Substance Designer Beginner Course - Get Started Making Awesome Materials Quickly

1. Introduction : If you're looking to start making materials and Substance Designer, this course is for you. You will learn them from the ground up about creating shapes, blending noises, etc, and build up the foundation needed to start your own material making. Took on top of that, this will be an ever-evolving course. We can always come back to see new material is being explained. That the decoder complete beginner, or someone who wants to improve their skills and Substance Designer, this has got to be adequate for you. Let's start it together. 2. 1 Navigation: Hello everyone. That's joining this course right now. And we will start off with the first step is to navigation. If you already know around. If you already know how to navigate around substance, designer, feel free to just skip ahead of this video. This is just for real beginners here so they get a bit of a better understanding of how the substance designer works. Let's dive into it. Basically, when you start up the program, you will be treated with this screen. You will have learned and create. And basically for now, we're just going to create a graph. You see how it goes. We will get another pop-up. Here. You get all these presets, but we will be meaning mainly working from empty presets. So you know how to set up everything by yourself. You can choose the graph name so we can just say navigation or whatever. We can do bad and size. Basically. How basically that exercise, I usually leave it as two k because It's easy to work into K. But you can leave it at even less than normal or however you feel like. But working into K is really the best in my opinion. You can always change that later. Anyways, this, you just leave basically to default. Nothing, nothing special there. And you click Okay. So you will be treated with this. And here we have an exploded in the Explorer. You have packages and graphs. Packages can hold multiple graphs and you can have multiple packages open. Here is display the current graph you've selected. And basically if you're working with modern materials, you can do that too. So you can have motor packages, model material packages, monographs, and just go between them really quickly, which is amazing because it helps. It helps a lot if you're using something from some other material and just want to replicate it in, in another one. And now what we will, what other we have is 3D and 2D view. So to review, you cannot see because we don't have any nodes here. So let's change that. You can hit space, and when you hit space or hole at this popup comes out and you can see all. You can see some blending stuff and some nodes, but we will just search for Perlin noise, my favorite. As you can see now we have 2D view. Here we have the properties. These are all the properties and we have base by Methodist and the base parameters are basically the same for every single mask or node views. Then we have attributes. This is just whether you can find it. It's nothing special, nothing that we will be using. And then we have instance parameters that's specific to almost every single node, but there are some repetitions. So let's say if I pull out the Gaussian noise, see they have the same instance parameters, but you will see why. So basically we can change the scale disorder, all that kind of stuff, but we will get into that later. Basically, you have your 2D view of the mask that you're currently selected. And you have your 3D view. In 3D view you can change, you can change the 3D model. You're previewing us. And you can change. There are multiple ones. I usually use a rounded cube or a cylinder, but it depends on what your end. It really depends on what you're making here. Now, we're not displaying anything because we don't have any output nodes, but we will change that in the next video, next step. So basically here, you can have a low load of stuff and you can even change some material attributes, but that will be, that will be described in other videos. Here we have the library. Now, personally, I don't use the library much, but it does help. Here. You can go to texture generators. You can pull out any of these textures generators. You like. You have them in a library. I sort of prefer clicking space and just typing in what I need. But this definitely gives a nice preview to maybe what you're searching for and see if you can just drag them out. Basically. We also have filters that you can also drag out. Basically almost everything you can find here. But throughout the course I will be using space to, to get out the older nodes. Basically that is it for basic navigation, for moving around in the graph. You just use the middle mouse button and basically space for space for adding nodes. So let me actually teach one more thing. Let's grab out the blend. We're just going to connect these repressed left-click and connect them into the spaces. If you want to. You want to disconnect them. You press Alt and then click as you can see. And if you want to move them to another, to another place, you press shift. And then you can drag press Shift and left-click and you can drag them around. So that's just something for starters. There will be more as we go. But this is just something you have some kind of foundation before we start. Let's get into the next video. 3. 2 Output Nodes: Okay, Let's start on the output nodes. Currently, we don't see anything in our 3D view. That's because we don't have any output nodes. To get the output nodes, you can simply press Space and press an output node. And you can name it base color or anything you really like, and then plug something into it, like maybe a uniform color here. There we go. But still, this is not black. I will show you two ways. I will show you how you can create each, each one of these manually and how I create them to save a lot of time. Basically, you can hoping here and say viewing 3D view, and then you select what you want to view it as. Ours is a base color here. And as you can see, our cubed changed color. But this is a bit, this is a bit, it's called, it's a bit tedious, especially when you need to create multiple maps like normal Lambeth, new occlusion, height, metallic roughness, and whatsoever, It's really gets annoying. What they bring out is a node called material, base material here. And these six maps here, yeah, six. These are basically what you will these are all the six maps you will basically need for prostatitis. I still use all of these maps. Basically, the default for everything. You might need to change one or two, but these are the ones you will most likely use. What they do is press right-click on the node, Press hovered over to Create and then output nodes and create notes for hidden connectors. We don't want to do that. We only want to create for these six that are shown here. You can see we have all, all of the stuff we want here. And it's an amazing thing because it's just created all these output nodes for us. And all we have to do is press on our graph here and the Explorer tab and go view outputs in 3D view. Now, every single one of these outputs is shown here. Every single one. Basic alert, normal roughness, metallic diethylamide occlusion, everything is here. Let's photo that will set this up. So I don't like this base material node. I just use it for creating this. What they do is usually just stick a uniform color. This is just a basic setup so you can, we can test their own stuff in the future. I take something grayish connected. Normal is going to create a blend one. And I'm going to go, I'm just going to do a Perlin noise. Actually not Berlin. I'm gonna create a shape just with basically anything. But I like doing this. We can see stuff. You will see what I mean. So normal and I usually put the intensity to ten by default and just plug it in here. Roughness, we can plug this metallic uniform color and place it here. Height, we can just take this and ambient occlusion. We do A0. So ambient occlusion HBO. And like everything in as you can see, everything is showing here. This is just some basic setup here. And what we will do is we can, we can have a bit more fun with our color. I think I will leave it at this. We can maybe bump this up even more. But it depends on the material and we will always go through the settings and change them around. Basically, this is four, this is it for output nodes. And let's go to the next step. 4. 3 Basic Nodes: Hello, over on, Okay, now we are getting to some basic notes. So let's bring out some notes here. Bring out Perlin noise, bring out the Gaussian noise. Bringing out some grungy noise. Let's say maybe seven. It looks kind of nice. You can change, you can pick out whichever one you like. And I'm going to pick up clubs. Do. I mean, these are some of the main noises we will use. I'm just using them for testing now. So you get the, you get sort of the idea how everything works. Because I've been using blend nodes and all these nodes and you don't really know what they do. Now I'll be explaining some of the, some of the basic nodes and how you use them, how they work and whatnot. So first we have a blend note. Let me just bring everything out. So blend of water per node. Let's say a blur node. There we go. What do these do? Basically, we have a blend mode. Blend nodes, blend two masks together on top of each other with certain, well with the certain presets. So here we have copy. And if you have a bunch of these and don't again, don't get too overwhelmed. You will understand when to use each one. And sometimes even I sometimes just go through them and see what looks best. Copy is just a simple one. If it's one, it will show up at Illinois. If it's 0, it will show the conundrum app noise. You can put it somewhere in-between to show each and everyone, each one. A little bit. As you can see. Let's get over to add Linear Dodge basically adds one on top of the other. We can do subtract when we subtract the noises from each other. And let's see, I can show you even if we switch out if Berlin, Berlin noise on the background and the conundrum amp on the photograph, you can see how it's changed. Is it how, how it goes in reverse? And once a flex from the other one, we can have multiply, which multiplies our values. So wherever, wherever we see black, it's gonna multiply with that pixel there. So basically we have, we have a grayish pixel here, for example, in a grayish pixel there, both of them are going to multiply each other and we're going to come out with another pixel basically. As you can see, multiply also works pretty nicely. We have a lot of these add sub. As you can see, it's different from ad Linear Dodge just adds in subs. Max, light, and Mendota can, we will, we will be using all of these and you will, you might not get what they all do, but you will see as we make the materials and you will see how to use them in a practical way. So that's it for blend nodes. And now we have a verb node. What does? Let's plug the intensity, so see nothing. It does nothing no matter how high it is. But if I plug the gradient in density, look what happens. It warps the whole textured by this. And we can even, we can load it down a little. And you can see, you can see how it changes slowly. And we can have some really interesting effects. We can have a look and plug around other stuff. As you can see. There is a lot of freedom. What we can create in this program. We don't only have this kind of water, so we have a lot of warps. This is just the most basic one. We have directional warp, which as you can maybe think of a YouTube's directionally so you can choose the direction that these warps in. And it will warp in that direction. As you can see. Very, very useful thing as well. If we type warp, you can see a lot of warps. There is a multi-directional verb gray scale. It's still just a bit more complicated, but it's still, it's still more or less only a warp and we will be using them throughout the material generation process. And you will see how they, how each of them work. Here you can change the mode in Richard doing this. Basically that's it for the worker nodes. Now blurred unknowns. So blood nodes are pretty simple. Basically. You have just blow to them. And we also have multiple blow dynodes. And we usually don't use the normal blur. Which do you use? Blur HQ because blurry HQ stands for high-quality and retired. We get the quality to Max. And it's usually better to use this one then just a regular blur. So basically, yeah. What else we have here is a non-uniform blur and slow blood. So all of these are very, very interesting. What I liked doing, always, just messing around with them. So here you have samples. You can bump up the samples and get the intensity low and just have fun mixing these up and getting comfortable with all these modes and with all these settings. And if you think you mess something up, you can always just delete the node and get it out again. Get the node out again, and have fun around with it again. You can create some really fun stuff, so just mess around with it. I would recommend that. Another, another types of nodes that I wanted to show you. Well shaped nodes. And we have a shape node, which is just a shape. And we here we can choose the pattern. You, you saw me use that earlier. But here we chose a pattern and we can choose any one of these. There's a lot of them. Feel free to just go, go through all of them. They're all, they're all interesting shapes and we will be using a lot of them. Maybe not everyone, every single one, but we will be using a lot of them. Basically. Material generation process usually, usually consists of getting shapes and then scattering them, warping them, and making them into interesting, making them into materials. That's where the tile nodes come in place. So dial nodes are these three nodes. So let me show you all of them. Dial random tile sampler. There we go. Let's create, let's start with the title generator here. This has a built-in shape, but you can also do an image input. So if you may be saved, you hoped this and you'll learn how to warp this with, let's say clouds. You'll learn how to warp it. But see you have a really interesting shape here going on. But you cannot, you cannot use that. You cannot find that shape Here. You go into bet and input and see. Now we have all of your eye. Now you have your a custom shapes ortho imported into Ital generator. Here. You can mess around with the amount of shapes and a lot of other cool stuff. You can even change the number of pattern inputs so you can have multiple stuff going on here. This is one of the things that you just really want to mess around with to see, to learn, to learn to node basically. Here you can get Scott a scaled random, basically self-explanatory offset them, offset them randomly. Send them, offset