Alligator Leather in Substance Designer — Breakdown

hey I'm Mike world wife and thanks for tuning in today I want to show you a breakdown of the alligator let the material made entirely in substance designer this video is a special one for the substance community they will have an interview with me on their blog pretty soon so make sure you're not missing it if you don't want to recreate every step I'm making in this video you can just download the graph from my gum road and just play around with it if you liked this video don't forget to press a like button share and subscribe let's go straight to the point and start exploding the graph okay just before we start I want to note that I'm shooting this video in 4k so you can see it every single detail of this graph so you can switch now and the YouTube settings okay let's go the first part is the initial pattern generation this is the part of the graph where I'm trying to create using the simple primitive shapes something that resembles alligator leather and I'm using here free tile samplers the first one for the large central scales I'm using as a pattern input here the shape and transformation to the notes just because it gives me more control over the shape than just selecting here Square input or something like that the next thing I'm doing great and linear and I'm connecting this to the scale map input to get this variation in scale from the central part the sides also I'm doing a levels to shift a range of this great-aunt a bit and use it as a displacement map input let me show you if I use something higher than the value here let's say 0.3 you can see how it bends that's too extreme so I choose to use something something really small here okay the next thing basically I'm creating from this gradient some masks for the middle scales and for the smaller scales and basically the tile samplers is disc pattern with some random in offsets so we get a bit chaotic distribution of these discs and later on I'm just blending all this together to get this kind of map it really far from there something natural something like alligator skin but we will deal with that the next part of my graph is the warp plus the blend plus warp variation what I'm actually trying to do here is I'm doing a non-uniform directional warp where intensity and warp inputs are the this gradient linear and what I'm yet using this is a bit of a bent more I make it more pronounced and the next thing I'm doing several directional warps with again with some gradient next for the sides like I'm compressing it I'm like I'm moving the middle scales to the center a bit you can see this see I'm compressing a bit the middle parts of the scales to create a variation a more variation more natural look looking scales and the next thing yeah if you check on some references like this he will see that we have a band here like you can see on this horizontal line think we have bad but in in the center right in the center we have a bit of a distortion effect so I'm just trying to just trying to make that ethic by creating a great engineer again 90 degrees rotation histograms can to get a tiny metal grate and stripe and I'm doing directional warps see I'm just trying to recreate this effect to to bend a bit like just like this see okay so the next thing and the again I'm doing some warps really so lightly and now if you check the initial map we had a really uniformly distributed really artificial looking and we're starting to get something natural something something lifelike working so the next part called little scales shaper variation is a small part where I'm just using a tile sampler where the color map input is actually another title sampler with the small size scales and I'm trying trying to distribute the small discs and does something where the small scales resides and I'm doing a plant with blending mode and linear Dodge and what I'm trying to achieve is to just add a bit of variation a bit of small scales on the side to break this distribution pattern to a bit so you can see it really slightly see so the next part of the graph and I think it's the one of the most important parts that I call distance growth as detection so what i'm doing here i'm taking the result we had the a flood fill the flood fill two random grayscale and doing distance note over it with a really large maximum distance so you can see like we had a pattern and we grow and it be like the war for now i met so we can't so get something more natural looking like the Voronoi map but with our addition with this rectangular scales would you warped and bend it like like this something that we can see on the reference see so the next thing we're doing is as you detect and actually i'm doing the same thing twice and because sometimes when you're doing the edge detect you can see some cells blended together detected together like glue it together and it results in to something weird shape and something very unnatural and i'm just want to make sure that every cell is isolated from the other and that's why i'm doing flood fill twice with a different random seed so you can see on one edge detect we have this merged together on another its separated and when they blend it together through the multiply we have a nice edge pattern where every cell is isolated the next thing I'm doing is the several edge detects what I'm actually trying to create here is the roundness of the scales and the distance between them but I don't want to this uniformly I want to add