Pat. So let's go here to the address and change these two. And I did the wrong Sue-Je. This one is two. And let me change the others as well. I need to import them separately cut. It's going to be hard to do that this way. So starting again from resource, GI Forum, fine. Link, convert white debt up. Another 1 second 1, I think exist. Each time you import something inside Substance Designer. It's going to put in here already source at it telling me that this resource already exists. So let's delete them. And let me do something else. Right-click on your project. Package, import or link, link vector graphic and take them all. Import. Import here. Now we just need to change the gray scale and each black to white background. And also, in this chapter you will learn how to import your three models in sight, substance, 3D designer and bake the mesh maps. Just like the substance to the painter. Maybe. This video or next, let me finish that up. Almost done. Those are the basic shapes that I can't find. So now we have our switches. We have a little bit of time. So let's go and right-click link. This time. To diminish. I'm going to go to my materials and find a mesh. It's telling me that this mesh contains sodium tiles. Do you want to CDU deems or import as YouTube's, I'm going to say null. And as you can see here inside the resource going to create our mesh and also material debts attached it to the ears mixture. If you want to show your material inside the Viewport, just double-click for mesh to be important. So here it is. Now if we want to bake your mesh maps, just go to the Explorer, right-click. Big modelling formation. It's going to open up this window. You can see we have three tides. It's uridine at, it says. So. Let's go. Maybe at a baker can see the material here. Add ambient occlusion map from mesh. Let me see curvature and therefore a mesh. If you have any normal data, sculpted data can use a normal map for a mesh. And if you have a high poly mesh with details, so you need to add your mesh at High Definition model. From here. I don't have that, so I'm going to tell the substance designer to use low as high-definition. Going to look at the low poly model and bake the data front 2D, Hopefully itself. So let me go and grab a position map from esh and also what space. You can override the default format. I'm going to use TIF. We need T for water space normal and position. If you want to projects, try planner something into your mesh. I'm going to show your death. So also you have control over, it's pretty basic. You have control over the baker by clicking depth. As you can see, it's really similar to substance 30, painter. Normal map position and cetera. Default size 2048. It's good. Match by name and I don't want to do there was a option somber. Let me see. If you have more than material more than one bacterial, it's going to. Asked to bake all the materials or just one or just one tie or all the tight so it's not going to show me, dad. So let's go and start to render going to bake information. As you can see, that's debt. I believe I made a mistake. But see all the materials. I can't see that, but I swear it's somewhere here. No. It's really can't see. So let's close there. Remove the mesh. Right-click again. Link to the mesh. Import that. This time, let's say yes, UDM. Go to the basic model information. It's going to show us the idiom tiles. So let me add a baker ambient occlusion. Maybe curvature, not normal. What space normal. Position for a mesh. Let's still that use low as high. So here you can tell that to bake all the tides. Now let's go and start to render. Now it's baking. All right. Close. Now you have your bait Matt mesh maps here. Yeah, that's good. I don't know which one is the right one. I believe the bottom one. So let's delete the old ones. Each one of these contains three types, so alright, Let's go to the next video. And in the next video we're going to make a pattern out off these shapes. Start building our fabric. See you in next video. 24. Pattern design for fabrics: Welcome back. I added a inverse grayscale after SVGs to make them look like this. Lift this tool for this video. So let's go and construct d inverts in grayscale and connect them. Let me see what we have and what we can do is double-click to load them. All right? This one is really good for corner is I guess look like this. This can be maybe main here. Let's start debt. We already know Oddi, circular, splatter. Its use their output to the input pattern. Go to pattern and image input. And as you can see, it's loaded. Let's go. And maybe a little bit less Radius. Scale. Maybe more radius. Have more room for a scaling. Maybe three. Alright, that's quite good. As you can see, sometimes accidents are making really nice shapes. And let's put this line in the middle. So create a blend. Doesn't matter it front or back, because we are going to add. Max is good as well. But let's make this smaller. Cynic, the connection transformed to D. And if I transform that, now, shift and all, it's going to repeat itself. Maybe it's not that bad. Let's go and hold Shift, rotate 4045 degree. Make it later with V here. Now let's see the result. Double-click on the Blend, single