All about noise textures and nodes in Blender

hi this is Daniel Grove of Daniel Grove photo in this video you're going to learn all about the noise Textures in a blender I'll give a brief introduction to what noise is and how it works what it's used for and why it's so amazing and then we'll finish the video off with the best part which is where I'll show you how to use the noise nodes to get several different looks for a variety of uses in blender let's start with a basic introduction to noise and blender if you already understand what noise is then you can skip this section use the chapter markers down below alright let's start off with the very Basics noise in blender is generated mathematically and it can be displayed in a few different ways this is one-dimensional noise as you shift the W Factor we're scanning through the noise pattern and we get a random value between 0 and 1 in terms of brightness in the noise texture node the following settings scale detail reference and Distortion will control the details of how the random noise is generated and what we see here as we sift through the W Factor two dimensional noise displays something that we're a little bit more used to we can change the scale the detail L and the roughness as well as the Distortion when we switch to three dimensions things get really interesting because now we can visualize the noise as displayed on the outer side of this Cube but if we shift the Z placement of the noise we can see on the top plane it's just evolving as a moving noise texture but on the sides we see the other cross section of the noise going downwards or upwards we could also move it in any direction because because it is true three-dimensional data in the form of a noise texture now when we switch to four dimensions it's still being displayed as a three-dimensional noise which can be moved in position just like before but now we have that W factor that we saw in the one dimensional where we can actually evolve the noise in place and it will sift through time at least that's how I think of it as the fourth dimension and we can animate things like water smoke and other things one of the most powerful things about procedural noise is that it never ends and it never truly repeats as far as I know it should be a truly random generated texture which means size does not matter the size of your model is irrelevant because it will never tile and repeat and that's very powerful when creating large models or where you want very fine detail because you can keep zooming in and in and in and assuming your settings are set right you'll never hit the end of the resolution because every new pixel is calculated mathematically and lastly before we go any further I am aware that blender can create other patterns using other noise nodes such as the varonoi it's capable of doing all kinds of cool patterns such as grids and other random cool things but in this video I'm going to focus on the muskrave and the noise texture nodes because they create what I call noise textures as opposed to noise patterns if you guys are interested in this let me know and I'll make a part two that covers the patterns and how to use these things as well because they're a lot of fun to play with okay let's get into the nitty-gritty of what noise textures are practically used for I use them for all kinds of textures sometimes they're subtle sometimes they're very in your face like I said earlier it's amazing because the textures that are created never end they never tile they never repeat there's no such thing as pixels or resolution you can zoom in or zoom out as much as you want and one of the best parts is you have complete control over the noise itself you can download image textures offline for imperfections and scratches and bumps but not only is there a resolution limit but you can't truly control or tweak any of the stuff inside that image Beyond brightness values and color values which are only gives you so far when you need to customize something however procedural noise textures are complete completely in your hands and under your control you just need to know how to control them and with a little creativity you can get some really great results even when I'm using normal PBR image textures for stuff I still like to use procedural noise to add imperfections and bumps and scratches because even if the image texture repeats which is sometimes okay your scratches and Imperfections will always be random wherever you look on the model procedural noises can also be used for displacement maps and because they're mathematically calculated there's no resolution or pixel issues like you run into when you use image textures for displacement you can get all kinds of wacky abstract and unnatural looks with displacement Maps using noise you can also get some natural and realistic looking ones as well and lastly noise textures are often used in volume shaders to create clouds Mist fog particles and all kinds of really cool looks again it's up to your creativity and your knowledge of how well you know how to tweak and use these things in a practical way and of course how long you're okay with waiting for a good clean render now let's get to the fun part of the video where I'll show you several different techniques to use noise text your nodes to create different looks for your models and textures so if you want to follow along with me I'm going to type shift a add mesh plane I'm going to press my period p on my numpad to