the random seeds. A position random C you can get to a lot of, you can get really interesting shapes in, in really a matter of seconds, maybe even minutes, luminance random. So basically, some shapes get a bit darker. Stay the same. Random masks. You remove some of the shapes. These tile, tile nodes are really similar to one another. Dial random, each randomly. It's randomly distributes them. I rarely ever use this one. But there is that out of there are places where you actually use this, this tile node. You will see that most of these, most of these, most of these settings are really similar to each other, if not the same. And then at last we have the tile sampler. Sampler is basically the most used one. Because in the title sampler, you have the most amount of options. You have the best control over your options. So you would notice that we Here we have just background input and pattern input. But here we have way more inputs. As you can see, you have scale map inputs, displacement map inputs, rotation vector, color, mask, pattern, distribution, background. All of these do a certain thing. So if we were to bring out a shape here, Let's have some fun here. Let's get a Gaussian and get it into, let's say maybe Displacement Map. Now we have found the displacement map intensity. And you will see how they can change depending on that. But it's kind of weird to see it now. Maybe if we have a bit more shapes, yeah, there we go. So you can see how it's sort of forming that shape here. Maybe we can, we can even do that Illinois. So this is one of the, one of the most interesting ways to get a really good pattern really quickly just to get the Perlin noise out and scale it and maybe change the disorder or maybe even a random seed. Now let's now wrong thing. Let's now plug it into here. You see how it's sort of changes and it has these weirder than interesting patterns. That's because we use this map. You have a lot of control and we will be using these map inputs to create a lot of areas, natural shapes, and a lot of coal materials. Also, I forgot I forgot to tell you if you ever want to test your materials. So test your maps. This setup here we created, It's not just for show is that we plug here. We can see how it looks right away. This is of course not gonna be end-product. We are not just going to plug it in here and we're still going to mess up maybe with the ambient occlusion, roughness and more maps like this, but this is a good This is a good place photo, starting everything up. We can maybe lower this down. There's a lot of, there's lots of room for just experimenting and having fun. And let's say, let's just test. How did you, how you want to subtract 11 object from another like this. And we can create maybe this doughnut looking shape. We can plug it in. And now we have some kind of doughnut. It's just, it's just a lot of messing around and testing to find how everything works. While we create the materials, you will see some of the, some of the methods I use for creating maps and natural materials. But it's still up to you to test out a lot of things and to make them look nice and maybe invent something new, who knows? That's basically it for basic node gets, gets to, get to experimenting with these nodes because you will really need it and it's a good way to build up a foundation. Anyways. See you in the next episode. 5. Custom Node Adding: Hello guys. Photoshop. We need to get a custom node in that I used for the material we're about to create. The node is called gets slope. So to get it just started to get slope Substance Designer, I will have a link down and try and find the legacy. If you can't find it, just typing leg, that's not legacy. And there it is. Share legacy substance 3D designer. And there is the slope. So you download it. You need to unzip it into a certain folder. Once you unzip it, you need to find the actual folder. So let's just get it here. I have it in my custom nodes and get slope. It will look something like this. And once you go inside your substance designer, go to Edit and then Preferences. Then go to project. Go to library. And you can see I already have it here, but click on this plus sign and find where you stored it. I'm gonna go to my, my custom nodes and gets slope and that's it. Press Select Folder and you're done here. What you want to do next is, let's just open this up a little bit more. You have this thing here. I already have mine here, but what you want to do is create a new folder and name it whatever you like. Let's say tutorial for the sake of this, but just add custom notes or whatever you like. In this, we will add a filter, add a new filter. What you will do here is you will say bitmap. I believe. Let me just have a look at here. Sorry for this. Oh, yes, sorry, graph, graph, not a bitmap I'm bringing forth here. What we want to do here is searched by URL and contains just leave it as this and the URL. The URL here is our URL from this thing, our path to the actual folder. So let's just copy it in here and presenter. And you can see these two nodes, ballpark. And after that, you can call the filter here, get slope. And once you can maybe get out of it and get again. And there we go. You get your free node, you get your customer node in here. Well, that is it for this. And you can add any custom mode you like this way. But we need, we will be using this gets slope node. So see you in the video. 6. 4 Creating Rock Shapes: Hello, welcome to the next episode. Now we will be creating a basic rock shape. Up until now we've been learning some kind of basics and however they think works. Now let's get to some actual font. The font stuff. We want to create some basic rock shapes. So we can maybe build further from that and make some amazing rock materials. Let's say. Let's start with a title sampler. What I'm aiming here with my towel sampler is if I put it into a distance nodes, so this is distance nodes. And I need to put it on a really high value like 2.5 K. And let's have, let's have fun around this, these settings. What do we want? First scale random, completely random. And now we want to have rotation. And I like to rotate this rotation, rotation, something like this. What I do is I want them to be thin like this. Now we do position random. We can do offset may be, doesn't matter that much. Rotation random we don't want it to be actually, let's, for the sake of this, let's, let's, let's make it this way. I think I'm going to do a bit more of a scaling up actually that's a bit too much. Maybe point to something like this. Now let me go to here and call it random. And I wanted to lower the colon is on something, some stuff. And let's get the mask random. Let's remove some of those. We've still not getting the right amount, so let's try ten by ten, maybe. Another thing you can do. So if you click double-click, it shows this distance node. If I click left-click only once on this tower sampler, I can mess around with these settings. But still look at the mask here. That's a really good thing about this. But we will be just having, just mess around with these a bit more. Maybe. Let's see. So here, you can see, here we get some stuff, but that's not really what we are aiming for. So let's, let's try and scale this up. A bunch. Maybe three even. Let's see What I'm really aiming for. And you will see that in a minute. We need to have this color random. Let me, let me actually remove rotation random. Let's see what else I can do. This is the stuff that three-to-one to happen. Okay, sorry about that. We need to plug the source symbols as well here. Yeah, Now we are getting the thing we want. Sorry about it. So we want to go to 0.5 K and we want to, I think I'm gonna go back to 16 by 16 by 16. And we can get these shapes. They look pretty nice, but let me, let me lower the value Donald little. Something like that may be null. Let me go to the rotation random, we get to complete random rotation. This is something I think is pretty nice. So what we can do also, you can customize this to your liking as well. Maybe have a look around, maybe five by five, we create bigger shapes. I might, I think ten by ten is better. So what do we do now? We do is edge detect and that does exactly what we want. Denote says. Here. We can have at roundness, I don't like this. I usually just get it to 0 and edge width. As you can see. Let's just leave it for now. See now this starts, this starting to look like something actually, as you can see, the What do we do now? Since this is a bit, this will create a bit of problems in the future. We will want to be beveling it. As you can see, bevel just don't, don't do the distance that much. It's very, very, you need to input really low values in here. As you can see, really low values and maybe some smoothing. I'm going to put one here. I'm not going to do smoothing just now, just, just yet. What I'm gonna do is levels now levels node with levels no does is you can change the values here. You can change all the values. So if I want all the white values to go a bit darker, I can do that. If I won't hold the dark values to go a bit lighter, I can do that. And there are a lot of things you can do this. You can even go to, if you click here, you'll go to the pyramid parameters. So you don't need to have this thing here. You can just choose how you like it. As you can see here. But here we can sort of see how it affects our material. We can maybe hit here and do smoothing. And we see how that affects it. Just a little bit of smoothing will do. So. Now we have this. But before we do that, what I wanted to do before that, this is, let's use a blend nodes. Simple blend node. Now, there is nothing on it yet. You will see what we want to do with it. What they do with it is creates a crystal one node. And let's scale it up quite a bit. Actually. Also, not normal blend mode, it's directional warp. We do a directional warp here, and we put it into intensity. Now, you saw something changed just slightly. Probably. We can scale this to five maybe. Do you see how those more natural shapes kind of form. This is, I bump it up a bit more as you can see. Now, instead of having these blend, maybe some straight lines, we actually have some natural looking lines in here. Then we plug that into pebble. One thing, LLC, if you want to do to notice you can dock these nodes so I press D when I select it and it's duct. Now, as you can see, it can make the whole graph look at the idea. Here we have, we have a pretty nice base for what we were building. We can plug this in and look how it looks. It's looking pretty flat. What we do to remove that flatness is you're going to do a fluid-filled nodes. Thoughtful node creates this. And now you need to be unique to be careful with the, with the levels. So if I go here and adjust the levels, see how default will just doesn't do anything anymore. It is because we need, we need to have black pixels. Basically we need to have something. We can really blend these two together that hardly we need to have black pixels separating these shapes. The fluid-filled works. The outfile now gives us this, and probably you don't even know what to do with this. But this is an amazing tool that we will probably use. We will be using it quite a lot. What do we do now is fluid-filled to gradient. Now we get the gradient. And as you can see, we have some kind of black and white texture. And if we plug that in here, now we'll see it actually has some kind of variation now. But it's weird. Know, it looks very, very weird. So what we wanna do in this scenario, what do we want to do here? Is we want to duplicate Control C Control. We duplicate this around four times. I like to do it four times, maybe three for some materials, three is even, is even better. And I do angle variation. Now as you can see, this angle variation gets us a bunch of different angles and they usually pop this on all of these to somewhere, somewhere near one. So just over 1.5. It doesn't really matter that much. You can do random seed to get it, to get different variations as well. Here, what we do usually change the angle, like play around with these and get different results. Just change the angles and whatnot. And what we do now, we bring up the blend node and we plug this in here, and we go Min data Canada. Yes, msn.com. You see how I created the side here. And now if I hold Shift and click this and plug it into here, it created a side on that truck. Now we have something that kind of resembles a rock. Not completely, but a little bit. So what do we do next is basically just do the same thing with this thing. You see how we're creating and sculpting the shape. That's exactly what we want to have. You can use three sides I usually like for, for the motor variations and let's just plug it in here. Now we have something that looks like rocks. You would agree. Now this is, this is a really, really good starting point for our rock material or whatever rock material that we want to create. This is a really good starting point for shapes. And the best part about this is that we can, we can change this almost completely. So let's say you wanted to bigger, bigger shapes. The power of Substance Designer is so big that you can just type two numbers here. We have almost a completely different material here. As you can see. You can maybe have more if you want. So 15 by 15 and more little ones. It's really up to you and you can play around with this as much as you like. And this is the best part about Substance Designer. The motor play around with it. The battery will become at making all these stuff. And we will be wrapping up this. We will be expanding upon this disruption rock creation in the next, in the next video. But for now, see you in the next video. 7. 