click on transport. Not Dead goods sold. Let's go to Transform, base and parameters tidying mod absolute, no tidings. Little bit bigger. Now we have our main shape, maybe somewhere, something like this here. All right, now we have another main shave that we'll leave that for now. Maybe here it is good as well as D. And this one planning to use this shape up here. Let me go and maybe make a shape. Note. The basic pyramids. Make something like this. Line. Rotate that 45-degree. Maybe make it bigger, like five. And also maybe here. All right, let me tell the shape. Note two knots. This good. Graded blend, not background or foreground doesn't matter. Exact shape. And create a middle gray scale. Simply. Transform, Transform to right-click middle or x. Now in blend, add blend mode to max or at a bit more in the x-axis. Alright, maybe a little bit less. Now, go and create another shape. Control D to duplicate that. Great ape blend and hit, Subtract on blending mode. Top one. Smaller. Let's blend. These two shapes together. Mix the intimate unless x. Alright. Now, and it's maybe not 45 degree 0. Rotate this 190 degree. Now we have something like this. Maybe safe forum. And then 45-degree. The safe. Now to save transform, transform to a D with no tiling. Maybe hit Control D to duplicate. And several times. So maybe grab one of them. Shift, shift. Make debt in the middle and the frame. So let's go and grab another circular split. Split that they're circular and connect this whole ting. Change the pattern to inputs. And maybe false. Kelly the blend with Max. Connect this two. Inside splatter circular. Rotate, rotate, rotate here. 45-minute deaths rotate. Rotation for ideas angular rotation, alright. Forty-five. Make debt a bit speaker. E3, ring radius. Now we have something like this. Let's add little bit of sickle shapes. But first, let's add this one in the middle of this cross. And eight, blend. This one at SOP. Also one of the transforms control PD shape here in maximum. Nice as well. So let me scan and debts down. Debt to add linear touch. And now we have something like this. Also. You can let me create a mask out of this shape, so that's good. After dad a histogram scan, find your shape layer, you have enough contrast. Before connect this top shape to the button. Let's add a blend to the front. Subtract. Didn't add here. Now you have your shape, shapes and cut out. And also you have control over the shape as well. Amy scale that down. All right, that's good. I mean it a bit more quality. Good. Didi maybe transferred this to duplicate and create create the transport 2D. So we need to have a limit of circular things. I'm going to create them with psi sampler. Bit the disk. Good. Rotate the whole 45 degree. Oh, it's not going to rotate dead. So let's add the safe transport. Grayscale. Rotate 45. Alright. Now let's go and connect this one to the mask map. Click on tight sampler. We did this before. Let's go all the way down to the mosque map. And you need to have more. Let me add more. Distant not working. Let me add a bluer. Maybe it's to handle. He's stuck it on a scan, make it wider. Networking. Don't learn it. You make these circular things. Different techniques. So let's go and create a shape. Make a disk, and a transform to d. This time go to tiny mode and absolute, just tidy horizontal, double-click and deep transform Shift and make them really small. Alright, Now, let's go. Oh, I didn't. Really bad mistake. I guess we can make that up and be the tide. Some flair, nuts, masked 45-degree, simple blend, Muscat by going to work. So let me find a sweet spot. Any 67. All right, that's good. But we need to add that just middle part. Current concert D, D on this one. And maybe replace the middle part. Let me see. Just rotate this one. Replace them. Middle part is not working. Oh, repeat. Now that's repeating. So go and connect that. And now we have here something like this. Let me go ahead and bypass this one. Did it go make this line vigor? And also less styling. Something like this. That's good. Now, let's go maybe this time replace this circular outside edge. Let's graph the original shapes and connect him to make this one smaller. Just need to subtract this cross based on this output, not invert the mask to create something like this. Let me hit X to switch to import inputs. So let's create a new plant. Put that here. Here. To dip back. Now we have the intimate AF, design. Great. Now let's go back to maybe whereas Circular make during, inhibit beaker, during radius, inhibit bigger scale. And at a bit more. Now we can safely or take dads or maybe create a sampler, connect this InDesign to the pattern. Change the pattern input to here. But they're an input. This tiling, six-by-six maybe. Also rotate them. 45-degree. Maybe less tiling. Repeat a four by four, or even two-by-two. That's nice. Now let's go and maybe at 0.5 repeats or an offset. See 0.5. And also you have control over the global offset. 