some more variation and that's why I'm doing free edge detects with different edge roundness and but the same edge width and then at the next step I want to blend this edge detect to make side scales the smaller ones more round than the central ones so for this I'm taking again this result that we get after edge detection during the flood fill and then I am doing a flood fill to greyscale when on the greyscale input I'm taking the same old mask we used in the beginning when creating when we created the small scales so I'm taking the same mask and I'm doing a flat file to greyscale and this allows me to select the small scales on the sides the same thing I'm doing with the middle ones but this part is at the trick is just because if I take this like let's check it if I take the masks were used for the middle scales middle sized scales and take this here the flood filter great scale you see it just it selects this scales very unnatural very with something like a repetition something artificial looking so I'm not doing this I'm just taking them tell sampler medium size scales I've done some blur I'm doing so histogram scan to merge a bit and I'm using this as a grayscale input for flood fill and you see we get much more natural selection and we use this mask on the land a different edge detects so you see we have here more around isn't there and we have more distance like it was uniformly uniformly uniform look and after bled we get more variation and another blend we have even more variation and if we check you figured hit the space button you can see we can we starting to get something natural looking something like the reptile scales so the next part of my graph called scales distance tweak what I'm trying to do here actually I think it's not enough variation but in the distance between the scales after as you take so I want more control over it I want to do something customized so under the blur of this input and I'm doing a histogram scan it gives me around the edges and a bit of more distance but the next part I'm creating gradient linear free do the transformation 2d to scale it a bit from the sides and the histograms can to make central part wider and turn an invert grayscale what I'm actually trying to do this is I want this non uniform uniform blur grayscale to effect only a small scales from the sides that's why I'm creating this mask so I after a histogram scan I'm getting even more roundness for the smaller scales and the next part is a bit tricky but what I'm actually trying to create is that the distance between rows should be larger than distance between columns so that this horizontal lines should be wider than this vertical lines and I'm just trying to create this and this is the place where we need our exposed parameter cracker rows so I am again using transformation 2d and creating the stripe the gradient stripe I want I do it a tile simpler and in white amount I'm using this cross exposed parameter and I get two well stripes and another thing I'm doing here is the global offset so I'm doing a blend with the gradient to make this make size dog I'm doing directional warp to bed it a bit I'm doing another couple of works that actually the same ones we did here on the warp variation I want this pattern to match the gaps we have here so horizontal gaps wider than vertical gaps and I'm doing a non-uniform blur with the blur map we just created doing a histogram scan and you see week that's what I'm talking about that's effect where the horizontal line lines are wider than the vertical ones just like here so we at the end of the stage we just made from this uniform map we drifted away to something more natural-looking I think you agree with me that this looks much better much natural but we just started so let's move to the next part called warp variation what I'm just trying to do is is several the seek of vorks I'm taking a Perlin noise and use it as intensity and warp and go inputs on non-uniform directional work grayscale this is in you note from the spring 2019 update and I'm using the 2019 point one version of substance designer if you use an older version you can find multi-directional warp on YouTube I believe and recreate something similar and you and you probably use it a lot so what I'm trying to do just add a bit more variation and drift away from something like something artificial something like tiles very evenly placed to something more bed that more natural most stretched and I'm creating another Perlin noise with with much much more scaled version that is it was this seven scale and this is 32 so I'm doing the slope blur you see I'm just blurring I'm just cutting for cutting some some shapes from the scales to the histogram scale and it really adds distortion to the edges some more variation to this like you see really different really more natural result the next thing I'm doing again blur and the histograms can to make it more around and I'm creating moisture noise blur it a bit just tiny bit to remove this really small details and I did multi multi directional warp grayscale to create this jagged this distorted edges to push it more say and I create an also crystal doing a blur and then again non-uniform directional work to create even more desertion like you say to get much natural result if you compare with the previous map ahead it much more stretch much more lifelike and now we have black and white map where the scales should be and we need to create a bit of a volume for this for the