5 Further Rock Texturing: Hello guys. Welcome back. Let's get on to work with these shapes. First things first, you need to keep things organized. So let's quickly do that. Because we will be creating quite big materials. And in big materials, if you're not organized the graphs really, you're really going to struggle with making anything great. Let's photos through a frame. After frame. You can go and say this is as the main shape, for example. You can comment this as you like, but you can copy me, so you can follow along tutorial easily. It's just important that you have some sort of some sort of how it's called organization in your graphs. Let's name this second part of sculpting the shape. Now, there is a thing I forgot here. As you can see, the edges are a bit off. We're looking. What do we need to do here is we need to invert gray scale. Now it might seem a bit weird that we are inverting gray scale, but hang on with me a bit. We're going to do a histogram scan. So what this does is disposition thing. It brings all the right values. And as you can see, if I pull it all the way up, it's almost completely white. So I'm gonna put this 2.15 for starters. What do we do this, what we do now is a non uniform blurred gray scale. And the blur map. We use this. As you can see, now we're blurring a lot of this and I want this to be a bit, a bit more subtle blur. Let's plug that in. Now we can see this looks substantially better than than what we had before. Now, what I want to tell you Just before we continue on with the graph stuff, we need to turn on tessellation here, distillation to make, to make stuff pop out a little bit from the height map. Let us go to Materials default and edit. Scroll down and find the height and height scale. I usually put it to eight for default. You can put it as, as what you like. And it's really, truly looks like bulbs all the shapes and makes, makes the work on the materials way, way better, way easier. So what we're gonna do next is we're going to move this a bit further. And we're going to break out the edges a bit. We're going to make some more natural looking edges on the stroke shapes. What we do here is multi-directional morph grayscale. What we are going to work with with is one of the main, one of the main masks that we're going to use almost all the time is Perlin noise. Here, which is a Perlin noise. And let's just lower the intensity to maybe something like six. And as you can see, it's a subtle change, but there is change and it really helps the material. Now, I'm feeling that the whole, the whole material is a bit way too dark. So what I'm gonna do is do an auto levels. And in auto levels, what we do here is basically just if we bring out normal levels. Here we can adjust stuff. But as you can see, these lines here, those are the colors that are not on the mass, correct? Now, what auto levels does is basically just puts these into place, these color values into place. As you can see here. It's really handy tool because when we change something here, everything is made for us automatically. We don't have to go to the levels and edit it out again. What we're gonna do now is get another multi-directional Warp. Now we want to use them moisture noise. Moisture noise. Also emotionally just mix these kind of small, small little edge cuts all over. I also want to lower that down quite a bit. Here it is. And let's see how our material looks way better than what you think. Now looks like something is actually happening within the material. So let's comment this and say breaking out the edges. Just so we can have a bit of clean, cleanliness. And what do we do now is we want a bit of texture on this drug don't treat. This is fine what we added right now, but it's still lacking in that texture department. We're gonna do one of my favorite things on this thing is basically we're going to do a sells one. We're going to grab a clouds do. You're gonna do a slow blur grayscale. And now this looks like nothing. But when we need to scale, scale this cells down a bit first. So after we scale down the cells, let's bump up the samples. Let me just select it. Bump up the samples. Once we bumped, bumped the samples up, we need to lower the intensity quite a lot. One seems good, 1.5 maybe even. We can always come back to this. I like it on a lower values. So let's say 0.7 maybe. After that, we want a directional word. What we do with this with direction of lobe, we use our mask here as the intensity input and we changed the angle. I like, I like this angle and let's bump it up quite hard. Now. Now you're gonna see the magic happened when we invert the map. Look, well, so again, it's really those rocky, like, really, really rocky, rocky detail that we are going to add now. You will see now when we use a blending mode and take this and go to add Linear Dodge. Now go to the blend, and you can see, this is very lucky. But for us this is maybe even a bit too rocky for the whole material. What we're gonna do, we're gonna lower this to 0.25. And now it's more subtle and you can see older rocky detail. But I will direct can be lowered even further. You can see if we go like this, let's say point to maybe, point to. Let's say maybe two or maybe one. This is just one of the details we're adding in. No need, no need to stress about it too much. But pretty much this is what you are doing here. We can maybe scale this up or scale it down. What they also saw. We can reduce the whole texture size. Reduce it by this amount. I just get some fun bug. You can just play around with it. You don't have to do it. But this is one of the texturing that we're going to do. Let's say frame rock. Texturing. While this is pretty good, we still need, we're still, we still have to do a lot more. What do we do next is, well, let's first, let's first bring out the edges. Submit. We want to pump the edges out a bit more. So let's do shadows. And I like to put this to one. Then when we invert gray scale or getting somewhat of a similar map to hear, but not quite the same. This is a really good map and we blend it with the subtract. As you can see, we plug this in. You can see the shapes pop out immediately. The shapes are really popped out now. They really have that more natural field, but we're not going to keep it on this, this is a bit way too high. We can just keep it something low. Even here I'm thinking that we lowered It's two, maybe 15, something like that. I'm liking this for now. Let's say here, bringing out the shapes. Again, it's really important that you comment everything because that way you keep everything tidy and you end up needing something, you can just look on. It's way easier to find then if they're literally no comments. So keep your graphs clean. Please. So what we're gonna do next is adding some scratches. How are we going to add scratches is we're going to actually get a scratches generator here. This is one of those nodes that you really just play around with. We'll tie, do is get a bit of a rollover. Scalar random distortion, random distortion frequency. Maybe a bit more randomness here. It doesn't matter that much, but we don't want that. We wanted to completely distortion Not much but the scale it in random. Random is pretty good. Just get something that you like. End up liking this pretty much. After that, we're going to put them into a bevel. This bevel is very weird. Now. Going to make it be more normal. Let's bump it all that much. Let's get a smoothing. Just get something that feels like this. This would be almost ideal. Maybe we can even do Angular. Something like that, could really benefit. We're going to drag out from height and do a blend. And we're going to blend it with Perlin noise. But Perlin noise that is really scaled down like this, something. You're going to subtract it from each other. You're gonna see exactly why. We don't want these scratches everywhere. We want them to be a bit less. We don't want them every were basically with me, subtract and see how they're not showing up everywhere. What I'm gonna do here is actually increase this number quite a bit. Maybe even 210000. And now it looks more like it. There it is, There is the there is the effect I was looking for. So just be very careful here. We're going to do a bit of list smoothing. Something like this here. Now. There we go. This is amazing. You can see all those little scratches there. We're going to blend it again. And we're going to subtract. And as you can see, there's scratches now, so let's plug it in. And they're pretty card which we don't want. Let's 0.7. Maybe even less. Something like 0.4 will work. Let's come into this first and say adding scratches. We're going to move this outwards just a little. What we're gonna do now is add those little spots. You probably know when you see a rock there's a bit of spots digging into it. How we're going to do that. We're going to grab out the dirt node. And I'm thinking of the three. Sorry. The three. This one. What we're gonna do is do a levels. What this does, we're going to lower the amount of these dots we have by quite a substantial amount. And after that, we're going to bevel them. Beveling them does, is basically let us do around 0. Smoothing. We kind of remove even more of it. We don't have many. We have some small ones. And they're really subtle here. That's exactly the effect we want. It's really subtle one, but it really helps with the whole aesthetic of the rock. Subtracted. Now, as you can see, there are a few here. And if we plug it in, you will see it. You'll see how many there are. Even though on the mask, it almost doesn't even show them. Let's put this 2.7. Maybe. That is looking pretty nice. So let's say adding spots. There we go. That stat for it. What we're going to do now with the rock, we're going to add some surface noise. What do you mean by surface noise is we're going to do a blend. And you're going to say fractal some maybe or moisture noise. Any noise that is similar to these two can work. We plug them in and we do, we can do at SAP, at sub is good or multiply. I personally like multiply a bit more. I don't know. You can see how it adds that grunge genus. And we will need that. When we start making the albedo, the base color. Moisture noise works just fine as well. I will keep the moisture analyze, but we will not block this one here. The sole reason because it will look a bit way too grungy as you can see. If you like that, you can. But I still prefer the height map and other stuff to be the that I've thrown this mask here. And let's just name this adding surface noise. And basically that's what we, what do we have here? This is where we've got. See you in the next video when we are gonna be doing the albedo or base color. See you. 8. #6 Albedo Mask: Hello guys. Let's continue where we left off. Basically what you're going to do now, just before we actually start working on the Albedo map, I wanted to introduce you to another way you can add the doc texturing. So let's move this just a little bit here. This is really way. This is really a good way to add a bit more detail. What you do here is get the blend node. And I'm going to bring out the clouds to note because I think it works best with a close too. Now, you don't want to drag out from here. We want to press Space and normal to height HQ. So this is gonna be very weird, but basically we're going to plug a grayscale input into this normal to height. And we're gonna get to a really interesting looking picture. I like to get this almost completely here because relevant to one, we get almost all the we get more of that drug detail. You can lower this down a little bit. But I don't like it. I didn't like loading it way too much. What we do is plug it in here. Adsorb is good and Multiplies good. And maybe even Min darken could be interesting to play around with. So we'll just plug these and see that creates these kind of holes into it and chipping send. It's really like you can really transform the material and not add sub multiply. You can see once I want to do here is probably add sub with 0.3, I think maybe even lower. Let's do point to maybe, or let's try and multiply. Multiplies way more subtle, which I think I like. Here. I'm gonna do multiplying this situation. Let me just sort of for this, let me just bring back the distillation factor somewhere around it. And it looks, it looks pretty good. And it gave our rock some more texturing. Let's just move it up here and frame this we can say texturing lead to or whatever you like. This is how we add a bit more texture to Iraq and I'm a bit more life to it. So now let's get back on track. We are making the base color. The base color, how we create it. Basically, we want a bit more of a grungy map here. How we achieve that is you get an AO, so ambient occlusion. And you blend it with the original mask. Here. Maybe even bump it out a little to get the bit norm grungy ionise in there as you can see. Then we just lower this to somewhere around half maybe. Yeah, this is pretty decent. So what do we do now? Is basically we do an herb blends. Let's go blend. And I like using here a fractal some base. So this is another, another random surface noise that we're adding on top. I like putting this to a higher value, something 0.7. As you can see, we went from this to this and this is gonna be extremely useful. You will see in a second when using gradient maps, we're going to get the gradient. We're going to pick a gradient. But Hopi gradients are usually sample them off some picture. I have here. A really, really good picture for this. So let's pick a gradient and let's choose the picture. Actually. Yeah, sorry about that. We need to we need to minimize it every single time we pick a gradient. What we are doing here is just going to go to Gradient Editor. And I'm going to go pick a gradient. And you pick a gradient to like, let's say, I like this part here and close it up. And that's more or less how I do it. I tweak around these settings a little bit. Just finding what's normal looking and whatnot, but more or less, it's usually this and it usually consists of trial and error. I pick a gradient, it doesn't suit me, I pick another one. Then it may be suits me. And just have fun around testing and find. Maybe you can copy my gradient and whatnot, but you can always, you can always test stuff out. Here, this is, this is what I'm really happy with. What I'm doing here. If you didn't notice, I'm removing these dark spots because that's usually the effect of shade happening. I don't want that I wanted to flat like it's completely lit up the material. Now we have that. What do we want to do now? The most basic technique you can do is just get darker and the lighter variation and mix them up together. Basically, that does wonders. We're gonna do here. We're going to do a bit of lightness here, just a little bit, just a tad. And I'm going to do a level's node here. We'd levels node. I'm going to bring it closer to darker color. What I'm gonna do now is I'm going to get our thing here, this mask here before surface noise. And I'm going to press Tab here, left Alt, sorry to get this connection here. And I'm going to get slope. This is a custom node we have downloaded previously. I'm going to type here eighty seven, eighty eight, eighty eight, eighty seven. As you can see, this creates a lot of interesting patterns. I'm going to do a follow up a little bit less. What this does. It creates all these very, very natural looking shapes. As you can see. All of them. You see how they go, go with the flow. And that's exactly what we're looking for. Before we do that though, we blend this with a Ambient Occlusion mask here with this one we made before, we can test stuff out, we can multiply, multiplies. Probably one of the best ways to do this, but yeah, I think this is fine. And then we go to row a histogram scan and we went went through with it before. So just, you know, what's the notes up here? Now, we want a little bit less contrast, but we want these