Understanding nodes in blender

1. Introduction: Hello and welcome to this class. Yeah, wouldn't be instructed. By the way. I got a lot of feedback from the rest of the other classes and I really liked the telephone that main poor watching those classes. So I'm going to upload to more free glasses sitting with this one. Yeah, Let's see it back into this class. Real stuff right now. Now, in this class for which to understand how to properly use nodes. By the end, you see this. You see this idea. I know I lose complicated if you begin a new beat. But by the end of this class you will understand everything. Now. You can see we have our different and men here. We have different nodes, setups, different procedural textures. You can see this one has a rocky texture. Now let's see if we say it's not that much as you can see, actually, node using nodes and procedural textures is really easy as long as you get to note then you understand everything in this class. You can see here we've got a ferry Lamy kind of thing. So this is the node setup. Lu, old, all looks complicated right now. But we're going to dive in and understand everything in depth. So stay tuned and continue watching the class. Thank you. 2. The Basics: So welcome back. Now we're going to go in. This is actually gonna be the basics by they only tell you that keep watching this class because I'm going show you a really simple way how to use these to get differentiators that you want. Right now I'm going to teach you everything, but I'm going to show you around the end the, a really simple way how to do all this stuff and you won't have enough distress. So let's get into it. So right now, as you can see, there's a default cube, the camera and the light. So what I want to do is go into the shading tab. Now we're in the shading tab. Now as you can see, it's in the look dev mode, the material mode. Now this mode, you can, as you can really see, there is already an inbuilt HDRI. So it will be able to give, to be able to get the clear light pattern that we see in everyday surroundings, everybody's everyday. Everyday life. So to give us good lighting. So as you can see, it's just, this is just a cube. Now, what you can do is start off here. As you can see, this is a principled BCF, the material output. As you can see, this material output is the end point to where we went to reach where we'll be adding so many no's, but they'll all go to the material output. As you can see, there's already a node, yeah, prints would be SDF, as you can see when I remove it. There's nothing because there's nothing coming out to our end output. And press Control Z and go back. As you can see. Now we are brought out. Our color is red buck. So aren't even show you. Now this can, there are so many things you can do with a preschool be SDF as well. You can change the color. You can see gender light patterns can also make it light and dark. They also things like metallic. As you can see. It makes it metallic, but you can also really make that metallic surface with a roughness here as it can reduce the roughness and it looks really metallic. Yeah, you can do all those kind of things. And I want to tell you that you get different results from that render engines. As you can see, the render engine EV and cycles, There's also Workbench, but the most ones we mainly uses EVM cycles. Now we use EV for, it gives us a good result, but it's less pi heavy Does the one of the advantages. And it, but it doesn't give us depth and clear information as cycles as we can, as we are going to get into it. Let's, As you can see right now, underlooked they've mode, you can't see any change because they have to go to the render view. As you can see. You can see like the shadows are more clear. Let me put an HDRI. So this is how you put initially come to the world. You come here to color this yellow icon here, then put environment texture open. Now, the place where you can get HDR rises from HDRI.com. I already have which yours I already downloaded. So maybe you can use this HDRI here. You can see it looks really nice like there's a metal surface, but now the problem with cycles, it takes long to render out the, the image because this light, it follows a mechanism of ray tracing and light patterns to get in-depth and clear visual output, as you can see here. Now there's still fooling around and get back to real business. As you can see, there also many other shaders that you can, many other nodes that you can get, as you can see when you press when you press Shift a, you can also press Add. But most people prefer press Shift E because it's faster. As you can see now, there's another sheet, the other sheet does here. Then there is an emission. Then put the machine here. Shader. You can put glass. I think let's do that for now. Now as you can see, let's, let's remove this connection and let's put any admission and see what happens. As you can see, there's a light emission. And the one thing I want to tell you about nodes is that as you can see here, they have to go with corresponding colors. As you can see, green, green. Agenda column C can increase the strength and you can see gives us that nice emission. Let me delete that. Putting the glass, as you can see, it says given us a glass kind of feel, but I told you to look better when it's in cycles because the ray tracing and light button can see. You see, as you can see, the green clinicians, can you see the green? 