height map for the normal map and let me show you by the way I'm using the OpenGL normal so the DirectX normal current Falls I'm using tessellation factor to the max and scaled to the one so we get into the next part called basic scales volume okay so let me calculate this stuff okay so we started from our our mask and we doing a non-uniform blur grayscale to create a bit of soft volume for this if I take this outputs of height normal and I connect the this non-uniform blur result you will see how how soft this volume is like just like a pillows but you see this strange weird jagged lines on the edges so the next thing I'm doing here and another non-uniform blur but here I used intensity five and here I turned it to something smaller like 0.7 and if you connect this a non-uniform blur with the smaller well you will see that it gives something more playing more flat another thing I'm doing is I'm getting this non-uniform blur and under again a non-uniform blur is 0.9 value and I'm using as their previous previous blur as both inputs to the new one why I'm doing this is to create more more soft results to make the edges softer and the next thing I'm doing here is the levels where I'm just equalizing a bit turn white to make it more flat and the next thing I'm taking this second non-u from blur and then a blur greyscale ibid say and I'm using this as the blur map on the second non-uniform blur here what what it gives me it just pushes away from this jagged stretch edges and creating softer result so if you want to compare you see that much more pleasing looking stuff and the next thing I'm doing invert grayscale so I basically what I'm trying to achieve is that if you check something like this is that honest scale the mature and the center the surface curvature in the center of the scale pointing downwards a bit so the edges lifted higher like if you know what I mean that's what I'm trying to achieve I'm inverting it so so it looks like carved from this around this cube and I'm doing levels to push the black blacks to the edges so it looks like this okay and the next thing I didn't multiply where as a background I use this result we had and as the foreground this result of the levels and what I get is actually what I what I'm talking about is actually what I want to achieve so the edges point I just lifted higher where the central parts pointing downwards and I wanted a really aiming for that curvature for that surface so you see it's starting to start to get shapes something like the letter actually getting better but I have a problem here after the blur is it affects the central and the medium scales are much wider than the the smaller ones and after that we get this almost flat but the smaller scales a way to pronounced and what I'm doing here that is it is the same concept as with this edge detective Lance so I'm creating another non-uniform blurs like the back up of this like the copy with with smaller intensity values okay smaller really smaller then same in words the same levels then all the same stuff and doing the same blend there's some levels to to make it brighter and I'm doing the blend where I take up a city map from the same stuff I took the small ones I make I made a flood fill from our net black and white mask we get on the earlier stages I get this mask out of edge detects remember we created and I'm the flood fill to greyscale again I'm the blur and I'm the histogram scan to get there to select this smaller scales and I just want to select I just want to mask it out like that and I'm using this as the opacity mask for the plant right using copy and some opacity tweaks so we equalised all lightning likewise valleys across this height map you see it was really right but we equalize it and we you get some variation as well and that's so cool like if you check this look at this I will plug this in and you see it it looks much more even there when I use it as a height map it looks just better so what I'm doing likewise in the volume as I commented here so what I'm doing next I'm just taking the same old mask black and white which is crew that's why this this part was so important we created the base and we do so much out of this base at the later stages so we just taking the same old master in the flood fill the flood filter gradient with angle variation 2-1 to get really a variety that urn doing a blur a slightly blur and then and doing a blend where I'm multiplying the the map we had I'm doing all the levels and I'm multiplying it with this map so you can see we had this result and we get much more variation some of the scales points downwards upwards it really bends the light it creating something something interesting to to explore to discover to look at you can see this difference even check this out if I plug this it looks so so unnatural so evenly if the light just as this as something flat if you plug this you can see we have variations something points higher something looks more flat the lights is bad and if and if we plug this result as a height and normal map you will see this the light not there's at all it looks so flat so it is very cool to always at this little details to the height map and normal map as well so the next thing I'm doing creating these humps as I commented here the I'm trying to band up parts of the scales if you check some references not this one but I don't know if I had a good one for this look at this where the upper parts of the the scales like better like pointing upwards so