white lines. This is exactly what we want. Here. We're going to do a simple blend, going to see a blend only copy, but you're going to use the opacity mask here. You see the change immediately. You see how all of these whitespaces now to have their places and now they actually look more natural. So let me maybe adjust the position even more. Now it's starting to look like a decent, decent looking rock. Let's plug this in here. Actually. You see this, this is starting to form some kind of shape of our octets. We like. Maybe we don't like it that the dark churches we call devalues a bit. This is starting to look like an actual rock here. We have of course a lot more to go, but this is a good start. So what they like doing here is basically just commenting everything because it helps a lot. Thirst, gradient map. You can name it, whatever just so you can remember what you're naming actually. And here I'm going to name this peaks and valleys because it looks similar to those. There we go. We're now getting nice, nice results. What do we want to do now? We gonna grab the Mask again. I like keeping stuff organized. And we're gonna do a blend again. Now the blend is going to be a bit more interesting. Let's use a grungy map. Seven, let's say maybe some else, something else, let us say grunge. Grunge maps. Nine, looks good. Let's see which one of these is better. It, let's keep this one. I think it's good. So what I like doing here, so let's create a directional warp. And you will see why in a second. We want to warp this estimator. We want to warp the grunge with the actual material. Now we just get high-intensity and change it. We're getting now some, it's a bit more natural opacity mask and we're going to use it exactly here. What we're gonna do here is we're going to create an HSL here. And we created even a lighter variation of this. Now, we can maybe even use this one. But I like creating a lighter variation in maybe a bit more saturated one. Maybe just, just a tad different from this one. You see how it breaks out all the colors very nicely. So let me plug that in. Now you can see there is actually a pattern in our rocks. What they don't like though, is a bit too light, so let's maybe even tune it down a little. It just needs to be different. Maybe even do an HSL of this one. So feel free to experiment with these. These are really stuff you should experiment with. Maybe desaturated a bit. Wherever you go. Now, you see it's starting to form goods shapes. Maybe a bit less of this. And maybe just tiny bit lighter, maybe 0.8 or 0.6 c. It's up to you. But it was way better than before. Keep on adding stuff. So we break out the color. Here. We can even keep, keeping this, this way. But here we break out. The color being way too. Way too. How to say uniform? Yeah. What I would maybe like doing a switching these up to see how it looks. We don't want to do the weights and what did they do now? It's here. So we can even lower the opacity of this, which I do like. So we just have a look around everything you like. I think I'm liking this one so far. So maybe just, maybe for, just get those values up a bit. Here. I like this, like this. Although I think I put a photo, this one, this one here. Also. It depends on what kind of rock you're making again, so you can make a lot of different variations this way. Here we are adding some color breakout, I will call it. Now. We're going to do, is actually just going to move this a bit. What we're gonna do now is get the dirt. This third, this a really useful thing. We're going to grab our ambient occlusion here. And here is where we want to do attach this. And we're going to attach this thing here. Because we will be needing our normal Mask. There we go, there. We will be needing curvature. Curvature, just a normal curvature. There we go. We have everything plugged in. Here is where you have fun. And more or less, just experiment with things. Just get these dirt stuff is really, really nice-looking. And we will get a blend here. Let's just set it up. This is an opacity mask and going to actually get just a uniform color here. I'm going to sum my bed. Some color like this for starters, let's say let's plug it in. The first thing you notice, it's sort of looks like it's ground underneath now if that's something you want, feel free to use it. But I didn't like that much. I'm going to remove it. But not just yet. We're doing here. Maybe we switch this for curvature smooth. See if that changes stuff. Not really. Curvature. Okay, so we're just going to manually delete this. It shouldn't be too hard. We can just use the thing we usually into the histogram scan. And let's just get to tilt nth. There we go. We can just blend the oh, sorry. Can use a blend. And we just subtract. As we can see here. This is, this is exactly what I want. If I put the contrast up, maybe position and contrast. There we go, this is looking better. Or is it doesn't really I can never mind. Let's just keep it with the within the dirt mask. You can play around with these there's there's a lot of stuff you can play around. Grunge amount. And I like to keep the grunge amount pretty high. Edge masking wherever we can do crunch scale. Let's lower it down a bit. And basically those are the settings here. And I like them quite a bit. Switch that alternate. So basically, let's just get this here. I will keep, keep this I will keep this this dirt inside because I kinda like it. But if you want to remove it, you can use maybe even this mask here to remove those stuff. Or maybe what you can even do is to levels and kind of cannot display. You need to create a mask. Sorry. Sorry for this really. But I'm currently liking how this looks. So I will just keep it this way. Maybe just reduce the opacity actually. What, yeah, sorry, What we're gonna do, we're gonna add Linear Dodge. Linear Dodge is important here because you can see how everything changes. When we switch from copy to add Linear Dodge. Here, we have these rusted edges instead of dirt, but you can keep it how you want it. Like both are really good. But I think I'm gonna go for add linear dose for this, sorry for all the changes of mine, but for now, I think Linear Dodge is good here. Let's set it to four. And you can see the changes before and after. So let me just show you see this kind of intensifies everything a little bit and gives it a bit of warmth that the material needs really. This is, you would say it starting to look pretty decent. Now we're going to say here, dirty edition, keep everything organized. Let us remove this and let's move it a little bit further than that is pretty much magical stuff that I'm going to do. And it's really, really good thing I saw in one. I learned. It's really, it's really helps to shape, pop out and feel more natural, at least in the base color. What we're gonna do is gonna go blend. And we're going to grab our thing here. And we're going to get the curvature smooth. And instead of Direct X, we're going to go OpenGL. And you'll see, it looks weird. But there are these two formatting system, Direct X and OpenGL. It depends on program, your program you're using. But most of, most of this stuff uses direct, direct x, but it's easily fixable. But for engines and for most of this stuff, this is really optimal Direct X like the default in the substance painter, substance, I'm sorry. But we're going to use OpenGL to get these weird lines going on. Then we're going to get the gradient map. And we're getting a gradient map only because we want to transform this, transformed this, transform this into color. Because if we were to plug this in, it doesn't do anything. But this actually doesn't synthesize something. We're going to go into a bit of this. And you can see the change here. I believe it said Linear Dodge. We can maybe at some, I think it's at, so we'll see we'll see we will have desks around with those. If it sets up, let's put that up here. But I believe it sets up. We're gonna get to another one. And let's just press Alt thunder. And you're gonna get curvature. We're going to pretty much leave everything as it is, but just go Open GL and we're going to do the same thing, Gradient Map and plug it in here. Now, let me, let's see the changes from this to this. And let's see if we plug this in here. This looks a bit more sharp and a little bit better. But let's have, let's have a test with all these blending modes. You can always test this stuff because why wouldn't you? You can create really happy accidents pretty much. Here. We can do add sub. I'm gonna do at SAP on both. Let's see the change from this. This, this, this looks way more sharp and it looks, it looks somehow more ready. You can apply this to any albedo if you have any materials laying around right now, you can apply this to it and it will, it will really boost the appearance of your materials, especially if they're realistic ones, if they're stylized. Well, that's a bit of a different story. And I'm going to frame this magic. There we go. You can also, you can have a goof around with these. I like to keep them low. 0.3, maybe, maybe even lower than that, like my 0.15 for experiment. This is it for basic alert. You learned the basics of how the color works in a realistic materials and some ways to use it. In the next episode where we're just, we're just going to we're going to fine tune these stuff just, just a tiny little bit. We're just going to fine tune everything. And we're going to do a roughness map real quick and we'll be finishing up this material in this section. So see you in the next one. 9. 7 Roughness and Outro: Hello guys. So we are approaching the last part of this video. And that is the roughness map and a little bit of fine tuning. First of all, let's create some space for the actual roughness map. We won't need much. It's pretty simple thing. What we want to do is we want to get a little better here. We want to do a grayscale conversion. Now we want the greatest kids grayscale conversion. We want to get it into levels. And these levels just kinda bring it just a tiny bit up. After that, get a blend node. What we are blending with is actually we're going to get this line here. And we're gonna do get slope again. Here. We're gonna do Mr. Reagan, I think. Just a second. Wait. Just a second. Just a second. Here. They're showing up a little. We want these natural lines. Basically. We want these natural lines showing up here. What we're gonna do is I'm going to get the slope mask. Subtract. Now we only have the rocks here, and that's exactly what we want. We only want the rocks here to be sort of a tiny bit shiny. What I always like doing is putting a levels and those you don't even have to configure it. Just putting a level's node for control here. Because now you can control everything. So let's see. You can get it really shiny. You can get it really rough if you want. And it's practically looking amazing. This is our roughness map pretty much. You can have a goof around with it. And we're just going to frame it and say, roughness, roughness. There we go. Now we're done with all the mass. Now, with all the maps, we just need to fine tune everything in here. Metallic stays metallic, so there's no need for this map here. Let's just bring it down a bit. Height. We will stay here. It will say here, what we can fine tune is the albedo, my ambient occlusion. So you can pop this quite high actually. But I personally don't like it. I like when my when my ambient occlusion masks are a bit more grounded, a bit, a bit less noisy, like in this case. Here. As you can see, there's a lot of noise here. I'm just going to put it to 0.4. Again. At this part, you're finished the material. You, you change every sentence, average setting you like, how you want it. Just have fun with it. Another thing I wanted to encourage everyone to do. Every single time we finish the material. Please let it be let it look really orderly. First of all, after that, name your materials correctly. So let's name this rock material. And we're just going to do this. And I like naming rock material base as a base material. Then I copy it and you can paste it. You press the unsaved package of the package if you saved it and press paste. And then what I do is just name them a, B, or C, or you can do 123 however you like it. And then just open that one and start messing around with the settings so you can maybe change the random seed and this one look completely different material here. Just have fun with those. Especially if you want to have fun with the, with other kinds of with other kinds of colors. Feel free to do that. Just create a few versions that look really nice and have fun with it, because that's the way you will learn the best if you just do this and copy everything I do. You want to learn much, but if you copied everything and you understood it, and then you copy your material and then play around with the settings. You will, you will understand every single setting, why I did it, and how you can make it better if something comes to mind or how you can improve it, or how you can change a certain thing to look more appealing to you. And that's, that's the thing you really need to do to learn this, this type of stuff. And again, if you've finished and you've got this file by yourself on the back and congratulate yourself for getting this far and for getting this material. And we'll be doing more materials and more stuff for this course. So stay tuned. Have a wonderful day. 10. #1 Stylized Rock Material Base Mask: Is. So we have already made realistic looking cliff material, rock material, however we want to call it. Now, we will get onto a stylized be Silver Cliff material. As always, let's first start with the graph, and we're gonna call this one stylized cliff material. And just keep it to K bet. Okay, Click. Okay. Let's just do the things we always need to do. So basically let's just get the base material load. Once we get it, you click, right-click Create and output nodes. And we do not want to create nodes for hidden connectors. Let's set this up real quick. So first we want to blend. And let's just do a shape quick. So we turn this into a base scale input and normal. Let's put here 15 photo status. Let's get to fiscal. Wanted a uniform color and I want something grayish but not completely completely gray. Something like the default here. Roughness. I just want a uniform color but turn that into a grayscale value and turn it to white. Metallic. Same thing, but then it to black because we don't want this to be mentally here. We just plug it into here and gets an ambient occlusion. Go to Image Occlusion. We got everything sorted and good to go. What do we start with? This time? And I'd like to start with tile sampling. What we're going to do is get a paraboloid as an input. A paraboloid here. And let's put it 12 by 12. So what we're gonna do now is really