3. Small Trick: As you can see, some rigid places around here, few more in depth. But you can change that here with a scale. Yeah, as you can see. Now the trick I want to show you is that you can actually animate this. This is just a small trick, this node, but the main lesson, but you can actually animate this. So I'm going to first reduce these, these frames to like around 80. So I went to come, as you can see, it is a phase offset where it just moves and moves. So I wanted to come here to 0, come here to the dot and press I. And then come here to the end. As you can see, it has even changed color. So I'm just going to move it, move it like at least up to a 100. And then I again see just gives us a fluid movement. The reason why I put this OTA is two, so that we could make it have a seamless loop. Whenever I went to have a loop, just put the less roomy went at the end, just by one frame. So I hope that was interesting for you guys to learn. I'll see you in the next part of the class. Thank you. 4. Part 3: So welcome back guys. This is going to be the part of the course. So I hope you understand everything I'm going to teach you. I would always go through step-by-step so that you learn everything. So right now I want to show you the connections. As you can see, it is yellow, gray, green, yellow. So I went first set with Shift, a, set with opening. This anode will go through the textures. So let's first put up for annoyed texture. As you can see, this gray, yellow, and blue. So when it went to about these two rpm. So as you can see here, we have a sphere. Let me first delete that, shift a. And once again bringing us via again shift a ecosphere. We should smooth. We can put in a sub subdivision modifier, subdivision. Yeah, It's actually smooth. So when Paris New brings in this new principle DCF material, when to put bringing the texture, runway texture. So we're went fast, plug the yellow to the E Lee and see what happens. As you can see, it brings in the color output of various kinds. As you can see, the color has been, we can't control the color here. So now I want to try putting this grid thing. As you can see, the rough patches of black. Because when you put this gray, it brings in a grid element with no longer brings in color. You see the only colors that can match with each other are yellow, yellow, and gray. Yellow, gray. But now let's try putting, but this tray put in gray here in the roughness where there's agree. Let's first take this out. As you can see, you may not be able to see by this some small change. Let me show you in that skill. As you can see, there's something moving in. As in, there is some roughness being put into the suck, the circular objects. But now let's put the color in and see what happens. As you can see this, It's feels a little more reflective than it was before an Emmy remove the roughness and you'll see that. You can see it just felt a little flat, just flat. Let me try that with two more texture, texture nodes. And you put in the Musgrave. Here you can see there's no yellow. So this one has no color output, so we'll just output the roughness. As you can see, there's some kind of change that has happened. Let's put this in depth, what it brings out. As you can see, it brings this kind of mosquito Musgrave texture quenching here in the scale and see what you brings out. In the later. I'll show you in the video how you can put in your own colors. It doesn't necessarily, it's necessarily have to be gray, the gray scale you get. So let me put another one. Let me put a brick texture. As you can see, I know visa, color, color. So we connect this to the color. See what brings us. But you can see this is also gray, green, black, and white as you can see, because even when you put this in as well, wouldn't get the same results. As you can see. We get the same results. Not necessarily the same result, but we do get black. As I remember I told you we get black, white. Here. There was a bit of color to it. So now let's put this down here and the roughness and see what we get. As you can see, these kinds of fields, reflective gun feel that shame this, you get. I think we've seen enough of that. So I want to show you guys just a little trick before we leave this class, I'm going to add in a UV sphere. So go to Mesh, Shift a, go to Mesh, then you go down here, UV sphere. So we went first put in a subdivision modifier to add in more mesh. So I'm going to shade smooth. So in our wind come down here, or I want to first show you guys something. So I want to make different workspaces here on my PC. So what I do, I come over here and hover around this area. I just move it this side. I press over here. Please. Press the shader editor. Breaths in. Then I'll just have to come here and press knew. Yeah. So what I want do and just show you guys a small trick just for when Jimmy to ingest, to improve on upon, to improve upon. So pretty shift a texture, then get like a wave texture would connect the yellow to the yellow. As you can see. The result we get the factor roughness. Gregory