let's try to achieve that effect and we again the flood filter gradient we have 90 degrees so we need to select this upper areas of the scales we did a histogram scan the blur and to add some variation to the bed it is not that evenly I'm doing clouds free and doing multi-directional warp grayscale a bit with intensity five to disturb it a bit and I did again a blur and I just add this linear dodge to the previous result we had so if you compare this I will plug this in to the normal you can see we get this I love this result we can give this a really interesting effect where they've abandoned that up with the scales in upper areas like this looks so cool right the next thing we're doing is we just plug our map to the levels to calm it a bit and in a plant with Perlin noise with adds up right there together to really bandit a variated much more and just I'm even not sure this result is good at good enough let's check yeah you can see this a bomb looks much more than that so much more like the letter the actual letter if you compare it looks much more interesting but anyway I think this kind of hardcore well you but I lived like that at the moment so we're finished with basic scales volume at the end of this frame we have this result and it's very cool point to start with also what I'm trying to do this I'm creating a frame called scales masks is basically the same stuff from here just for convenience it's used a lot across the graph and I about this we will talk later about this and about this too so the next part is scales upper wrinkles what I'm trying to do this is let me check let me calculate this stuff ok so what I'm trying to create here you can see this on the upper and lower parts of the scales you can see this wrinkles these stripes and I'm just basically trying to create the same thing so I'm doing an edge detect on this scales mask we had to create something around the edges like a mask around the edges I'm doing the blur out of it and I'm just using it later when I'm just creating a decent garage map the second one blurry doing directional work and as an intensity input I'm using the same map which is created the volume and blur it a bit just really slightly really slightly so what I'm trying to do is I want this grunge map to conform the volume we created to to look more like it wrinkle around the scale so the next thing I'm again blur a little bit and I'm doing a blend where I use this as in the past to mask the stuff we created from from an edge detect and I just give this kind of map we will use this later huh just remember that edge wrinkles are called it so the next thing I'm doing here oh it's tricky the blurred grayscale at the volume we created and then I'm creating a crystals like something like creases and I'm doing directional warp again for the purposes I described earlier and I didn't clouds blue ribbon and then multi-directional grayscale warp to desert it a bit as well so we're basically creating this like Chris's of wrinkles or something like that and the next thing i'm what i'm doing here i'm doing here a levels where i'm just pushing the contrast and i'm using this as an appetitive mask where I'm doing the blend with Wally was just created this crisis and I'm doing an overlay see and on the higher area areas I I get more wrinkles and you just if I plug this in here but our our basic volume and after this after this blend we get nice result see these wrinkles in the parts we want it on the higher of the upper part and the lower parts and somewhere in between as well just like something here see okay what I'm trying to the next as you can see as this and on this reference as well the many other ones here some hard and straight wrinkled parts of the scales and I'm basically trying to recreate is I'm doing again and it's traffic noise like a lot of stripes with big white amount I'm doing a saved safe transform - rotate it rotated by 90 degrees I'm doing the close free blur really build the non-uniform directional work to make something less straight and a non-uniform blur with grayscale and blur map the same from this non-uniform directional warp and when I get here you can see I will demonstrate it now if I plug this oh sorry if I plug this you can see it it's very hard hard edges you can barely see these creases and after they're non-uniform blurb is really slightly and with really small intensity value you can shake looks much better after some blur and some blend with black and white spots I'm doing even more natural result see okay and the next thing I want this stuff to be on the tongue upper parts and lower parts of the scales so I need a mask for it too and I created with a lot feel out of the scales mask we had like you know already and I'm doing the flood field gradient 90 degrees and minus 90 degrees and I'm the histogram scans the same and I did a blend ad linear dodge mode to get this kind of mask a blur it a bit and I use this on blending the our our volume with wrinkles I'm blue this mask as an opacity mask and I've used this hard straight creases as the foreground and then a linear dodge with quarter of the opacity so if you check our previous result and I'm like this now and you can see the same really slightly but you can see this okay again under this and plug this in you see that it's nice so nice I really like the result and we move into the next part what I'm trying to do this I'm inverting this mat we created just just now I'm doing a non-uniform blur I'm inverting this