going to bring up the scale quite a bit. So let's say ten. We're going to do scalar random quite a bit. After that, we are going to get position random. I'm going after seeing these, these, but I'm from another screen, but you can mess around with them because that'll sampler. You really just need to mess around with it. It's nothing special. Like offset, you can put modal as anything. I'm just gonna put it something like 59. And after that, we want to do is go here. And we want to do some color randomness here. Let's do like 0.5, maybe. There it is. We have done that one. What we want to do now is copied. And we want to have two of the same ones more or less. Just here. We're going to actually do eight by eight. So we're going to have a bit bigger shapes on both of them are going to do alter levels. Alter levels just to bring the values nicely. Then we're going to do Levels. Levels just so we can control this a little bit. And we won't be touching this much. Maybe, maybe as we make the actual material, we can tweak this a little bit, but for now we don't want to do that. And here we need to create another tile sampler. So this is the one that's actually going to have a shape. We also want to, want it to be a paraboloid. We want to put two way to four shapes. You will see how why this is important really soon. So we need four shapes here. What you're gonna do is going to scale them just a tiny bit. So something like 1.2 is good. We're gonna get some size randomness. So 0.57. Oh sorry, note, notes, randomness. We're just going to tweak the size a little bit. I actually didn't put in the pedal paraboloid. So we want to have this kind of shape. The kinda extruded not completely around. For all the other ones. We just keep everything as it is. We want them to be pretty, pretty good here. So we now do levels here. And with levels we want to bring out the white values tiny bit. Not completely, but just a tiny bit. And then we add a heading into a blend. Go here, lambda and we are going to choose Subtract. See how this creates a very interesting shapes. So let me just plug it in real quick. We need to refresh these real quick and right-click here and view outputs in three-degree. Here at this. Here we have some interesting shapes. Now this is a bit too much, so I'm just gonna do 0.5.6.6.66 of eight seems a bit better. After that, we're gonna get to directional, directional work. And we're going to warp it with this. Here. What we do with the directional water is we're going to pick an angle. So just a relatively random one. You can choose whichever one you like. And we're going to get the intensity down just a slight bit. And let's plug it back in. Yeah, that's some slight variation here. What we're gonna do now is we're gonna grab a board. Here. We are going to blur this value a little bit, is just going to be a little bit. So I'm gonna go here and quality. And let's say 1.8, just a little blur here. And then we put it into the gradient input. And as you can see, this is a bit too hard. So let's see 1.6 maybe, or 1.7. Both seem fine. So let's, let's have a go with this. You will now see a little bit of weirdness here. But it's all right, don't worry. This will all be fixed. After that we had on to auto levels. Let's actually see now a little bit better. After that. What we do is we do a histogram scan and we can get this completely white value of them. And we're gonna be doing levels. And what we do with this levels is we again, putting these values up just a little bit, not too much, and bring these black values down. Then we're going to blend this. And we're going to blend it with the multiplier. We want to multiply these so we don't get these black areas here. Multiply C, no, no gray areas in between them. Let's plug this in here. The shapes are getting pretty nice. So far. This is going to be the main shape. Let's just comment it because it's really important to have everything tied it up. This is, let's say main shapes. Here. Let's move this a little bit further to even. Let's start on the next thing. The next thing is we're going to grab a histogram scan. With a histogram scan would just gonna get, uh, get to a position high on again with these sort of stuff. And we're gonna do flood fill. So you already know what fault fillers gets really interesting, the colors on your masks. And what we're gonna do now is you're gonna get a fluid-filled to gradient. As you can see, fluid-filled to gradient. And we're going to get a few of these. So the amount of these, it depends on you, but I found it for is pretty good. You can have more, you can have less. More basically gets you a bit more detailed, less gets less detail. Here. Gets the random angle variations. Make sure to go over 0.5. That's how I like to do it, because it gets sold better results, and just choose some random angles. There's nothing, nothing special to be down here. What do we do now is we actually grab levels node. And what do we do with this level is node is we bring this black value lot to here. We only have these sort of edges here. And we do that for every single one. So let's, let's do it real quick. Just make everything aligned properly. And one more. Here they are. Different, different stuff. What do we want to do now is just to do it. It, the levels. Levels get us a bit of a better result. Then just just this normal levels. Let's just get that Olin. We've got everything now finally, what we want to do now is we're going to grab our main thing here. Use blends, blends, and pick every single one. So let's take this and do subtract it. As you can see, kind of sculpting. This is similar to what we have done in the realistic rock. Our cliff material, very similar, but it's not completely the same. We repeat this process as many times as we need. Here. We just took this, another blend. We pick this and subtract. As you can see, what we did here is we slowly sculpted out the shape of these rocks. As you can see, there are looking pretty nice. We want to common this as well. So I'm just gonna come and this actually, let's, let's lower this a little bit. And let's commented shaped sculpting. Now, we're getting into a fun part. So soon we're gonna make a mask. What we want to do now, it gets a transformation to D. We need four of these, but let's start with just one for now. You are going to want to double this. Then 0.25.25. As you can see, we isolated this one rock shape. We're going to do that four times four, all the four rock shapes. Here. Let's say we put the minus here. There we go. And we put a minus here. This, and this one needs two minuses. So minus and minus. Now, we have four different shapes for different variations. We should've going to come really handy once we start making stuff. What do we want to do? Now? I will show you two ways to do this. But for starters, let's do, let's do only, only want. I want to grab gradients, linear gradient, linear one. We're going to grab four of them. What we're gonna do is rotate them. This 190 degrees, this 1180, and this one to 17. What we're gonna do is do a blend node real quick with multiply. And we're gonna do this with every single one. Just grab these. And this makes for a really nice effect. Later on. It really gives a bit of a bit of depth of anything. Basically we do that and after that, we want to, we want to do auto levels. This is a bit too dark, so we just do auto levels. Levels is just self-explanatory, nothing to be configured. We go. Now before we head into the next step, we actually need to create some details. So let's, let's do that exactly. We're going to grab a title Sampler again down here. And we're going to use a disk. This q. Let's set this seven by seven for example. And let's get to tweaking these values. Here. I want to be 0.1. So a really low LU, scaled random, high-value, like 8.5. Position random, pretty high. Or something more. Offsets, just something random. What we wanted to again, rotation random. And we want to have a bit of a color random. There. It is. Going to grab this and get a distance node. And we're actually going to plug this into source input. For this other part, we're gonna do histogram scan. Histograms can hear. The histogram of scan is just going to be a complete scan here. Like this. And distance. As you can see, nothing special going on. But we will need to just plug it really high. And we get to a lot of these interesting shapes. As you can see it. We're going to actually do only source here because I want more of these flat ones. Alternate going to do next is edge detection is pretty self-explanatory node. It just detect seizures. We're going to do edge width a bit lower, something like 1.3. What we're gonna do is a directional verb next. Now our favorite noise is Berlin. Berlin. We need to scale it down a little bit. This is way too much for this. And plug it into the directional warp. And we're going to grab 30. Just choose some random angle, something like this. Next direction warp is also gonna be Perlin noise. But this time it's gonna be full-scale Perlin noise. 36, maybe even. Let's go, let's go 36. Now. What we're gonna do is this has to be a bit of a lower value. And let's just choose an angle here. After that, another direction is needed. And what we're gonna do here is a crystal one node. What do we do with the crystal one? We're just going to get two bit more zoomed in and we're going to blur HQ. We're not going to blurred it much. But it's still needs that slight blur. There we go. Wrong inputs. Here and here we also want a little bit of light. What up? Now, this might not make sense now, but it will soon. So what we're gonna do now is inverted grayscale. And you can see these very interesting sort of crack. They look like cracks in the rock is what we're actually trying to do. And we're going to do a bevel. Bevel. Now it doesn't seem like much. But bevel, Let's put it to minus 0.2. As you can see, it creates these very, very natural looking shapes. We're going to do an auto levels here just to bring them out a little bit more. And now what you can do is take a transformation to the, which we're gonna do. Let's actually do it and just mess around with it and get some random values in there. Let's get this one and just rotate, maybe get an, a big bigger. The whole point is to randomize this a little bit. And a transformation to D is a great node for that. Because it isn't, it isn't really costly to use transformation duty. But if we were to copy this four times, that would cost us a lot of elements here. Let's come to this and I'm going to comment this rock cracks. Basically what we want to do next is we want to grab our blend nodes. And let's do blend. Now, what's your blending with these maps? Of course. Let's, let's have them tidy. I want this to be really nicely organized because when we are dealing with this much this menu of samples and this many lines, it can get really messy. And it can look like spaghetti very quickly. What I'm doing here is trying to avoid that completely because once you need to look back at your material, it will really be, you'll be thinking yourself just because of this. Because having a material that's in order is really. Um, it's really good when you come back to it if you need something from it. Because it will be way easier to navigate. It's way easier to navigate if you need some changes as well. So that's why we're doing all these boarding steps. But in the end, they really make up a good material. What we want to do is you probably already guessed it both to, we want to subtract. As you can see, it subtracts quite nicely. But these need to be really subtle. Was I did four values, is I randomize them. So let's do 0.05. Here, maybe 0.03. Let's do a highest value of 0.07. Maybe. Let's do a really low value of 0.02. There it is. And we are done with this here. So we are going to detail link to shape, just commented real quick. Now it's the most fun part. So we are now going to do sampling. We are going to combine these. Let's do pattern input, set the pattern input number to four. And let's plug these guys in. So now they don't look anything special. Let's do five-by-five. You don't want many of them started. And let's have fun with these. Let's do 1.51.5. Size random. I like to keep the y size random a bit bigger. Scale 2.7 something, scaled random, 0.5 or something. Now we do position random for we can do offset, some relatively high offset. Rotation random, mutation random. You could do that. I'm gonna leave it to 0 for the middle, but you could do rotation random with no problem. But what I really need is a color random and I put the 2.3. What else you can mess around with is a blending mode. We need to match with Max. And let's have a look at how this looks. As you can see, it looks somewhat decent. But you would agree this is not really what I had in mind. What they do here is we do another tower sampler. But we can always have more fun around with this one. So we can maybe randomize the seed and get something more appealing to us. But I'm not gonna do that rather than I'm going to do a bit of attention random, because I think it gives us a good feel for the material. I want another title sampler, very similar to this one. Very, very similar. We're just going to copy it here. I'm going to tell you the differences in this one. This one is going to be a seven times seven bit more, a bit of a bigger number, and it's gonna be a bit smaller. So now why we are doing this, you will see in just a moment. But there shouldn't be anything else that needs to be changed. What we're doing now is we're getting auto levels from this first style sampler auto levels. We do a histogram scan where we sort of do a high-value and putting all these white values. Then V inverted Grayscale. Why we are doing that is what I'm trying to achieve is get these black values here and fill those out with smaller types of rocks. And what I'm gonna do here are gonna plug this into mask map inputs. Now it didn't do anything just now. But watch as I get mask, MAP, threshold up, masks, everything but the stuff on where the white is. I would like to have really low mass map input because it feels very nice to have a good one. Have more rocks here. And what we're gonna do is we're going to blend them. And let's do a blend layer real quick. I chose max slides and that's what fits best for me. So position I can maybe gets a bit more interesting. And basically more or less to something like this. Now you will have hold still, but they will be filled out a bit more and they will feel a bit more natural this way. I like how this is looking. So let's just have a liquid and have a look at it. Here to this, as you can see, we have a lot of these small ones. Maybe, maybe actually just bump the contrast up just a little bit. So we don't have a lot of them. Because I didn't like when we have really, really a ton of these small ones, it kind of breaks out of the field. But this is basically what we did here. What we want to do now is add a bit of detail. Let us do waveform one, samples, samples to allot 124. Let's see, size max 0.12. Number one, pattern noise. Remove the noise and we get this sort of feel here. We get the bevel out. How we do this. Let's do minus 0.26, some low value there. Then we plug it into a tile Sampler. Again. Let's get some basic values here. So five-by-five, we want better inputs. The patron input being this actually, what they wanted to do here is get size, size, size, size 1.5 on dx. So a bit longer. Let's scale this down a little bit. In total scalar random or something like 0.5 position, random position then randomly around and rotation random is really important here as well. Here. We have this mask here. And it is really, really create those kind of shipping and scratches on the rocks that we need. Let's let's do that real quick. We're gonna have auto levels. Let's come in this real quick. Something like scratches that fits nicely. And we're gonna have another blend here. The blend is gonna be subtract, but it's gonna be really low. Like it's gonna be something like 0.03. And let's get it here. Even though it's 0.03, the really visible. Let me fix this ambient occlusion or real quick. We can ditch it for now. Actually. Never mind, let's keep it as it is. Now. Maybe just do a 0. We have a better overlook of everything. This is gonna be our main mask. Here. We're actually going to end the video because we go to all the main shapes. And this was quite a lengthy video as well. Next up we're gonna do albedo and a quick roughness map, which is nothing, nothing really special. And we're going to finish the material up and I'm going to show you how you create variations and we're going to wrap it up. This has got a link to a video. See you in the next one. 11. 