Center and zoom into it and then numpad 7 to get a flat above view I'm going to then use my roller wheel on my mouse to zoom in a little bit you can also click and drag your magnifier over here to zoom in and then I'm going to split this view roughly in half to get the Shader on one side and the actual texture visible on the other side put your cursor right in the top right corner of your 3D viewport and it should turn into a Crosshair click and drag over and that is how you split your view I'm going to change this editor from the 3D viewport to the Shader editor I'm going to zoom in a little bit more on my left side so I can fill my whole screen and on my right side with my mouse over the Shader editor I'm going to press in to get rid of that side panel if it is out just to save some space and with our plane over on the left selected I'm going to click new in the Shader Editor to make a new material this will create the basic material output and principal bsdf which is all the basic shading stuff you need to make things start looking realistic but we're actually not going to use that we're going to cheat a little bit by inputting our noise textures directly into the surface input of this node so there's not any shading or lighting or anything like that no Shadows we're just going to go straight for the look just so we can see what the noise looks like if you find something you like you can use it later when you plug it into a bsdf Shader which is the thing we just deleted lastly make sure you in your 3D viewport there in the material preview view right it's right there now let's start with the first setup shift a go to search and type in Musgrave texture here this is the most common noise texture for me that I personally use just because it's easier to get a nice contrasty gritty look now I'm going to plug the height noodle output into the surface input right here and instantly we can see our muskraine texture in real time now with a few quick changes we can get this looking nice and gritty and dirty tune your detail all the way up click and drag to the right 15 right now is the max and your dimension drag it down from two down to a smaller decimal below one dot two three and four are nice numbers and instantly you get this really nice crunchy dirty look which looks like a continental map of a planet I've definitely used this before four continents but that's another video for later your laconarity I don't often change but it's kind of like the size of the secondary parts of the texture if you go up too high you get this really tiny like fine-grained Sandy lip which doesn't look very natural and if you go too low you just get some kind of big blobs that also kind of kills the detail so I usually keep this around too Dimension is the one that I play with the most as well as scale obviously to set the general size what I'm going for whether it's large or small but for this video I think I'm going to keep everything at the default scale of five next tip is to Simply invert this now I know it's not really much of a hack but for some of you you may have never tried this and it gives a nice different look so to invert this shift a click on search and type in ramp color ramp is what we want drop that right in the middle and it should automatically connect itself into the chain of noodles we have here and to quickly invert this you're just gonna click on the down arrow and click flip color ramp which replaces the White and the black you can now drag the black down or the white up to play with this so this gives you a lot more negative space in this case that's white and the dirt which is black is much smaller and spread out if you drag your dimension all the way down you get a almost even spread of this really fine grain dirt that's pretty much on the pixel level and terms of sharpness as you can see here I am zooming in over and over and finally I get to the limit of what appears to be the resolution although remember this is not coming from a source of pixels we still have infinite resolution we just need to play with the settings so in this case because I'm zoomed in so much if I click the laconarity and drag it to the right by holding shift which allows me to more fine tune it I'm going up to close to three but we now are back to almost where we were before right this looks like it did before but we're zoomed in like one thousand percent now I can zoom in even more actually blender won't let me zoom in anymore at this point but there is still detail there to be observed you just can't see it right now so I know I went a little past what the technique was but that's that's the gist of it remember you can always invert things for an opposite and sometimes very different look all right technique number three shift a click search and type in noise texture this is the other noise this is the other noise texture creating node let's plug in our Factor output which is just black and white data remember from values of zero up to one plug it into surface and we get this very soft blurry Cloud uh we can add some grit to that by using the color ramp this is what I almost always have to do because the noise texture is very I don't know it just doesn't have that crunch to it even if we turn up the detail all the way up to 15 and turn up our roughness um I mean I believe this is still giving me zero to one values but they're just so um similar to each other there's just not a lot of holes and dark places here so I'm going to press