to get something like the glow like the like the more like pushing this into the space between the scales and what I'm doing next is I'm just next lighting this like the results why I'm doing this you can barely see the difference but if we plug this in you can see it smooth this is makes this farce smoother like whether they're hard edges and now it's just similar like you see it looks nice so we've finished the part called scales upper wrinkles and the next thing we do we we now have the scales volume and it's cold but what about the space between them there's something with we need something as basic leather with wrinkles who a lot of stuff going on behind so the next part called basic wrinkles volume so in this part let me calculate it okay and this part what I'm trying to do I will show you a bit of ahead of time okay what I'm trying to do is this wrinkles between of these scales so let's check how it works how it done I'm creating crystal - I'm doing a save transform greyscale rotated by 90 degrees I'm doing a Perlin noise with scale 6 and the directional warp to make more waves of this and then and hardcore edge detect it looks so messy now but it's just been a blur in it a bit I'm doing a-levels and I'm doing a bit of a slow blur I'm using the same input for the both the same input for the boss both greyscale and slope to get some kind of like marbled effect or the wrinkles I don't know if you plug this here we have like smooth another effect like something artificial leather you can use this to create something from it and if we plug this slow blur see we have more wrinkled more wrinkles a little more natural-looking leather and it already looks good the next thing and then all the levels and the levels to fix it a bit and another thing I'm blurring a bit the scale mask we used a lot I'm inverting it and I've been non-uniform blur greyscale to get this kind of shadow or or something from this scales and I use this as input intensity input and poor angle input on non-uniform directional warp and I want this wrinkles in between of these scales to conform this like like like I don't know like waves or something around the stones if you know what I mean I like this effect so if you check this see what I'm talking about like it wrinkles cabinet between the scales so the next thing oh sorry sorry Oh what's going on yeah sorry sorry sorry okay the next thing littering this stuff really quite a bit I could barely see something going on here then I'm doing the levels to make this like a small wrinkle not so hard looking what I'm doing what I'm doing next then a high pass grayscale and then some more contrast to this I'm adding more contrast to this and I'm doing an overlay to push the details out of this map as you can see it really pushes it so the next thing here what I'm doing here I'm doing here crystal to again just like in this part I'm doing safe transform by 90 degrees and by 45 degrees I'm doing financially tech this is the note you can find on substance share for free and to get this kind of looks like fiber or scratches or something and then blend with at linear dodge to get best of both of hit like that I'm doing a blower and I'm doing the levels again and what i'm doing here i'm adding adding to this mapper created this this wrinkles so you can so you can see this look plug it right into the height and normal map so you can see it really looks much better so the next thing I'm doing I don't need this information right where the scales are located so I'm doing non-uniform blur to equalize this parts and of course obvious I use as a blur mask the same blurred scale scales mask used a lot today and it gives me just what I need you can see only in between the scales you can see these wrinkles this little leather looks so great and a really slight bumps in these places where scales should be located ok the next thing I'm doing whoa I'm doing the levels to make push it a bit do it again a blend so what I'm trying to achieve here like we had this result I'm doing a plant with the capacity mask again the scale mask basically I want here to push this scales a bit deeper in the material if you know what I mean I want this be like a bit higher than the base of the scales I will explain that stuff here where I'm just another another part important part of the graph where I'm just blending heightmap and combining scales with the wrinkles and leather in-between so I'm using here what I'm doing I'm taking this map creating and I'm taking this scales we had earlier in the skills upper wrinkles frame and I don't add linear dodge on this I pass to turn to one and what we get see we get that result we want it like Chris's wrinkles in between of the scales I'm just walking in great say okay it already looks good but it's a lot to be down so the next thing we hear is the blend for the scales and bass leather blend okay and the next thing I want to show is part of the graph called scales little details so let's take this guy's here I'm using a towel sampler here with really really small dots the squares actually but they're so small I'm doing a flood fill and the flood filter random greyscale and in a distance to get basically can use self for this purposes as well I think but I decided to do this way okay and I'm doing the edge detect and under a bevel but you know you this distance the corner type rounds more than like 0.5 almost this and negative distance so if you check how it looks level you'll see this a bit a bit of a bump