2# Stylized Rock Albedo: Hi guys. We're back at the material and now we will be creating the albedo Mac or base color. But before we do that, we first need to fix up a few things. So you have noticed probably less to video that we had a problem with our normal and ambient inclusion map. As you can see, it has this weird lines here. The simple solution is just to plug both of these inputs into here. And it fixes it. I don't know why it happens like that, but it just does. The second thing, which I've noticed once I've actually fixed the ambient occlusion is you can see these lines are not actually crevices or scratches on the rock. That's because on the first one it's on subtract but the other ones we didn't put, actually I didn't put on subtract, so change these blend nodes to subtract if you haven't already. Sorry, that was my mistake. Now you should see some of that detail bump up. Without further ado. Let's, let's get into making the Albedo map. First. Let's get up and ambient occlusion. Let's grab a normal. Once we grab the normal, let's bump it up to 15. From the normal, we're going to do a curvature smooth. And we're going to do a curvature of normal curvature, sorry. The normal curvature, we're going to bump it up to something like eight maybe. What we're gonna do now is we're going to get into a histogram scan. And this one is really, really hard to get nicely. But we will try our best. We do a thoughtful node afterwards. This one is actually pretty decent. So let's maybe configure it a little bit. Let's see how it changes. There we go. So 0.6 to maybe 0.62 should be interesting. We do fluid-filled to random grayscale here. So we get some random grayscale values. And after that we do a distance. In distance, we do source inputs to fault Phil and histograms. Can we do the mask inputs? And we do only source? And you are going to bump this up real high. Maybe gets even 2k. Now it's time to really mess around with these. And now these do give a decent color. These do actually give a decent color value. Just having a lot of them is a bit of a problem. So removing some nice, nice to do. We are going to grab that and get the gradient map. So what you're gonna do with a gradient map is always going to click here and delete that one. We're going to grab a interesting grayish, maybe even a bit green, just a tiny bit. And from here we're going to go to blue and grab a bluish color. Actually. Let's, let's go, let's go to another one. But it's actually a reddish color here. So we'd go to the red and it's pretty we need to keep it just a little bit saturated. And the other one is the blue one. This one, this one is the red one, sorry. This one should be somewhere around here and this one is the blue one. And it should be really dark. Something like this probably. Let's let's keep that for now. I want to change this a little bit. I get more variation. Maybe we can try and blurred this tiny bit. So one on the blur. Let's see the difference. This and this. Yeah, it looks blurred. I'm going to keep this for now. I'm gonna I'm gonna keep this Definitely. What we're going to do first, this is gonna be sort of our base color. There is a problem with this. This shouldn't exist here. Sorry about it. We fixed it. So it should be somewhat like this. Just somewhat soda photo these I would actually remove even a bit more red desaturated a little bit. There we go. This is something I would, I would like. What you're gonna do now is get to histograms scan from a myth occlusion. You will see why in a moment. We're going to do something like 0.3 and we're gonna get some contrast in. Then you're going to invert gray scale. May be maybe something like this. Maybe a bit less than two position, maybe something like this. But we can always have fundamental change it. Anyways, we're going to grab a blend node. Finally, we're going to do a gradient map just so we convert it to this into color. We're going to dock that, the D button and we're going to plug this one in here. What we're gonna do is we're going to do subtract with a really low value, something like 0.05. Now you see the difference this makes, it makes in the shapes actually feel natural. Let me, let me plug this in. There it is. The shapes are feeling natural now. If they actually, if we plug this one in C called flat today, are compared to this. Now there are a few problems with this. We will fix them as we go. The next thing, we want to do, another ambient occlusion from this one. But this one is going to be a tiny bit different since we are going to bump these values up a little bit. So maybe this is going to reduce to something like 0.6. It is. Now I've added a very interesting node quantize grayscale. So this one is very radical because it sort of creates these layers. And that's exactly what we need for this. Now we are going to slope this slope blur grayscale. What we're going to use for the slope is actually through rectal some base, the fractal, some base. What we have to change here. But these 2.42 or four. And now mid-level, Let's do five and the max level is due nine. And that should be it. We plugged this in here. Now for the values, we need to up the samples and reduce this to something like 1.6, maybe add artist, maybe even more. Now we're getting those really natural feeling stuff. We're going to blur it, just a slight blur grayscale. Let's just set it to something like this, a low value. And after that, we're going to quantize grayscale again. But this time we're going to quantize it seven times. Now, it looks way more natural as you can see. What we're gonna do here. We're going to do a blend mode. And we're going to do a gradient map. And we're going to go here and duct this. And we're going to blend this with add sub. That's up. And we're going to put it on a low value. You see how this adds a bit more color to everything. That's exactly what we're looking for. This. Now it's starting to pop out and feel actually like, like a decent looking rock. Now, what we could do is the next one node and the next blend mode we're going to get from curvature smooth. You're going to see in a minute, we're going to do a histogram scan. Again. This one is a really interesting ones. So contrast, let's bump it almost to Max and 35, let's say, let's say not completely. Let's do this to nine. What this does, it gets us these edges. And this gives a really nice effect. When we blend it in, let me just show you real quick. We put a gradient map and just delicate. And what we're gonna do here is and Linear Dodge do 0.08 maybe. Yeah, there it is. You can see how it brings out those edges really nicely. And that's what we are looking forward in here. Let's get it there. Yeah. It looks really good. It you can see how we went from this looking really blend boring. I mean, looking nice, but it's boring to this. It really brings out those shapes nicely. Let me just rewrote this a little bit to make it a bit cleaner. And another blend mode. This is gonna be the last one. What we're gonna do is this curvature is still needs something here. So we're going to do histograms scan. This is pretty similar to what we have done already. So let's just bump this up high. And we're gonna do a slope blur grayscale. And the slope is of course going to be this. And plug it into the sample sky and get this lowered something like five. It gets these very, very interesting stuff. What we want to do is max here. As you can see, we get all these interesting, interesting looking shapes. And after that we put it into another histogram scan. This histogram scan, submit values. Something like this feels nice. Here we are getting all these scratches and what different effects. And let's get the gradient map docket. Here. We're going to crab a linear dodge. And I'll just looks way too much as you can see, and we just put it on a really, really low value, something like 0.05. For this, you can even use gets slope, but this one is really cool way of using it as well. I was doing it at all. So let's plug that in. And that brings life to our rocks. Actually, as you can see, this is oral, all very easily changeable. Now the thing that is bothering me is this, this one here. This one needs to change really badly. So let's see what we can do about it. If you do it like this, it's way too one-color it. As you can see. We don't get all those random, random colors, which you would like. You could do that, like you could just do normal, normal color here, maybe plug this in here. As you can see. You could do that and have a pretty decent looking material, but I liked the variation here. Let's, let's have a little bit of fun with it. Actually keeping it. Hi, seems to solve the problem. Mostly. I'm going to do that even though it kind of creates a bit less variation. But this seems nice, This seems good for me. Let's settle it here. So what we're gonna do, the last thing is of course the common to everything and this is going to be albedo. The color map. Let's remove this for now. And now. The roughness map, I kinda keep it blank. I think I think it makes photo. You could have fun with it. What you could do is grayscale conversion here. With the grayscale conversion, you can blend it with fractal sum, which is the thing I like and I like to randomize seed with multiplying. I like getting that real nice grunge and then getting a levels and bringing all the values. And then plugging it into roughness. We can do that. And that way we can control the amount of roughness. As a consumer. We can make them shiny a little bit here and there. And that's what I actually like. I think I like this sort of shininess just a tiny little bit. I'm going to keep this basically here. We can maybe bump this out a little bit. When it comes to stylize materials, you can have, you can tweak the ambient occlusion math a little bit more because there's not much detail going on. It's usually flat, but I'm going to keep it as it is here. I liked, I liked. If you want to get a good shot inside the substance designer, what I recommend go to Materials and then edit. Get the height scale to something like eight. So let's set it to eight. It looks pretty good. What I would do is just bump the tessellation factor a little bit more high poly. And we can get to really nice shot here. If you're looking to save an image inside substance, what you want to do is go to a camera and save render. And then it's going to pop out where to save and you just save it. Although in the expansion of this course, I will do little tutorial on how to present your materials. There probably will be that too. We can wrap this up now. This looks pretty good. You can feel free to experiment with it. Actually, yeah, I haven't showed you that. This is always the base. I like keeping the base pretty just as it is. I don't like doing anything else to it. So let's go to aid. For example. I can show you how easy it is to change this material. So what we can do here is go to this sampler and randomize the seed. And we have created almost a completely different material here. What I like doing with the stylus materials, it's usually really easy to have fun around with colors. You can have some interesting looking colors as well. You can have, maybe, let's pick out something like this. And from here, pick out something, lie this and it's kind of getting that sort of river field to it. We can also grab a bit of a bit of more more color to it. Just grab it in, get it, get it nice-looking. As you can see, gets really nice variation all over the place. Now those little lines are kind of a problem, but you just need to tweak it a little bit everywhere you go, it more or less here and there, even a bigger problems. So maybe 0.6 fixes them a little bit. Maybe bump this out quite higher. Maybe even. Let's see if we put 20, we can get some quite big stuff. All they can say is that you need to play around with these. They are very touchy. For now. I'm going to leave this to ten because it seems to produce the best results. And even these kind of weird extrusions give it a really good, good field to the rock antibodies. But basically that's more or less it. That's it for our stylus material. Hope you enjoyed and see you on the next video. 12. Stylized Rock Albedo Quick Fix: Hey guys, I just wanted to tell you a quick fix about the flood fill node. So because of those weird, weird coloring we have been getting, basically what we should've done is got normal and got it to OpenGL. The same thing with the curvature here to normal format. Opengl. Bomb the intensity to ten if you already didn't. Histogram scan contrast 1.67, some normal values with fulfill. While they changed here, it does, it does. It is a bit more vary on the computer. But if you change the safety speech trade-off to know failure mode, mode, you will get better results. So that's basically what I did to get these more cleaner rocks. That's what I advise you do too, because this is something that that is a bit of a problem. I think this is the easiest way to solve it and it gets us quite good results. And of course, you will still have to kind of play around with this a little bit before getting the result you like. But it's way better than having those weird lines showing off everywhere. Yeah. Well, basically they said just wanted to tell you a quick quick tip for that. Let me see. 13. 