shift a and add that ramp that we used earlier drag it right in the middle of that Noodle and now when we drag the Black Point up to maybe dot two or dot three you can see that right there to fine tune it and then click on your white point and drag that down to like dot eight or dot seven and now you've got some black points and some brighter white points you're just increasing the contrast we can go really crazy by putting these handles really close to each other like that this right here is a nice way to give some random detail but not everywhere right it's spread out it's sparse it's not overbearing and that's a really nice way to add some roughness patches to a lot of different types of models all right the next basic technique of noise creation and again these are all very basic we'll get to some more advanced stuff later on and how to layer these and combine these together to get more advanced looks but I'm just starting with the very basics for those of you out there that are new to noise nodes and procedural texturing because well you got to start somewhere right so the next tip is I'm going to keep the settings pretty much the same I'm going to put this as a DOT eight for the roughness just because I like even numbers and play with the Distortion slider this gets some really cool effects look at this it's like warping and bending things in a weird like gravitational lensing slash water refraction kind of way you can just keep on going up and up and up uh into Infinity to where you really can't even see uh well there you go that's more contrast you can see it it just looks wild right this could totally be the texture of a star right of a sun just boiling and maybe make it 4D and animate this W Factor let's see what that looks like it looks a little crazy right now because I'm not animating it in a very smooth way but you get the point there's some really cool natural possibilities here by just playing with the Distortion amount I've never turned it up this High by the way let's go back to like two so we get a nice Bindi warpy look almost like the famous Starry Night painting right if we make a little bit more subtle we can still get some nice variety while adding some kind of curve and almost paint stroky like wind current kind of uh kind of movement to our noise once you get a little bit too high you get this weird like spherical bulging I don't really care for that look I like to keep it below like that five where we still have bending but it's not super obvious what's going on remember we can always turn our roughness down to get less cringy detail and more like the continents kind of thing like I was doing earlier and you still have this large value right without this color ramp this is what it looks like you almost can't see anything so that means you do have a lot of control over these values I mean I can make like a map right I can make like a planetary map by doing this I'm just using these values for continents and I have control over this sheet by using the Distortion also you can go to the negative range pretty cool if you do things like this with lots of contrast lots of roughness and playing around with the Distortion you can get some pretty decent scratches on metal surfaces and you can move your W Factor as basically like a random seed to try different looks and randomize the whole texture again I have this W Factor because I have switched this to 4D noise just in case you missed that earlier okay let's take things to the next level let's combine two different noise Textures in a single chain how do we do that well let's start with that Musgrave texture again there we go plug it in right here let's turn our detail to one dimension to dot four keep everything else the same this is totally not interesting not very useful but wait look what happens when we plug something into the vector now normally we put UV mapping or Texture coordinates into the vector but you can plug other stuff in there too like another noise texture so let's type in noise texture and now suddenly we're getting two noises combined into each other and there are lots of possibilities let's turn up our detail all the way up cool we got that crunch now let's turn our roughness up wow it's adding like more and more layers of that Distortion so when it's low it's just bending those blobs into like warped like you know kind of multi-ring uh versions of itself but as we go harder and higher it's just like subdividing that warp and getting really really gritty and that is really cool right there we also have the scale of the first noise texture we set it to 10 it looks a lot more fine-tuned if we go down to one much larger so this looks like the Musgrave but it's a little bit flatter and it has a lot more grit and in between stuff filling in these black spaces remember we also have these controls which we haven't really touched like the scale of the uh the Musgrave texture very small which is cool lots of negative space there or very large a really small scale muskrain getting distorted by a pretty large scale noise texture what if we flip-flop these but this at 21 and the other one at one a lot smoother looking so as you can see there's all kinds of combinations and really cool ways you can use these to get cool results okay the next technique is we're gonna flip-flop these instead of a noise texture into a Musgrave we're going to put a Musgrave into a noise texture so let's just unplug this unplug this and flip them around plug the