it was like really artificial cow leather or something and I didn't all the levels to push this hard much harder and I'm doing the slow blur - mmm push this from the sides to the edge edges so you can see it now it looks more more like like leather like something but still far away I'm doing again alter levels to make sure I'm using the whole range of this spectrum I'm doing slow blur with fractal sound and I'm doing again levels to make this a bit darker as you can see okay we just started with this so the next thing I'm doing I'm taking again this scales mask we had I'm doing non-uniform blur here then a blur grayscale and I use this as both intensity and warp ankle inputs on non-uniform directional warm - and I just want to do a bit vary a bit push this a bit swirl around the scales for more natural result and you'll see how it works if I plug this in it gives me now a bit weird something really weird but what I'm doing next and the clouds histogram scan and I'm just there that's up to some variation to this stuff also I'm moisture noise and I'm doing again some multi-directional warp grayscale - deserted a bed and you know the result is very hardcore so with the levels they and really push this to the dark so we have a really really really slightly wrinkled slightly disturbed surface you can barely sit it but if you come closer you can see this and this is some of the deals that details that interesting for exploring when you stay away from the texture like it looks something like something like alligator leather but when you come closer you can see all these details and that's what makes texture special like you wanted you want to discover boy if you want so now I'm taking these guys again away from here here what I'm doing is and then another blend called scales details blend I want this details to be only in the places where the scales is I don't want to affect this black area areas and after this blend you can see add add linear dodge mode after this blend I will plug this in so let's check this here without and with a lot of dinners like another level of deals and that's look so cool it was so flat and now you see that did starting to look like a leather actually this is something more realistic so that they remember this map we left behind now we using this in the bland colored wrinkles plus volume and what I mean here I'm doing subtract with with 0.2 capacity see how it it really dramatically affects the this height map yeah but let's check how it looks right and where we when we blend it we really add volume on the edges and we we're smoothing this like again some hard dough edges and with this blend it looks really great remember we just wanted to affect the areas around the edges and we just achieved what we wanted looks so cool and now the part called little spots damage we creating Gaussian spots one the histograms can to select just several of them then some directional warp just just for fun with the clouds then some non-uniform blur and I just think I need to show this okay so you see we have this strange dots just like a spikes right and when we doing a non-uniform blur we get something really smoother and if we do another bar like something like like the spots and what we try to do it's obviously we will subtract this from the map we had to get this kind of damage here see okay let me let me check yeah okay let's move forward to something aha call this Chris's and another very important part of the graph what I'm doing here let let me show you the result you see I'm taking the firt to take it a purlin noise I'm doing a non-uniform directional work again with so this parameters if you if by the way if you missed some of the parameters you can just download the graph from my gum road and you will see everything just as this so you can play around you can click on every known to check the parameters so why not why not to do this okay non-uniform directional award this way and I'm doing another directional work with the clouds to disturb it a bit more and then another directional work with this just with this height map I'm so lazy to make something else but it shifts a bit where the scales are placed so I'm doing a blur slightly blur this stuff also what I'm doing here creating crystals doing blurred levels doing histograms can to get this random areas with where the creases will be placed and under a blend with a person a mask and the the for destroy before we had to get this kind of map why I using the blend node like that without the background and just past it is just for the demonstration purposes so this I got I can use this a paestum map on landing the stuff here somewhere right but I just want this frame to be like one module like one piece with the result that you can you can see and to make this just easy to understand okay what I'm doing here is just subtracting this white parts from the map which is head and let me find this you you almost can't see this but if you plug this if you plug this map just like was before the Chris is blend and after you can see it it's very slightly wrinkled once so again like here we get it okay another very very tiny did it was very small variation we had in small variation to this height map in normal map I'm doing a high pass ray scale with the medium radius and I'm doing just another late to push the details more like if you check after the high pass and just sharper just harder okay another thing I'm doing is is stuff called edge Chris's I'm another edge