1# StylizedGrass Material: Hello guys. Today we will be making stylized grasp material and how we will be doing it. Well, actually I'm going to show it, but we already made it. Made the graph is just an empty graph so we can get things set up. And as usual, GI just use a base material. Right-click create output nodes and know that we use a blend node. I usually use it just it makes it makes life a bit easier. So we plug this in. We say normal. We plugged this into height. We do ambient occlusion. This is the fastest way to do it. And we will be doing uniform color. And for the uniform color will just create something a little bit. Softness are just going to be two, roughness and metallic go to uniform color is going to be grayscale, gonna be white. For starters, we will be changing this, but this is just for some base. There we go. We can start making the actual material. We need to do is grab a way forward. And what I'm gonna do here is get the samples up. My phone number is only one. I'm going to do is noise, 0, pattern, and a bunch of buttons, but choose pattern to it are going to do is get this size max to a really low number like 0.28. Yeah. Now transformation through D are going to rotate it 90 degrees. We're going to offset it by minus 0.2. We're going to also remove the tiling here. So just go to the tiling mode, absolute. And we do the tiling and we select know tiling. What we are doing kid basically is by default every single node is relative to inputs. So like the tiling mode is going to be relative to the tiling of the input. Here, tiling is H and V tiling. Heat is going to be H and me tiling. We had overwriting it but saying We wanted to actually do something about it. And we say no tiling, tiling and horizontal dialing. You can save vertical tiling and it moves that one. But if we move it here, it's actually going to have a horizontal tiling. We're just gonna do know tiling. And let's do minus 0.20. From that point on, we're going to go into bevel. Both of these actually two bubbles, but we will use now the other will be useful for some later stuff. We're gonna do to one and we're going to put a minus, minus 21. For the other one. It's gonna be just o2, but it's gonna be minus O2. So we bevel, bevel the edges. Correctly. After that, we're going to grab all the levels here. So we bring up those white values a little bit and we're going to invert gray scale. You will see in a moment why we are doing all of this. Let me just move this out of the way. We're going to grab a Curves in here. And let's just get these points. And we're going to bring this point up here, all the way up there. We're going to bring this one as well here. We're going to create a code of that, something like this. Now we're going to actually use our bevel here. We're going to grab a blend to node. We're going to multiply it. And that creates a nice little shape here. And after that we're going to grab a Levels node. Just gonna load at these levels lower to the white levels down a little bit. To that. We'll be using could have a lot. Let's just do a gradient linear. We will be needing three curves nodes. Get them out like this. The first code of node a is going to be very straightforward. Just going to get a point here. And we're just going to try and get something like this. Notice trying to do is get these black part. It's all the way down here to be black and all of it to be white. So we can do blend here. Let's move this up here. I do multiply. We remove that bottom part. And that's what we're looking for. That's the that's the thing we're looking for here. Let us do auto levels before we welcome these two curves. The first code of here, very, very specific as well. So we will be needing 1 here. And the other point is somewhere around here. So how we do this one is very interesting. So we need to bring this one up here as well. This one needs to be lowered, something like this here. And this one needs to be low, would have both of them a tiny, tiny bit. This guy needs to be something like this. Sorry about that little interruption. So what we are doing here is basically creating a very interesting sort of curve. You will see why in a moment it doesn't have to be perfect. But try and get it to look as good as possible. We should get this blackness a bit on the top. And let's create the other one, the other curve. So this one, we just go bump it up all the way down here and get it. Maybe a bit more. Here. There we go. That's the that's what we were looking for. What we're using for. What we're using these for is we use two directional warps. We're creating some variation here. Let's plug them in. Let's say 30. Let's say for this something like 30 as well. So it creates very natural looking variation. Maybe bump this up a little bit. Experiment for this. This is completely up to you. Let's just put these a bit like here. We save some space. Then we're going to do transformation, 2D, 2D transform here as well. We're just going to make them a bit smaller and move them somewhere up here. The same thing for this one. Move them up here. Now, we will be getting both of these into sampler is actually before to center them a little bit smaller. Just a little bit. But before we do that, we need to create a rotation map. Well to both 3-fold rotational map, Let's just get to a frame here and say base good *** blade shape. What we're doing with this, we are just commenting so, you know what's going on when you actually revisit this material. Eventually. What we're doing here is we're doing Perlin noise. Scale it down to five. We're doing auto levels. From auto levels slope blur, and we're going to use it as slope as well. And bump this to 3216. Now this is not something we would want, we want to have. We want to have min here. So the blending modes should be min here. After that, we go to non-uniform blood. It's not the directional, it's just nonuniform. And we grab a plasma anode and a plasma node. We get it to something like 12. We don't want it to be too big. Grayscale input and blur map these slope and the plasma is grayscale. So what do we do with this? Is we set the intensity to something like 14. Then samples 16 blades set to nine. We get to a really interesting looking shape here. We do ultra levels. This skull are auto levels should look like. And this is our mask here. Let's frame it and say here, rotation mask. Now we are ready for title samplers. Not like that. Let's make the bottom 1 first. What we have to do, photo stop Bethany input and select Beth and input number two, because we need two of these inputs here. Exactly. After that, we're going to get a rotation map input and plug it into this. What we are going to do here, Let's first two hundred, eight hundred, something like that should do fine. After that, we can increase the scale. Scale 11. Maybe. After that, we can do position random. Position random is really low number 0.3 and offset 0.5. Nothing, nothing too special here. But here is where all the magic happens. So 0.05 in rotation random, and then we're going to do rotation multiplied to Max. Do you see how it's changed completely naturally and we get all this natural flow in our material. So let's plug this in. Now. There is nothing showing because we need to actually right-click here and your outputs in 3D view. I messed up somewhere. Let me just see where ambient inclusion, yeah, I didn't plug it in. You see? It's really natural. It has that natural flow. And it is really amazing how we, how a simple rotation map can make all this happen. Let's copy this one up here. Because they, both of them are really similar. Actually, did we do everything? We didn't? I forgot one very important thing here is called a random 0.85. We don't want everything to be completely. We want some randomness here and there. It makes a better natural looking material. We're doing now. This other one, having almost all the same stuff here. We just need position, random. Position at random, that there's a kid. We set that to 0. Offset stays the same, rotation stays the same. We only need to do a mask random as I see. Let me just, let me just get this stuff cleared. So I don't mess up somewhere. Not even colder than dummies here. We don't have any randomness in the colon. It's pretty similar to this. Mask map is something we utilize here. Let's do 0.65 photo started. I think that would be decent. Let me actually scale needs to be a bit bigger just so we have some some stuff actually different. Let me just see. I think this should be let me just do a quick double-check. Everything should be good to go here. Let's let's do alter levels. Sorry, sorry. Levels. Levels heater as well. Here is where I will end this video. See you in the next one. 14. 2# Stylized Grass Material: Hey guys, Let's continue where we left off. First thing I wanted to tell you is transformed to make these a little bit bigger. They would really small like this here. And let me let me lower them down a little bit. You had these really big holes and from from faraway there were kind of okay. But close-up isn't that good? To make it more, to make it better and more fluffy, you just increase it a little bit. Just increase these two. Just a tiny bit, and you will get much more full grass. So to say the grass fields way more full and it gets, gets this nice soft look. What we're gonna do now. We have these two O2 levels. Let's combine these two, combine them. This one will first go into levels node, and we will lower the white value is quite substantially. And we're going to blend these. Blend these together. This is just gonna be temporary. So you can see, sorry Max, lighter. We can have just the basic look on it, how it will look. And we can maybe change the values a little bit and see how it looks. But yeah, I think this is, this is looking fine so far. We just let's delete this. We don't need it actually. It's continue on to other stuff. We will do the similar kind of levels to this one as well. So just lower the white values a lot and move the black values as well, just a tiny bit. Then we're going to put it into a histogram scan. So let's just move this out of the way a little bit. We're going to put this into a histogram scan scan. And it's going to be 11. So we want full contrast. We want this to be like a mask. What you're gonna do. Now, let me see what we can do first. Let's talk about this. It's just a little bit complicated. This one. We're going to set that one up. We're going to set another thing up real quick. So we're gonna have a rewrote node here. Just simply press Alt while dragging. And we're going to do a height blend. Here. This one's going to be on top. And on the bottom is actually going to be this one here. Once we want to do is set the height blend, height offset to 0.5 and contrast to one. And that should be all. What we do afterwards is we get the blending mask, the blending mask, and we go blend. And we're going to add another node from here. We're going to do multiply. I think This Exactly. So let me just see. We lowered it. Let me just check this real quick. If everything is okay. Everything should be okay. We can maybe we should lower oh, yeah, I forgot to lower this even photo. Yeah, That's the mistake I made here. You need to keep this load quite a bit. Then we are still getting the mask. That is really, really big. Let me see. If I load it do in photo, then the mask is still there. Did something wrong here. Probably. Let me just check this. Two levels. Blend. This should be on 0.5. Then the mask here. Maybe we should thinking that we should actually go down here and enter the title sampler and get the mask random a bit higher. So something like seven. Maybe even 88 sounds decent. Actually, let's, let's bump it up to some really kind of value. Something like 95. Almost 95. Maybe a bit too much, 0.9. Let's see. Now, what we are getting actually makes sense. This is now okay. This is now decent, sorry for that interruption. What we actually could do is maybe even get the size a bit bigger. So something like 13. This is all a bit of experimenting and feel free to experiment on your own as well. Actually, I want to make d is even, even bigger. These two. Let's make them bigger. Now. We might even get a better result. Yeah, this seems, this seems better. You will see why we do this in a second. So what I'm trying to do here is basically this is gonna be the main grass like this, this sort of flowy pattern. But this here is actually going to be the tips of the grass and that's what, that is what will make them look really nice and that's what will make them stand out. I will, I will get this even bigger, just a tiny bit. Now, I think now it's good. So we have this now. Let's say we're going to do, we're going to get it inside the gradient map. Inside the gradient map. Now, I'm going to copy the gradient I already have here. Something like this. Basically, what this gradient does, it gets that really bright yellowish color to the steps. And that's what you are looking for. And we're going to blend this together. We're just going to use a blend nodes, but we don't have anything to blend it to yet. What you're doing here is we need to get the color for this part of the grass. How we are going to do it is going to grab the auto levels. Why did this go down the auto levels? And we're going to do a simple gradient map. Again. This gradient maps are really, really simple. I'm just going to sample them again. And let me just, here is the gradient I have. I'm just going to sample them and make it a nice gradient. There we go. This is gonna be the main color of the grass. You can again expected experiments with the colors if you feel like you can use HSL nodes, also. Hsl nodes. I really like using them because they're really, they look nice most of the time. But what you can do is you can always change the hue. And that is, that is an amazing thing I like because this one, this grass is a bit see yellowy and whatnot. I can change it to be more green, more even blue like and you can change the saturation to have a lot of different impacts on it. But we can do, we can do all of that later on once we finish the actual material. So now we're going to blend it. We're gonna blend it with an opacity mask. Opacity mask is none other than this histogram scanner we created before. And we're going to blend it in like that. And as you can see, we have wonderful looking tips of the grass. And that's exactly what we were aiming for. Because now those steps. A really, really shine through in the material. Let's