0.5 in this direction. Save. Not quite like this, but it's nice. The arrest stuff, the design by hand that generate it. So let's go and grab this one. And a transform to D. Connect that to transform to hold Shift, rotate 45 degree. Grab that and move it here. Blend. Maybe another transform to the after. We have control over the scale. Rotate before the escape. Connect them to get there based on max value. Double-click and blend, single click on transport. And make that smaller. And puts a Shangdi design. Also you can go and in this scenario, you can go and tell that to tidying horizontal. If you want. Yes. Let me go and meet or debt by x, not x. Why? Maybe also add a middle or middle gray scale? Now connect that to the blend. Now another mural or Control D. Connect it to dab mirror and this y, this time middle foreground. Now we have distinct here. Now let me see what we have here so we can repeat dead automatically. So let me grab it. Transform. To transform, connect debt to blend. Select the transform hold Shift. Y distinct. I link because I told this one to not tied me. All right, let me transfer this transferred this one. We need to add this 1 first and other blend and mix transform. And minus 0.5 and a mural or grayscale invert x. Now clinic dead. And now we have this cool design, basically by combining important victors and also some shapes. Now let's connect outputs and see the result. To the normal occlusion. We can't see anything. Just right-click. Be outward. 3d view. And as you can see, we have our design. Load it. So let's go to material. Paying debt. Go down to sedation factored little bit higher. Mean level is 0. And it's going to see low. Nicely. You can tie the material at the top of the material editor maybe two times. Also. You can change D input value of title sampler. It's confined. A really nice design. If I have anything. Maybe just one. Connect that to an input. Pattern and input really tiny. It says rarely really, really tiny and I can't see anything. Also this one. Let me change that by no, circular one is good enough. Switch back to disk and let's sit your design. New switch back to around the cube. Right-click View in 3D view. And let's see, there's all tier material. Default at eight pin. Anybody tough decision factor, mean height and this height. All right, Now, the next video we'll be going to add a fabric pattern behind these designs and add limit of a color, roughness, and other good stuff to make the design more beautiful. All right, see you in next video. 25. Making a basic fabric: Welcome back. In this part we are going to continue working on patterns. Little bit of fabric pattern that we can't see in this image. Quality. Let me go to our pattern output. May be go back to tight sampler. Maybe add a bit more. Scale, not that much. Maybe something like this. Let's go back here and pattern and make that a bit bigger. Like so. And maybe less occlusion or less height, almost 0 height. Let's see in this matter and x, sorry, space to see a pattern. Repeat. Yeah, that's nice. Now let's go and add another sampler. Connect the output to the pattern input. Switch to better into pattern input. Size off. One, less. Repeat. Two-by-two. Four by four. Maybe. Alright, now, let's create a shape. Squared is good. And connect that to mask map inputs. Go all the way down to Color section and mask it out. Select the invert the mask. Go back to shape. Why this thing not working no more. So let me see going on here. Let's not do that. Let's go and do the same trick as before. The blend just want the best one to front. Subtract. Go back to shape, scale it up. Somewhere. Here, I guess 0.75. Remember that scale? And in why? 75? Now we have this thing created. Transcript the connection. Now here. Maybe a little bit more shape to row. All right, in the middle. Go and create another pattern. In other titles, sampler and let me find a shape. Maybe. Something like this. Yeah. It's connected to input. Switch the pattern to patterned inputs. Symmetry random go down to the pulsation offset of 0.5. Go up, scale that somewhere like this. Now let's go and blend dads. Same blend mask. Maybe change the size a little bit or offset this today it a bit in size of set. Say dead load a bit. Let's not do that. That's good enough. So let me transfer the connection. Now we have this. Let me save. Go up here to parents size. Change that to 96. Have more quality. Pattern. Fabric button, am using texture and generators patterns. And we have some VIF patterns. We can use. Let me drag interrupt them. One of them is for output or opacity map for mass and mask to leave too, it's more suited. So let me change the scale. High. Maybe even 200th. Heights blend. Shapes needs to be even more. And also add histogram. Let's go back to heights put into first. Now create a histogram wrench to change the range of the patterns. Add more whites. Maybe. Let me switch the connection to bed and let me go to explorer. Double-click on our mesh. And yet it's something we can use a divider. Here. Let me use this one. Let's add a transform 2D. First of all, rotate that 90 degree, change the tiling mode to horizontal. And I'll chief article. Make this small me find a position by using a blend max. Here. Right? Now. Let's add a two lines at the top and bottom. But let's use, let me use a shape. Make really small in the y-axis. It's Control D, transform, 2D, reset, transform, and blend this together. Max, even smaller. Down. Also another