noise texture in there let's put the settings at scale at 10 detail at 15 roughness at zero Distortion at zero and then for the Musgrave let's plug it into the vector and let's put these settings at scale to five detail 15 dimension.75 and like an area to keep it at two now we have almost a marble texture and remember because the real noise we're seeing is a noise texture node remember it's kind of gray and flat right so let's add some contrast shift a add a color ramp drop it in the middle and let's raise the black up to around there and then white down to about there there we go now we see this beautiful ringed structure let's put the noise texture to 4D so we can kind of go through the W factors and you know randomize it and get new new results this is really interesting this looks like a fractal right without the orderly symmetry but that is just like mesmerizing me right there wow I'm about to fall asleep this looks super trippy okay let's get rid of the noise and the color ramp for this next technique all right let's delete those two nodes plug in our muskrave into the surface let me zoom in if you're exploring around you may have found that there are multiple nodes for the Musgrave texture to be in we've only been using the fbm mode which is the most popular but there's some other ones Ridge multi-fractal is really cool again it starts off as not very interesting but let's put in some specific numbers here scale keep it at five detail at 15. Dimension at dot two laconarity at three offset keep it at zero and the gain this is where it gets fun put it at 100. boom look at that isn't that beautiful it looks like some kind of creepy organic vines or tentacles growing on the surface of a planet and the gain does increase out so if you bring our gain back down closer to zero we lose a lot of that detail we have like more of an abstract kind of a dreamy weird energy thing going on here but as you get back up to 100 and even Beyond it it gets really intense in detail let's zoom in a little bit see what's going on here so this seems to be making large curvy lines which then themselves are subdivided with curves coming off at random angles some are small some are big those big ones have their own curves coming off of them and I'm pretty sure those curves have more curves coming off for them as we go down and gain we're seeing less and less of that subdivision level so I'm going down I'm I'm in the 20s now wow isn't that beautiful it looks like something in nature right very cool so many cool uses of this that I have not even barely touched all right now let's take this to the next level and do that normals or vector trick to this mascara so we're actually going to copy this on itself so shift d to copy that you have to select it first to shift e and now plug in your height output to the vector and now look at this we get this crazy like super greedy oh it looks like concrete to me but it looks like something went wrong like some acid or something happened to the concrete let's bring this first one's gain down to 50. oh look at that at least you can see some of those larger curves coming through we can play with a dimension as well to add or take away detail wow very cool this looks like that marble texture we were seeing earlier we've got laconarity this looks like a now this is looking like the a slice of something organic right like a CT scan of some alien organism we can switch this to 4D and this to 40 as well and now we can use it they'll be we can play with the w factor of either these two noises or we could even connect them make a value node right here which is just simply a number value plug that into effect W plug that into the W and then plug this into the other W so this number is both W's and now they're just tripping out together and wow you got some really cool animated backgrounds here's a pro tip that I didn't plan on sharing but here it is in any number parameter that you'd like to automatically animate forever click on it type in number sign frame asterisk or multiplied and not do a really small decimal like dot zero zero one hit enter and now if you press play in your animation every frame it gets to will now multiply by dot zero zero one and become the new value so forever and ever this will animate automatically and the decimal controls the speed if you add another zero now it's animating very slowly and that looks seriously cool look at that I barely did anything and we got this super crazy animation going on if that doesn't excite you I don't know what does all right let's delete these first two nodes that we've made let's stay with the original uh Ridge multi-fractal node here let's keep the settings how they are and let's use a noise texture now to distort this one so shift a type in noise texture plug in your Factor output into the vector and we get the Psychedelic 70s looking thing but let's play with the settings let's put our scale down to one detail at 15. roughness at dot eight now we get another very concrete like texture that is kind of flat but it still has a lot of detail and there is some micro contrast and the very small pieces um where they meet you can control that of course by turning down your roughness here or turning up your dimension on the muskrain to make it softer and smoother all right now let's use two noise textures on each other shift d plug in this factor into the vector and then factor to the surface so we can see what's going on for the second one let's put our scale