can see kind of shaming. So now for this thing, I want to add in bumpiness to make it feel more in depth. Like I hope you understand what I mean, to make it feel real. So I'm going to add in AAD, connect this to the normal. That's how we'll add bumpiness. But as you can see, this is great. This is blue, so it won't get that if you remember what I told you when you're connecting gray to any of these, what you get is a great black and white. Well wait, now we want a more in-depth field. So I might add in a bump node to convert, to convert this for us. So we'll connect this blue to the Blue Yonder normal, as you can see, normal, normal. And then we'll connect this factor down to the height and will be less 13. They feel that we'll see right now. 5. Part 4: Welcome back. Four. Come back to this class. In this class we are going to learn how to mix shaders, mixed node shaders. So as you can see here, there, I'm going to press Shift A Search then mix. As you can see, there's a mix shader and mixed RGB shader. So these are actually two different things, but they actually do the same thing. The mix RGB shader, which is this one, is used to mix textures, as we shall see, and this is used to mix shaders. For example, with this is a shader. Now, you can even see here the things that I know that will correspond with, with this shade, with this node. Here, shade that the older shaders that you need to know about. Then the the nodes that will correspond with this mixed RGB. Or hear that texture. All these textures will correspond with these. So let's first try out and see how the mix RGB works. So this is a mixed RGB. So I'm going to bring in two textures. I'm going to bring in a brick texture. I'm going to bring in a checker texture, which connect this to the base color. As you can see, this has already become dim because when you come here it has already lake reduced by two Vt, as you can see. So we want to see how that checker texture looks like. So that checkered texture, we press Shift Control and then left-click. It will automatically go here to the material output and you can see how the checker texture has already lined up with the object itself. To go back to our original setting, we come back here. Paris. The prince would be the VSD F, press Shift Control and then left-click. Now going back to its normal setting, we can also do the same thing here and the brick texture Shift Control left-click. Andrew brings out the texture that's given to us. You can also press, press it again and to come down yet the fact that as we shall see, Shift Control left-click and has brought out remote. I told you when you connect a factor brings this black and white, strictly black and white. So we go back here to the principle be SDF and press Shift Control left-click to take us back. Now we're went to mix these and see the result we get. So we connect the color here, but yellow to yellow. As you can see. And connect here. As you can see, we have really good our two textures which are combined together in one line, in one object. As you can see now here with a factor, we can get to see which one takes up more of that object. As you can see, the one color two down, this is the checker texture. So you can see that Chicka ticks are taking over. And then the color one is the brick texture. So we can see when we go this side, the brick texture takes over, but mainly depends on appointing you which way you want the blending to stop. So I hope you've seen that. You've understood it. Now let's go and check. However, the mix shader looks like shift a mix shader. So for the mix shader. But when take it up here, the material output. Know when put it here where you see the surface. Of course you can see this is nothing being emitted here. So I'm going to bring in two shaders. Shader and when bringing the mission shader. And when to bring in a glass shader. So I won't connect both, both of these to this mix shader. So put a mission. You are already getting animation already. Let me change the color to blue. Increases the strength. I'm going to add in a glass shader. So as you can see that lasts has already mixed in with the mesial. As, as you can see, the increase the emission and you will see and we can get to steal see, as you can see, that emission is in this side, so we get to increase the emission on this end. And that glass is sucking shader we put in. So when we increase the factor, it becomes more glass. As you can see. For those of you who are wondering why I remove this was just to illustrate two differentiators. But if you didn't know, this is also a shake that, as you can see here, this top green part illustrates that this is a shader. By the way. One thing I forgot to mention is that all these kinds of nodes have their own different color. The in this input has its color red, which is also corresponding to this output. Since we already have our material output, this is input, output. Remove that. The shader. This is green. So these are green to all. These are shaders. Texture. This is orange, so all the shaders or orange color, maybe I'll see brightness. It has its own color, which is lime green. I'd say Lamisil vector, which is purple converter, maybe even bringing the cholera, which is light blue. These are us. We don't use them that much, so I won't go into them. So these are the main nodes that we kind of use. So let me remove them. We can also, as I told you, this is a shade and this is also a shader node. We can also remove this emission. Are still connected this the SDF here to the shader. Let's change color and see how to go out. You bring it red. So we have red glossy field. Can you increase the metal? We get that nice field, as you can see. Maybe remove the roughness, reduce the roughness. So that's how we mix shaders. I hope you've learned something. As you continue, we shall go more into advanced nodes and we shall see how they work and how they operate. The next, hope to see you in the next class. 