blend. Same transform. Max connect at T2, same shape, and move the line up a bit more. Next. So here. Alright, now add a mirror, mirror and invert. Now connect that to the same blend. Also, we need to add another transform, d here, event into more event to have more control. Now, duplicate this mask. Here. Back to 248. Now this mask, and make this one smaller. Maybe transport mode, the whole thing a little bit down. Now connect this to the output. Now we have a really nice divider here. Alright, now, see, we have enormous bit more surface area. Let me change the lighting as well. Studio lights. This is good. Let me try another one. This is the one. Control S. Save. Maybe make it a bit bigger. Let me make it less. Shape. Ten by ten. It's automatically, it's going to be yep. Good. Now the fabric pattern, it's a bit too small, so let's go to maybe 300, maybe 200. That's good. Copy. Duplicate this pattern. That brick pattern blend that. Put that on top of D outputs. But the mosque shapes opacity and also transform 2D. Rotate 45-degree. Now we have 45-degree rotated fabric pattern with pattern. Patterns designs. Not all of them. So let's kinda this one to here. Now, to add output C, we need to blend this pattern, this pattern in Max. Add this one. Mask. Good. I believe we need odder. Svgs are nice as well. Not quite like the design. You can use them, but I connect and change the inputs. So keep tent in your mind. So let me go up and it clean to delete everything. Dad not using our graph. Maybe change some of the positions. Maybe add some D to duck. It's data bit more organized. This graph. In the next video I'm going to add some color metal and roughness value. See you next video. 26. Finishing the fabric: Welcome back. Let's go and add some colors to scene. Let's go and create a blend. Find, find everything at a uniform color. Maybe some pill. This color. Put dead in back. See maybe for test. This one as mask. Base material. Why basement area? Because if you look closely in site-based material parameter, we have material presets. So if I go and grab a cold, it's going to be exactly a gold, gold color created by substance. Team. Let's use this color, outward color to the front. As you can see, it's more accurate. Let's go to base material and release the base color. Connect. Yet we have some colors. Good. Now, let's maybe add some Xin. We can add xi1 render, but if you want a fake Xin, you need to create that. Go and create a blend. Maybe replicate this color. Maybe from friends. Find a lighter color, a bit lighter than the previous one. Let me find a noise. Maybe something like this. Before connected to connect into Blender has opacity. Let's go subtract the pattern. Now let me go and change the color. You can see we have some variation going on. Go to your noise, less contrast. Now let's connect that to color output. Right? Move them up. Let me go and get another blend. Use same mosque here. At a uniform color. Change the mode to aggress scale. All the way up to the roughness, white color. Connect that to the back. Control D to duplicate the uniform color to the front. We don't have any roughness input. Go to paste material, release the roughness. Oh, let me shiny. Go and do roughness. The base material. Can see if I rotate the light by holding Control Shift right-click. Can't see the cold area. Little bit shinier. It's lacking metal near cell. Needs to control D, B, k, the whole tank. Go up, this time. Almost white. Button one or background. Dark. Double-click, release the metal illness this time. Connect that to the metallic mass. And as you can see, we have some metallic patterns. Only. You can control limit unless by changing the foreground color. Almost no metal or fully metallic, less metallic. Let's go to the patterns. First of all, let's add the fabric pattern here. The shapes. Alright? Anybody find the fabric, fabric February. First of all, Tyler Moore. Guess that's enough. And also the department, a bit of height. See the normals. Maybe. Let me see. Maybe connect this patterns only to the output height. Leave the fabric pattern to the normals on D. And our height would be just deep patterns. You can invert them, change the height and stuff. All right, now, let me show you another trick. This pattern only. You can always, let me show you in this pattern yet this is better. You can always use a or is it D? This track, grayscale and have these outlines. But insight. Now use maybe blue or this time. Not. Connect the mask to pivot and choose the coordinate typed or round to Angular or wherever you want and changed it. This stands maybe something like this, maybe a bit less strike. Correct? Something like this. More smooth that out. Now let's go and create a Heights blend. The back and the front. Two heights blend. Contrast all the way up and change the height offset. Something like this. Meat. Grab all of these and move them. All right. Now let's go and maybe use this mask as mask of knots. Let me go and create a ambient occlusion. It's going to ruin the graph. So this is two goes to hide or to collusion. No height, roughness, almost snow and it's to be a bit blurred. Edges. Cubic crystal. Alright, now, let's go and connect it to collision