at eight detail at 15 rough instant dot five for the first one let's put a scale of two detail 15 roughness.7 and distortionate Dot four no because we are of course using the noise texture that's it's very uh flat and gray so let's add some contrast by adding a ramp drag up the Black Point drag down the white point then we get a nice soft thing with some Distortion because we literally have the Distortion turned out it's giving some nice warpy effects and just kind of making things more irregular and not so perfect you want to avoid patterns and Perfections and predictable things because that's what this type of noise texture is all about is grit and dirt and randomization now instead of using the factor output which is a black and white value from zero to one let's use the color output which gives us kind of like a normals Vector data thing but it's still coming out as a black and white that's totally okay but the data is a little bit richer and so it gives us a different look I like this because it's not as distorted and wild as the last few like marbly texture ones are but it's still kind of choppy and almost painterly if we turn down the roughness we get we lose some of that Crunch and this looks almost like watercolor very cool very dreamy of course we can turn down or up the Distortion and get more of that warpy bendiness depending on what you like and what you're going for the roughness of the final node will also fill in the Gap some more grain and detail that looks really pretty to me I like that all right so we're in the final part of the video where I'm going to show you some more advanced tricks to get even more out of these basic techniques look at the past few noise setups that we've done as basic Lego building blocks the next things are going to be the icing on the cake to really make things much more unique and customizable so we have only been working with a black and white value so far which is totally normal for roughness and metallic and bump that's what you use it's just black and white values but for the color data of an object which is what we see on the surface it's really fun to add color so let's keep this uh color ramp node there for the sake of contrast but let's shift d and make another one and this one is going to contain color data and in fact we can size up the color ramp much larger just to give us a little bit easier way to control the colors so let's move our black all the way back here and our white all the way up here remember the one over here on the left is giving us contrast and punch this one is going to now give us a color scheme so let's click on white and let's make it a light blue maybe a desaturated like it not a strong blue but it's like a wider pale blue let's click the plus button which should make one right in the middle and let's give this a more saturated maybe uh Pink purple my favorite color plus again let's do like a nice red plus again let's do something like a bright yellow yeah maybe not that saturated because it looks kind of lit now What's Happening Here is we're converting the darker values which is the left side of the gradient or the color ramp to these colors on the left so the Black is Black is Black and then it turns into this weird baby poop dark yellow then we get this uh faint red into a purple now we're in the mid-tones and then as we go to the right the brighter parts of the noise which is what we see as the light blue Parts is going to be control over here on the right once you make a color scheme you like you can shift through the color wheel by making another note called the Hue saturation value and here all you have to do is just play with the Hue slider so it keeps the color scheme that you did but it shifts it around the color wheel from zero all the way up to one which makes the 360 turn on the color wheel and this is a fun way to experiment with new color possibilities that you may not have thought of yet I like this and it looks like plasma energy or something magical all right that's how to add color to your nudes let's go back to the black and white stuff let's say you need different values coming out of here this is still zero to one one being the white pixels zero being the black pixels what if you need more than that going into a roughness or Texture or more likely something like a volume or displacement node well you can morph these numbers by using the mapping range shift a click on search and type in range we get map range node here we go and now we have four basic parameters from minimum from Max to minimum to Max so on the bottom these are the outputting values so if I put 2 max as 10 that means the white pixels are now not a value of one coming out of the result right out of this way but the white pixels are now a value of 10 and the black pixels are still zero and everything is now spread between 0 and 10 instead of zero and one we can also do negative values if you need that for whatever reason we can do the black pixels at negative 10. now the positive values or the bright values are positive 10 all the way to the top of the ceiling and everything is now between negative 10 and positive 10. these two top sliders from minimum and front Max are kind of like a color gradient right here pretend like the black point is the from minimum right we can control the contrast coming in and the contrast going out with the from Maximum here so that's basically what this is going to do if actually if we click on this node uh if we click on