6. Image Textures: So welcome back. So in this part of the class, when looking at image texture, so as you can see here, there's already a texture here. And this is a root texture. And I just use an image, but just made it more, two more realistic with all these nodes here. So I'm going to show you how I did this. First pressed x. So if we shift a mesh plane, someone scale is down in the y-axis, is why they come here to the shader editor. Press knew shift a image texture. Now Aconex, the yellow to the yellow. As you can see here, it's blood because there's no texture, so I won't press Open and find where we put our texture. You can see it's just plain, there's not much detail in it, but we can fix that. So we weren't adding a bump node to every surface in the real-world has bumps to it to make which feels more realistic. When adding a bump. Connect this to the normal. And then I will connect this here to the height. We can see this too much bumpiness to it. And we can. Now in the next part, we're going to add shaders. So remember what we do in order to mix shader as we're bringing them mix shader. Put this here For shift a. When I didn't have glossy shader to make it feel more reflective. When come down here and then connect this no more to their normal blue to blue. So it feels more rough. So after all that, what are we going to do? We're going to press shift D E and this image texture. Put it up right there. Now I'm going to connect this yellow part down here to the factor. Now we went to BYU and get rich deep field. As you can see this the first row you saw in the beginning. I hope you'll continue doing this. See you in the next beat. 7. Simpler way of getting Textures: So welcome back to the final video in this class. So as I promised, I was going to show you that trick where you can just make everything simple. So first of all, you're going to download and add in blender. They are add-ons and which simplify the blender. So what you're going to do, you're going to put your, your browser. So I'm going to go and I'm going to say download, Lily, surface, download, Nearly surface, scraper. Hit Enter. So I'm going to come here is downloaded from GitHub. So we went come here to the code and then Download Zip. Already have it. So I'm not going to download it. Now when you come back here to our blend to install the add-on, this is how you also normally install add-ons. Edit Preferences. Go to the add-ons. I already have it. I'm going to first delete it and I show you how to install it. Anyway, never mind, I'm Sue O'Shea. I will do it anyway. Press Install. Now you go to where you saved it. So as you can see, it's right here. Just click it and then press install add-on. I really have it here. Then have that you click, you click here. After doing all that, then you come here and then press Save Preferences. Then press x here. So now it will find it here in the materials tab. Right now you can see you must save, right? You have to save this folder. You have to save this file for the Louis Suffix Group at work. Shift is let me just say retain the desktop. So just do that and that's what you get. Now, you'll be presented with this icon. Bring inputs surface. What you do, You come back to your browser. And now I can get to Texture Haven. Just go to any site called six che when your URL antics. And right, Texture Haven.com. Now we can browse through their textures and C has a variety of textures that you would like. So I think I'll go with this. You can choose any analytics as you want, but I'll go with this. So what you do is come here and copy that URL Control C. How many input surface then? Control V. Press Okay. So you'll be presented with a variety for right now. I'll take I'll take these, but you can go up to the highest you want. So as you can see, the texture has come. And when you go down, when you go over this side, the shader editor, you can see it as Bruton, these arrangements. So if you want it to be more hyper-realistic, I think you'll have to download the highest, but for now this is what you get and it's actually a good result. But you can also apply that technique I showed you earlier. So I want to thank you guys for watching this class if you've been watching from the beginning to the end, and I hope you've gotten insight in how to use nodes. It may not be in depth, but hopefully I'll make another video later in the future. And I hope you've understood here, you've not understood anything else. You can always shoot me a text. And thank you for watching this class.