gate, a height normal surface. Maybe this time. Uniform color of 0.5. White color for roughness, dark color for metallic dc2 as height. Now, as you can see, you have a little bit off edge. Let me go to I didn't material and change the height. As you can see, you have here little bit of this beveled. You can't use a blend, not subtract that out. Now connect to the output. Now have this effect. Depth controls by subtract opacity. Really easy, really fast. Getting different typeof outputs. Go and change the output graphs to connect them. Let me go to materiality. Change the height. Here. I guess we are tiling two times McLean the graph. And let's go to our patterns. Now. That's not bad. I have a border here. But indeed output, we don't have that because shape, UV, don't worry it's there definitely. All right, that's good. Now let me go to base material that we used for generating deep base color and change the material preset to maybe silver. Maybe compare. This good. Let's go and save. And let me scale the 3D window up and maybe find the realization. Also in camera you have a perspective view and let's rotate the light. Switched it around there to Ira. Obviously everything is backwards, so let's go to material edit, OpenGL. That Heights. Good, That's good. Let's go to seeing edits and sub-division method. Number of subdivision three maybe. Alright, environment edit and enabled the grand to have some ground shadows. Maybe a little bit of Zoom. Alright, let me change the lighting. A scenario something like not too yellow. Not good either. The steady. Maybe. That's good. Let's do 606. And indeed, render engine, we can use material edit. Can you see it a bit off? Subsurface scattering Xin, Xin and xing color. Something like this. Let me see. The subsurface scattering enabled by default is white. For subsurface scattering, color scattering this dance a bit more. Alright. Let me rotate the line. Maybe. Go to use this one as. Again. That's more like it. Also blend. Go to NYSE at maybe something that cloud. Let me go and change them and managing to OpenGL for now. Connect this, as you can see, it's going to be red, select and gradient. To convert that. Let me go ahead and drop the opacity to have layer a bit of dirt to the gold. Ira. Maybe a little bit more. All right, That's good. That is good. Similar net in the pattern area and look, maybe fabric better position to have more better. All right, that's good. Now, Same here. Roughness values. So let's go and create a blend. Connect this one to back. Let me see. Same pattern throughout the opacity. So now connect it back. Breaking up Mass Department. So it's good. Alright, now let's go to our render. 1515. Read or max sample. 600 seconds. The maximum tight. There you go. There you go. Your head it now the simple graph, simple fabric, CPGs, combined, substance designers, patterns. All right, Also one more thing. If you want to have opacity, you can go select the output or create another artboard. Let me create another artboard. Type. Output. Name. Opacity defined capacity, out code and paste the name in, Identity Finder and label. This is our opacity output. Go, maybe find this VIF pattern, the originality of pattern. And hit control D. Maybe use the same invert in gray scale. Where is it? Inverted grayscale. And connect that to a histogram branch to have more control. Connect that to a plus CT. And as you can see, immediately getting some kind of C22 fabric, let me enable divisibility off the HDRI and change the pulsation. A uniform color of white. Grayscale. Changed it to black out. V0 to put into view. Right now you can see total the fabric. Let me connect the pattern. Change the position of the stick it on orange. Let's go add a blend connectivity pattern to back an HD. Designs and subtract that from the pattern, as you can see here. Connected back to opacity map, these orientation. So let me go connect this to stick around Dan to blend. Now we have distinct. The design needs to be inverted. Inverts P2P Connection. Let me change the blending mode. Now if I drop the position, just the design remain changing D position, it's going to affect heat capacity. Let me go and hide deep HDMI, safe and switch to. Now change the opacity. Going to see, can't see through the fabric. Maybe somewhere around point a, That's good. Let it be a rendered. In the next part, we are going over the, exposing the pyramids. And using this exposed pyramids, maybe, for example, subsets, 3D paint. And also we are going to export our material as SP SAR or SPC. See you in next part. 27. Expose and Export: Welcome back. Material had been rendered. I'm going to camera and save a render desktop, for example, named public safe. Let's go over something really important. I mean, I re OpenGL or eight. Now, let's go and hit double-click. And the root graph or empty graph. Let's go change the name of the graph to fabric or whatever name you want. Also the label, type of the material, it's going to be Standard Material. Icon, predict debt, load. The icon. Inhibit, squeezed. So let's go to the camera. Let me override the size, maybe 101080 by 1080 b squared. So let's save this render. Double-click the MTA is space. Click again. And now