make disorganized because we use the bit too much space for all of this. When it's not that complicated. Just do something like this. This should be fine. Now if you want to, actually, let's do it. Let's plug this into the base color and see how it looks. In my opinion, it looks amazing. Now one thing that is kind of messing with our a whole field is the ambient occlusion because it's still it's still hard on the harder than the whole grass. To make it soft, we need really low values. Like let's do 0.020.08 on the radius. So this makes it look a little bit softer. Yeah, that's, that's exactly what we need. Let me just drag it out a bit to see better. As you can see, this is really exactly what you're looking for. Nice fluffy grass with natural looking flow. So we're not done with this part yet. But I'm going to end the video here. Actually, before we do that, we need to come in this base masks. Here I'm gonna say base albedo. Just keep everything commented all the time. So you know what is happening on the actual graph really is needed a lot of the times. Also what we can use, what we can tweak. Now. Just a quick little thing. Instead of using this one, let's use levels on. The height is way different. Let me see. Just bring it up a little bit, just a notch. Let's see how all of this goes. I might not like that, but we will experiment with easy. It's all of this is really, is really made to be experimented with. So we can always go and change stuff. As we go. I'm gonna I'm gonna do a quick blend node. So the one we actually deleted are I actually deleted? We're going to do blend and max light and let's plug that in here. Let's plug this null. Let's just pull it out here roughly for now. I don't like that. Let's delete it for now and let's, let's keep on using this photo now. After, after sometime we will think of Cl2, will think of what to do with this. We fixed this. I'm pretty sure I missed somewhere, messed up somewhere. Now, here, I need to return this to be way lower than it was. Yeah, we'll end it here. Don't don't actually do anything here to for now, we will mess with the values of bits later. We can also mess with these. We want to actually, we can have a goof around with these values. Let's see how they affect them. The whole look of the material. Making it brighter does give out a nice nice June. We could, we could leave it as it is here. We can maybe lower this value to create a bit more uniform shape. Well, this is all up to, up to experimenting, but I'm gonna keep it, keep it like this for now. And we'll see you in the next episode. Where are we? Fine tune it a little bit more and we're going to add the clovers so we can have some kind of flowers in the material. See you then. 15. 3# Stylized Grass Material: Hey guys. So continuing with, we left off. The first thing I will tell you did I just changed the radius to 0.04. Maybe even lower this down to 0.01. Just a little bit, might give it a bit more smoother look. Now, we should get going to making clovers. So let's get started that somewhere over here maybe let's get the shape. What do we need? Photoshop is a paraboloid. We need to make it a bit different, so scale it down a little. It to make it 0.7. Need to thin it out a bit. We're going to do transformation 2D. And we're just going to do a really slight offset. Just to really slight one and F two to that, we are going to do a skew, grayscale, skewed gray scale. And it's gonna be horizontal and the line is center. And what we're gonna do with this, you can also do this. We transformed to D, but I found this to be a bit better. Yeah, minus 0.23 maybe. Let's do 0.25. Sounds like a better number. Now, we're going to do motor skill. Now it creates that kind of heart shape we need. After that, I'm just gonna do a blend and radiant linear. We're going to blend these together. Multiply. Let us do multiplier. We create that fade away effect at the bottom. Exactly what we need. Now we need a splatter circular pattern input here. Now, we need to mess around with this, a little bit. Pattern among five. This all these lift better than this image input. Of course. In 18, let's do it like that. Maybe radius multiplier, that's all gonna be left out. Global offset should be 0. Why was that value there? 1.1 scale, scale m, We need to get to scale up to five. Yeah. I'm pretty sure that we need to get this. This is the global shape we would get here. Now what we do with it, We're gonna do a histogram scan. That histogram scan is just going to have a position of one. There we go. We're gonna do a bevel. Note that bevel is gonna be really, really subtle. But we do want to put a minus in there. We want to battle it inwards. What we also want to do is get all two levels here. The normal levels. What we did with these levels. But all the black value down a little bit here. Now blend. It goes up and this goes to bottom. We're going to blend it on multiply data. We go, we get a really nice-looking clover shape. We can dock this by pressing D If we won't tell you, I don't really like looking at like the way it looks like now. Gonna do alter levels again. Just to get those values backup might not even be that necessary, but let's just do it for the sake of doing it. Now. We're doing a blend. We don't have the folder ground. I'm going to plug it into gonna grab another shape nodes. There is. This shape is again going to be a paraboloid. Sorry. They're just going to make it small. Gonna do a tile sampler. Sampler. There we go. We're not gonna put it in pattern input. We're going to put the mask mapping. And you're gonna see exactly why that is. Here. We had also using a paraboloid. Let's first get this flipping through any of them. Paraboloid. Let's just mess around scale. Scale three-point scaled random 0.45 shouldn't be 0. I didn't like this. Let's see, let's see, let's see. What else do we have here to mask map, we need to do a mask. My 0.17. We go. That's it. I'm gonna do call a random one. Exactly. What we did here is actually just a, just a way to get the middle section of the flower. It's a bit weird. It is nice-looking once you, once you see it when it's useful, now you might not notice it that much. I'm gonna do a little bit of position random, I think in seven offset, 45. There we go. This looks, we need to get that kind of circular shape. We do a histogram is kept from this scan. Position one. We go and we need to do a Levels. Levels. We just bring the light value. The black bit here as well. Something like this seems good. Blend and blend it on. Multiply. We get this sort of a year. Now, we do a transform to what we use it for, is actually quite interesting. Now we're going to plug it into the blend mode. And the blend mode is actually Max slide them dead it is. Now how you do this to make this easier, to double-click on the blend mode. And if we click once in the transform to D, you will get to the options of the transformation to denote that you will be able to see how it affects the blend nodes. So if I can leave here, you can see very clearly, Let's do 0 by 0 then only if you can these values. So let's just get them small, something like this. We need zeros, 0 to center it quickly that it is. Now we don't need styling in this. So as it says, per usual we do Q absolute and no Thailand. Thailand. Yeah. We get that shape field. But what's even better is if we make it even something like this, I'm content with. This is gonna be our main shape. But before we do that, we do need to do a blend here. What do we do with the v, The Kite blend? We get to alter levels and we get this into this. Now, this contrast one. Let me see if I plugged it in correctly. Yes, I did. And we need the height mask. Mask. You just didn't go to grayscale. That it is the grayscale. It's actually quite interesting. Let me see. Now we need style centers. Do tiles. I'm going to put this into an input that it is. Let's see, the pattern inputs. Debt at a few things we want to tweak of quota, so let's make them a little bit bigger. And scaled random. Definitely some scalar random. We wanted. Position random three. That seems nice. Five maybe. Something like that is decent. Rotation. That we would want a mask. Mask and just controls how many flowers you want to have. So let's put it to a high-value like this. Forest autochthonous. Just call it random, just somebody point forward is fine. We can bump this out as well. This seems completely fine. We can do here, so we can scale that it is good. We need another tile sampler now. It's exactly this one. But instead of this pattern input, we're going to use this one. You will see how we use that. In a moment. After death. We do a levels. The levels are as usual. We just want to lower down on devalues. Histogram, scan, scan, contrast. Let me just check something real quick. Actually, those make a difference, doesn't it? One is kind of a rough one. Okay. I will I will keep it 10199 for now. I just want to get a cube. I'm just going to place it like that. Good enough for doing this. And I'm gonna, gonna say lowers. That's what I'm gonna do fluid this video. And in the next one will be finishing the material completely. We'll see you then. 16. 4# Stylized Grass Material: Hello guys. In the less absolute we made the clovers. And in this one, what we will be creating, actually just finishing the albedo, coloring the clovers in. And we'll be finishing the whole material. What we want to do now, Let's start off. Let's start off by getting ourselves a blend node from this one. Exactly that. So what are we going to get into this blend node? First? We're going to get this one. And we're going to just do gradient map from it, it to this into a color value. So you can go into the blend mode and we're going to dock it by pressing D. We get that value there. Now, what we want to do, very interesting one. You will see, I believe it's this one. Yeah, this one is this one. So we get this one here. This Histograms, can we use a blend? The blend is really important and you'll see why in a moment. And we'll just going to use rewrote node because we need this cell put here. The blend is going to be subtract. We subtract the grass blades from these clovers. Y null because we won't some of them to be kind of hidden behind it. Hidden behind the grass. There is can you see fit? They fit perfectly. Now they're completely white, so we will be changing that. Just you wait. After that. What we're doing is grabbing another blend mode. Of course. This one. What is gonna be the opacity mask? Well, it's pretty similar. It is pretty, pretty similar. I'm going to grab a blend, the node Q. Blend. Better it is. We're going to plug it in here. For the other input. What we will be needing is the bottom, this one here. Let's go to have both cells are rewrote mode, bringing it in a bit. And then it is. And we are going to get it here as well. They didn't map and bulky thing here. The same process that's happened here. We do it exactly the same. Actually we just need to do is subtract here real quick. There it is. We have that kind of thing. Let's plug it in to DLB to just see how it looks like now. Looking pretty cool. So far, so good. After that, we are plugging this in another blend node. What is it going to be in dead blend node is actually this rewrote and will be made and it's going to go into A0. So ambient occlusion. And the ambient occlusion is going to be very specific and very low values. Something like this. 0.06, like it would've going to invert the gray scale. Here. This will be Gradient Map and plug it in here. And Dr going to do subtract the opacity mask, what we're gonna be using. The same thing we used here. I believe. This should be yeah, I photographed. So yeah, this is the thing we need to use here. But I forgot one thing. In this gradient, we actually need to change it. This value here should be some yellowish value. Let us do a stronger docket. Yeah, we get that to yellow. Pointing out there. Here. We do a bit low and I think that looks amazing. I think that that is really good. That looks really, really good. With that. We are actually finishing out albedo. So kind of frame, say adding clover. Go for the albedo. What do we need to do though? Let's get this out here first. Get a blend node. My favorite note to use floated off in this maps, fractal some base. I think this is pretty much old default values. Default values. I just do five. Will tell you always do with these, just do. My experiment. I usually do multiply. Add Linear Dodge doesn't seem goods. We're going to do multiply with if we end up using these levels node, the whole thing might change our minds here. Let's try and do it. Now I could do add Linear Dodge. It's something like full depended looks better. Plug it into the roughness. It does look good, but I think the height map is really bad here. Let me just see options here. This is the deafness methyl showed us. This is, this isn't more or less it. But I don't like the height being this necessary. The normal nerve should be denied. This. Maybe if I plug it into the levels levels first, maybe this Apollo we do. Seems good. Ambient occlusion. Sounds good. Normal, normal, same setup, same maybe levels as well and kinda these values. Low. So maybe if I do it like this now, this looks decent enough. I think we'll be going with this height and floated the deafness. We will keep this. This looks really good. Once we could do. This is just not experimenting. Feel free to do the exponent notation on your own. How you want it. Will time looking to do is create a really soft little. I could really, really soft rule. To consume a B is actually do this. Maybe plug it into heat as well. Into here as well. Lot of options to be had here. Let's call this one the original one. Original one kind of looks the best in my opinion. If I place it in this kite and there's occlusion and there's normal amount. One thing I would change though. Let me let me see how it would go if we place them like this. So this gives us a way more like a bigger grass shapes. But what degree between these? Just a tiny bit. Maybe actually put them at ease them. Put them solidly key. Starting to get more natural if we get a little bit bigger shape here. I think this is pretty good. Hsl node here. Just fooled. Just going to Control. I like to having that control because we can we can change everything in it. As you can see. Look how good it looks. But actually maybe putting it, that isn't bad idea maybe we should do. Here could be a good idea. We can just change pretty much everything eldest way too late. We can expand. It meant that only with these colors. You can do a lot of fun stuff with this. Remember if something new, if you fail something you just said back to normal. I hope you enjoyed this tutorial. I'm sorry. This is the graph we have no. Hope you liked it. See you in the next video. Have a wonderful day guys.