this color and press M for mute now this node is not being used but we can emulate the same look by basically controlling the minimum and Max Zone here now let's put these values back to zero to one there we go now if I drag up from minimum up to maybe dot three or four right that we did earlier and then drag down the front Max which is like the white point the end of dot six or seven we're basically leading the same look as we did with this guy over here because we're doing the same thing if you change this from linear to step linear you get the option of how many steps you want so now there's only four steps of value between black and white if we go down to two it's basically um posterizing that's what it's called in Photoshop where it takes all your values and limits them to a few numbers so now there's it's another black gray and white if we go up to say 10 now there's 10 different values it's almost like 8-bit video game right not a lot of uh detail between the the value changes if we go up to 32 it's getting a lot smoother to where you can barely tell that anything's happening at all 100 yeah we have 100 different values and so on and so forth all right let's get to one of my favorite techniques which is using the mix RGB node to combine node setups so let's say we want to keep this as our like base texture and then we want to add another noise texture on top of it and no we're not going to be plugging stuff into vectors and doing more warping we're going to layer things just like Photoshop so shift a make a Musgrave here we go let's do this basic settings we did before with a high detail and a low Dimension like dot four let's go to add color mix color drop it right there and plug in your height of the most grave to B now with this Factor crossfader just like a DJ crossfader we can fade between a which is those noises that we had made earlier and then B which is just the Musgrave if we put it in the middle it's an even mix of both you can't really tell because the musk curve has more texture and it's kind of overpowering things but it is 50 50 now if we go further to the left we're getting more of a mix of these noise textures with a little bit of musk grief on top and now we're basically combining The Best of Both Worlds a nice washy painty look of this with some gritty black spots of the Musgrave but there's more turn the factor all the way up and now switch to multiply I call these blend modes because in Photoshop that's what they're called there's a whole bunch of them and basically they're different mathematical ways to combine pixels of one source with another and multiply it's grabbing just the black pixels from 0 to 0.5 I should say the darker pixels from muskrave and layering them on top of these guys right here but only the darker pixel as you can see nothing gets brighter but only gets darker based on the muscular texture if we change the scale we can see it's kind of chopping up and adding Blackness to it there's overlay which does both it adds the brighter and the darker pixels and will kind of use the muskrave to brighten and darken the noise textures I use overlay when I want things to both get brighter in the bright spots and darker in the dark spots alright a third way to layer things using the mitz RGB is by using the mix factor which is essentially a mask a black and white mask like in Photoshop that will reveal or hide the B on top of the a so we're going to make three different noise textures here a is going to be the color noise cloud from the noise texture it's very faint so I'm going to add a little bit of contrast instead of using the color ramp which will take away the color I'm just going to use the contrast node turn up a little bit there we go just so we can see what's going on so the base texture is colored right from the noise texture right here going into a b is going to be Musgrave like this and we're going to reveal B on top of a based on a third texture I'm going to make another noise texture with a color ramp connected so that we can control the contrast of it so we're plugging this into Factor so instead of being able to turn the factor from zero to one you know like a DJ crossfader now it's being controlled by whatever data is coming out of this guy which is coming from this so we've got a noise texture here let's turn out the detail roughness and now we can control where B which is Musgrave is being layered on top of a which is this colorful thing right and it's all based on this this map right here so if we turn up our scale it's basically cutting holes and showing Musgrave on top of the colors if we make this mask which is the middle one here darker we see more of B in fact right now I see all of B which is Musgrave right input B whatever we slide things to the right the this mask in the middle is getting brighter and brighter and now we're seeing more of a so bright points show a dark points show B now this example I'm showing you is pretty abstract and ugly but this technique is very powerful for showing certain maybe a high level texture in certain areas on top of a low level texture great for realism and variety all right next let's talk about UV mapping and coordinates for the vector input to be using the right way how it's supposed to be for a noise texture so let's go back to that Ridge multi-fractal because it's so cool detail all the way up Dimension and Dot for like an iridine offset leave them and gain it 100 boom very techno but still kind of organic and