you have Tom need for your material. So let's go and add fabric as description as well. You can write your own subscription in category lived, empty, alter. You can write your name and your portfolio address. And also let's add some parameters. So let me go here to the opacity. We are controlling opacity by changing the position of the histogram wrench. In order to transfer this slider to the root of the graph and give the user to have control over opacity or anything else. You need to go over this drop-down expose as Neil graph inputs. Identifying there, it says position. So let's call that opacity. Also labeled opacity. Let's add inside the group, maybe. See named group opacity as well. It's going to be a slider by default. Default is going to be 0.8. Mean it's going to be 0. Maximum level is going to be one. If you want to do, if you want the maximum level to be 0.8, just changed to 0.8. Use air can't go over 0.8. All right, Now, hit duplicate. It's going to be disappeared and blew out. So double-click on graph. Let me close these attributes and you can find that parameters here. The input parameters section. You can edit them or have a preview. Opacity, open dopa cities section and you have your opacity. And if I, throughout the opacity, as you can see, it's going to affect the same. So let me change the opacity also. You can have a new value, something that I like. Maybe 0.9. Safe dat up here in this drop-down, apply current setting as default. As you can see, our default now, 0.9. So let's go maybe. Let me see. Change the metal illness of the metal. Notice here, change the mid tallness designs by exporting this color value. Tallness. Copy, paste, and let this be in their own group. And now let's go to the root of the graph. We have two sections, opacity section, Metabolists section. Now we have gradient value. Alright, now, see what we have here. Maybe, maybe this design goal to this title sampler. This time, let's combine two sliders together. So Let me go to X amount of this pattern. Expose as new graph. It's called the C pattern among copy. Let me type pattern among the dead pattern group. Okay? Now if I go to route off the graph by double-clicking and DMT part of the graph. Inside the pattern section, we have pattern on one byte. But if I increase the pattern, as you can see, it's going to be repeated in deep one direction. So let's go back and taste sampler. Double-click. This time. Let's go and use this drop. Use existing graph input pattern a month. Let's choose this one. This way you can connect due to different slider to one slider if I increase pattern now as you can see, increasing the pattern amounts. Alright. Now, let's go. Let me see what we have here. This design. Here. Let's combine these two pattern max. Now. First of all, let's connect this one to pattern and blend one to here. Alright, now, let's go and add a safe transform grayscale. It has some Thai link going on up here. Connect that to blend. Double-click, drop down of the Thai amount or this one. And connected to pattern amount as well. Yeah, it's not going to behave the same because they already tiled of two times. So you can't expose them separately. Lowers and hit. Okay. You can titled him. Alright, day not going to be behave to same. Let's not do that because this is more advanced matter and needs to be solved by using empty function. That's going to cover the entire function in a beginner tutorial. So let's go and not do their hair. If you want, you can. Whereas if you can combine these flowers before using title sampler. Now, let's go and find something else. Maybe. This one. You can do the same as, but you can go to the scale. You have same ability to expose new graph input and have control over the scale, size. Something like this. Other things. Yet you can't explores almost anything. Even split or circular. Turned on. You can expose that are here as well. And that's good. I'm going to getting up a little bit and include this material inside Project folder as well. Let me tell you really important think would be export D graph. If you want to share your graph it other people, you can't go. Save us. It's safe, and that's it. But let me grab my knee it. And as you can see, we have eight fabric SPS. And if other people open up your graph and your graph contains something like this in a bit of a ready source. It's going to be missing in their computer. And this is going to be solved by right-clicking and the package export the dependency. Let me delete the old graph. It's going to ask you for output directory, acidic your daily activity. And also it's going to be export your SPS and on the other resources. So let's go and export dare. Net exporting explored the dependency again. Maybe because of the mother. Let me delete the 3D model. Distinct debt does not responding. Know sometimes it's frustrating. So let me export again. Steve, to restitute in the institute review, let me create another folder and export. It's not worth exploiting anything. So maybe there's a bug. Again. Switch to round it. Cube. Camera is a little bit off. 45. Alright, It's not exporting. I don't know why. But maybe for working. Now, Let's go. I click on package and publish SPSS. It's