detect the same method we already used and then invert grayscale blur histograms can to push this a bit I'm using cells and I've done a blend with blending mode multiply and opacity almost hundred percent opacity what it creates let's check we had this hide map and after the frame called edge Chris's it becomes more more disturbed on the edges more it gives more details more even more volume more more damage to these parts and it looks even better so the next thing I'm doing is auto levels and I'm slightly blurring the height map so you can see we I will stretch this you can see we have a really hard hard chris is here after the blur to the blur will deal with that so it much more smoother the next thing i want to do i want to create a roughness map before i'm doing a color the base color so i'm i'm just living this outputs alone I needed a height map to normal map and by the way I am [Music] open jail normal with intends to one because I really don't need much volume much details on this and just look we will add more for the stylized version but for this one it's just okay like that okay we continue with a roughness map so what i'm doing here i'm taking the well-known scales mask then a blurred and word and histograms can then blur again and some levels using this as mask and for this blend but what's going on here I'm taking our Oh what is that I'm just taking our basic scales volume there's some levels and starting starting with roughness from the uniform color as usual and I recommend you to do the same so I'm blending true linear dodge with a uniform color and this base volume and what I'm doing next is I'm taking this normal with intensity equals to curvature creates encourage Sobel mod not create encourages smooth not and what i'm doing i'm inverting this so i don't want this wrinkles to be glossy as well as this I'm doing Auto levels and the next thing and I'm blended at linear dodge using this as a mask isn't this a foreground and after the blend I get this kind of roughness so if you just check how it looks I will remove the uniform color from here take this down here and plug this in you'll see that we starting to get less glossiness less reflectiveness on the space in between the scales and more reflectiveness on the scales there itself and the next thing I'm doing is blending with curvature Sobel and linear dodge too crude to make this damage points and stuff and wrinkles more rough so if you check this place really see how it looks right it adds mmm this details pops in the reflect in the roughness map the next same thing I'm doing is I'm taking remember let me track this down remember this stuff I told you we come back to I'm just taking the I was just doing again like where we create volume I'm doing this same non uniform layers I'm combining them with the same mask to get this result okay and what I'm doing here I'm the linen I'm multiplying this non-uniform blurred result by the flood fill random colors to get this variation and I'm supply this mask to this blurred grayscale ba not blend it with a subtract over the roughness map I created to get this variation in roughness so you can actually see what it doing oh yeah here it is say you you really best delight it looks like this something natural something unnerving something some of the scales Blosser than other and that looks so good what I'm doing next I'm taking this details we created remember and I'm doing again a subtract to make them glossy to make them less rough so if you check this you'll see that so I'd like to have total control over it so again push some little more on there off this map and hi some others and what I'm doing next blend with the creases remember we had I'm just taking this map and I did another linear Dodge I want this creased parts to be less reflective just a tiny bit and the next thing I'm just just add in some clouds to this for more variation in roughness and that's it that's quite simple but you can obviously explore more and create some better results but I think that's enough for now and I just like how it looks don't want to overdo this okay so we'll leave this guy alone actually let's quickly create the ambient occlusion from the height map with a bit of depth and maximizing there red is at maximum samples they're doing levels a bit on it and I'm blending this with curvature cell bill again I'm doing an adds up so you can see I'm trying to add some details on this ambient occlusion map right and this is it so be moving to the last part I taken the mask or the histograms can invert in it while I'm doing this what I'm doing next actually I'm taking the height map I'm doing zero gradient map nodes just samples data from the actual alligator lettuce can I have this from the Arroway eleven pack of textures say as far as I remember but it's always cool to have scanned data because the lighting information the some colors from environment usually removed from this kind of texture if they face can't actually accurately and you can use this colors as this not if you obviously take this from this kind of image it has a lot of information from widening from the reflection a lot of not needed stuff it and it's hard to get the actual color of this thing so what I'm doing here why I need this mask I just want like this reference I just want the scales to be darker than the space in between so I'm doing a couple of gradient map see and I'm just blended to give this result okay looks nice already but let's see how we can push this