creepy way HR Geiger would love this all right so let's click on the Musgrave and let's press Ctrl T now if you have a node Wrangler add-on enabled in the add-on section you'll get these two guys automatically created and plugged in the right way the texture coordinates has a lot of options of where to get coordinates from generated is just I guess it's just gender based on a global grid we can use normal which is the normal of the objects which doesn't look great we can use UV which is UV unwrapping so even though this is procedural generated to Infinity we can UV unwrap this on a mesh in specific ways which gives us total control over scale across the vertexes and faces we can use the object origin so now if we scale it look it's based on the center point isn't that trippy warp speed very cool and we can give coordinates from the camera so if we move our camera whoa in three dimension in the noise is cutting through like a CT scan through our flat plane if we put this back to 2D let's see what this does oh my gosh that's weird I'm changing my 3D view but the noise is not kind of very weird I don't know any practical application tonight let's go back to 3D and let's not use camera let's go to UV I'm actually going to um subdivide this so in edit mode I'm going to type in subdivide and let's make a few subdivisions there we go now I'm going to turn this panel into the UV editor and you'll see what's going on here this face is being you'll be unwrapped across this UV space now yes this noise pattern is going to continue forever out here and it will never repeat see if I select all the faces in the UV editor and scale them up with s normally with an image texture that image would start repeating and tiling and looking really ugly but because it's a procedural noise it will never repeat itself no matter how large we make it but we have control over the UV unwrapping across the faces so I can grab one face and scale it up or down and because these are not you know because this is because these are separated from each other we're getting this weird like window effect where like one point is bigger and one is smaller not something you'd normally do but if I turn on proportional editing now I can use my mouse wheel to proportionally scale up a section and the others near it will react with that pretty weird I more often use this on hard surface models or I want to noise or grit to be a certain scale in one area and then I'll select a few other areas and make them a little bit different and in that case these points would not be next door neighbors to the other meshes they will be completely separate pieces on the same model so that's why I sometimes use UV unwrapping for a procedural noise if you use the object coordinates it will be based on the center point and usually the scale appears to be a lot smaller you have to use that to tune your scale down when you use object orientation but because it's all based on the center point of the mesh you can do all kinds of cool and fun stuff okay so one last tip is we can cross it between a good normal coordinates and a noise texture by using the mix node and let's put this as Vector mode Let's drag that right there now we can get the noise texture here plug in the color right here and now we are cross heading between normal coordinates from the object origin as we turn this up the noise texture down here the color which is the normals map you can basically intrude upon those coordinates and just freak them the heck out look at that it's just getting all kinds of gnarly and based on the settings we use here it'll change the shape of that distortion higher detail for a really nice beautiful marble texture or something smoother and more abstract like that but I really like that gritty um marble look right there that's very cool if we go all the way up it's just really doing a lot of damage to it and that looks like some stuff we did earlier because that's what we did we just plugged noise straight in here but I like to mix a little bit of coordinates with a little bit of noise intrusion and remember because we are using a mapping node we do have a control over the scale so we can still scale things left and right I remember we're only scaling the vector for this guy we're not scaling this so this noise is not moving right now only our main noise which is the Musgrave on the right you could totally wrap this around a sphere and make a beautiful gas giant look at that very nice for for Planet textures right there I love it well that's it for this video kind of an entry level tutorial for noise textures now like I said earlier if you want to see more of this maybe I'll make a part two which will be about the noise patterns like the shapes and the repeating textures and patterns that can be created with a varoni texture that one is very versatile and flexible for patterns let me know in the comments down below right now what you guys would like to see more of and I'm sure in time I'll learn even more tricks with noise textures and maybe I'll make a part two or three showing some more advanced noise textures and how to use them well thanks for watching have a great week and happy blending

Channel: Daniel Grove Photo

Views: 3,572

Keywords: noise, procedural noise, procedural textures, blender, blender nodes, blender textures, procedural, nodes, texture nodes, noise texture, musgrave, materials, blender tricks

Id: ns-ZK83xgqU

Length: 34min 58sec (2098 seconds)

Published: Tue Jun 13 2023