going to ask for flight pet and archive compression, and it'd be in auto, so hit Publish. All right, dairies problem here somewhere. Know what, maybe close S1. Save As This PSC. Close the app and reopen it. All right, let's try again. Critique and explored with dependencies. Folder, Desktop. Now it's creating something. Your SPS Substance Designer file, dependency folder. Inside dependency of older you have all the switches and your mesh and your big mesh map. The person who open up your, opens up your material and it's not getting any errors. So let's go and click on the package. Publish SPSS file. Select your pet, and leave the archive compression as auto. Publish. Where is it? Here? You have your SPSS file generated. And let me open up the stops since 30 Painter. Let me open the mesh. Fabric peg to a k. Now we have our mesh. Let me run a quick bake, mishmash, 48, Lois, Hi. And then him enough anti-alias. I believe in meshes. So struggling. So anytime now curvature enough and just need the normal collision. So let's go and drag and drop our material inside the shelf or asset versa. It's automatically recognize base material. Maybe this project and import. As you can see our thumbnail showing up as well. Drag and drop the material inside the viewport. Height. It's enabled by default. Turn off debt. As you can see, we have our exposed I can change the opacity, but we don't have any opacity output. So let me go and first of all, change the shader. Alpha blending OpenSCAD pass. Now you can see d o plus d t inside. That sense painter. And also you can export your materials colors. So let me go and create a uniform color or simply hit Control D and create a new maybe blue material. Create a multi switch. This time color. And connect debt. Also, let me add a HSL for the fake Xin. Maybe little bit lighter. Alright, now let's go and expose the multi switch color parameters. So we need to expose the input section. Acidic should only expose color selection. Inside loop. The maximum, It's going to be. Two. Default is one. Default one, mean one max two. Alright. Now, let's republish SPS IIR from this time and go to substitute the painter, reload, drag and drop it. It's going to be white by default. Now we have a new color selection. Change the color to red. A bit more. Alpha city can see we have our material on showing inside substance 3D painter. And this way you can create your own library of materials. Alright? One more team would be distinct. You can, you can add a empty input, space, type, input color, or Gretzky. Add a input, maybe tile generator or anything else. If you set this tight sampler pattern to input pattern, your pattern insights ofs as designer, it's going to be gone. But if I republished my material and go to our name, input will be shape. Shape as well. Republish. Go to painter, reload that I can drop again. This time. Let me go. And this time saving the opacity channel, you have input shape here. And if I go to all false, maybe something you'd like this belt, drag and drop it here. As you can see, are going to show up and then replace the suit Galois. Here. Then we go and increase the resolution. And it's going to be recalculate our whole graph. Not just couldn't escape or scale it up. Yep, it's much better. So let's go and maybe add. This one is input shape. This way you can have control over the shapes. F, they're leaving subsets, designer, guys, listen, are done. And as I sit, I'm going to, I'm going to clean up this graph and put it inside predictable debt. You can use that as well. All right, That's it. 28. Conclusion: Hey guys and welcome back. The course is finished. As you know, probably I didn't need a bit of change to the some part of the graph. The rocky ground. I added the HSL to add more light and limit of saturation to the scene. As you can see, you know, you have a HSL or where d and base color before connecting tune based material. And you can light the scene up earlier a bit, maybe a bit less saturated or more saturated. I saw labeled and frame deep part of the graph. As well as deep fast grand. It's separated and ready to use. Also in fabric. I labeled every team and also add a green color. Let me change the color there. Go to pattern. And that pattern. Let me see color selection, color too. I need to go back parameters and color selection and change the maximum tool of default, two, maximum three. Now, Let's go to Preview. Acidic tariffs color can see the green color is presented. So that's debt saved. Probably a foot. Get ready, upload the uploaded fabric. If I have a chance to replace that, do that and if I forget or for some reason I couldn't just remember, go to parameters, color section, and change the maximum tool whatever you want. But first, go to multi color switch and add more inputs. Alright. I probably upload it and replace this material. So yep, that's dead. And also the building material framed and labeled. So let's go and discover the graph. Change the inputs, move some things, and maybe scaled. Maybe change the brakes and leave it there. And after that, make your own materials, share your materials. Keep practicing. And also don't forget to go and leave a comment. Thank you guys and good luck. Bye.