and then again normal with intensity - I'm the curvatures mother Sabol here but before we come to this part I another thing I need to mention is I'm doing histograms can out of the height map to get this to get this higher hate areas and the gradient map on this and I'm subtracting this map from the our previous color map to make this part even darker just like on some references I had see the same thing I want to touch it so let's go to the curvatures I'm actually doing a blend I'm using again the mask I don't want to affect the something beside the scales so I'm doing a blend it's up with the courage Sobel and I'm just just really added in details but really slightly you can see the difference from the distance but here they here is some details and the next thing I do the same thing but for the leather in the fin of the scales and the it with much smaller intensity I don't want to this wrinkles to be over pronounced so another thing I'm doing I think it's good stuff to help a bit this color information to add a bit of volume in it so I'm doing a blend with curvature actually an overlay with curvature smooth to get a bit of volume in the texture like like this and the next thing remember this map we used in roughness and then the same adds up stuff to add variation again like and pushing their space see when I blend it in you get a lot of variation like some of the scales darker some lighter etc and and now the cost think we get something like gradient like it's lighter in the center and darker on the corners and that that looks really great so another thing another thing and just adding the creases subtracting it to make them darker okay and then the HSL where I'm pushing lightness a bit and push him down saturation just a bit why I'm doing this is actually I'm taking the letant ragged and taking this result from the from the Nanyan from blur we had some time ago and he using this in histograms can to get this Reyes and I'm using this as a sed mask when blending this two notes the original one and the one after their h SL note so I'm actually pushing this color variation more like you can see okay the next thing I'm doing subtract and again these details were creating were created to add more variation it affects really slightly the map the kradin and the last part of the base color creation is the HSL when I decided to make it more a yellowish like the scan I had but not that yellow and I pushed saturation down a bit and I made this texture lighter and if we add this stuff they plug the stuff to the base color and we get this nice result okay look at this but and I think this this is all I want to show you and you probably saw in the preview in the beginning of the video I showed a stylized version of this of this material so let's check this out it calculates surrendering okay here it is the difference is that I'm using normal on 1.8 so I'll push the details a bit and I'm doing just a different way of color color of gradient maps with the green almost alien colors and finally I get this kind of a result like I see it with very pronounced wrinkles a bit of stylized like something something more like alien or something looking okay and at the end of the video I want to show you how I rented this textures in marmoset toolbag okay as you can see I'm using the speed of viewport mode to render it faster using sky lighting the default one I'm using default as face fear lover mesh I'm using sky lights hello I'm creating a couple unreal unreal 4 templates where I loaded my textures okay so here we are it just looks great if I disable this stuff look at this it's like in a bit but it looks just great I think that's just the result I wanted to get so for the demo I did some animation rotate and stuff I don't think that tessellation is actually needed for this kind of texture if you disable the tessellation there's actually not much difference thank you agree right so just with the normal map we get already a cool result that can be used in games and product design and then interiors maybe something else another great thing is that it scales just just great just great you can see obvious repetitions of the texture right that's just like nice and best tahleen good as well so this is it you know substance designer is a well-known tool among the game artists texture artist but if you're a product designer give it a try as well you know you can sketch some organic textures some hot surface stuff like Grails van styles really fast and efficiently to use in your project so you should definitely try it if you're a product designer so thanks for watching I hope you find this video helpful I'm planning to do a lot of stuff on my YouTube like the breakdowns of my projects and making offs my general thoughts about digital art if you have any suggestions for the next videos feel free to share with me in the comments thanks for watching and have fun

Channel: Mike Voropaev

Views: 10,108

Keywords: substance designer, alligator leather texture, leather texture, procedural leather, procedural alligator, reptile leather texture, substance, indie dev, substance designer beginner, texturing, substance source, unreal engine, marmoset toolbag, marmoset, 3d art, PBR, physically based rendering, procedural, allegorithmic, rendering, gamedev, devblog, game texture, stylized material, game development, game asset, substance designer leather, substance designer tutorial

Id: pU_QFFQg3lw

Length: 80min 50sec (4850 seconds)

Published: Mon Jun 24 2019