Blender 2.8 Tutorial | Procedural Asphalt Texture in Eevee

Haidee burrows here for creative shrimp and welcome to this first Maine blender 2.82 tutorial here and also the first blender 2.8 tutorial on this channel as it happens but rest assured we have been working pretty hard behind the scenes and there should be many more to come the 2.8 UI changes have been coming pretty thick and fast but they seem to be locked down enough now and so I think it's time to unleash some proper 2.8 content if there's anything that goes too fast just jump into the comments and we'll see if we can help out so let's jump into blender and take a look this is what it currently looks like by default except I have added this little section on the bottom right of this default layout work space that we're in just to help show some of the key presses there so as I say everything is default so I'm what I'm gonna do is I'm gonna start by showing the Preferences which we can get to using the edit menu or perhaps I can just switch this 3d viewport over to the Preferences window and take up a little bit more space here and since there's so many different ways you could configure blender this is completely straight out of the box nothing has been altered yet as you can see here I'm actually selecting with the left mouse button now and also we have the spacebar action set to play well I'm gonna be doing too much animation in this project so perhaps I'd be better suited to setting this to tools or search really but we still have hotkeys for these tools would be shift face and search would be f3 so again I've elected to just leave all that as default there are a couple of things I'd like to change though so for example in the interface I've just like to make things a little bit easier to read so I'm gonna turn that up to one point one in the resolution scale and since we're going to be working with a lots of nodes in the shader editor let's come over to our add-ons and what we'll do is filter this by node that'll just show the node Wrangler add-on and this is going to give us a lot more shortcut keys and just general features that are gonna help speed up our workflow they're talking about speed ups let's go over to the system tab and I'm going to enable CUDA in the cycles render Devices and I'm just gonna try and go all guns blazing there just to try and speed up as much as we can should we find ourselves in cycles here I'm just going to jump in with another newer version of blender to show another slight interface change we thought was worth mentioning after I finished the tutorial which is this menu at the top is now packed into these three horizontal lines that we can click to open it out and we don't need to manually Save Changes anymore as changes get saved automatically due to this checkbox but to be on the safe side we could always just click this save current state anyway so with setup blender so now let's go and set up our scene for our road we don't want a cube so I'm going to press X and delete that and instead I'm gonna go shift a to add in a mesh plane that's a little bit flatter and more rolled like that's pretty much the majority of id modeling section done almost all of the illusion is going to just be in the shader so talking and that let's jump into shading so I'm gonna jump from the layout workspace over to the ready-made shading workspace and we can see we now have our node editor here our shader editor to be exact and with apparently no material but we do have a material in our scene which we can find by clicking on this pulldown so I'm just gonna select it there and this is our ready-made principal shader a very handy PBR material that we can use for most tasks here so the majority of our work can just be working on the texture it rather than the shade inside something else to note about this shading workspace is that it set this top 3d viewport into the look that shading this is a new shading mode to 2.80 which we can also get to using the Zed key we get this pie menu now I looked over the bottom this is gonna be a really handy mode to be able to just jump in using this environment here as the world lighting so if we use the pulldown we can actually switch that by clicking on the sphere icon here I'm gonna switch this more to a city like Road environment and you see also we're not using any of the scenes lights or the actual scenes world instead which we can see over here is just this dark color and this environment will become slightly more obvious if we just make this all the way metallic and then all the way completely smooth you can kind of see that reflecting now in that plane even though we didn't have to manually set that so in our world shader our road isn't going to be metallic of course I'm gonna set that down to zero and then as shown we've also got our standard rendered view so I'm gonna press Z and jump into that here and so we've got a bit of overall lighting from this dark grey world which is no metaphor for the real world of course and then we also have this lamp in the scene I'm going to leave this pretty much as it is but I'm just gonna move it closer to the plane so I'm just gonna press G move that over there and from this perspective just move it over there alright so the next consideration is if we jump in between cycles and evie it'd be useful if this lamp was actually as strong as it is here in both evey and cycles basically unifying our lighting now if believe that should happen by default now for us so let's just test that going over to the render tab I'm gonna switch over to cycles and yeah that lamp looks about the same strength if we come over to the lamp settings we can see we've got this 1000 watts and if we come over to switch our renderer over to evey and again come back over to our lamp settings we can see that this is also set to watts just quickly I'm going to come back over to the cycle setting though and just switch this from CPU to GPU since we set up our CUDA preferences before in our preferences editor so let's get that speed up working for us all right let's switch back over to Eevee the next thing I'd like to organize here is in the outliner such as putting things in our own collections however first I quick note that in 2.8 TV icons to the right might now be different from what you used to that's likely just down to the filter that we have just above where we can choose what is shown there now so I'm gonna double click on this collection here I'm going to call that road and just to pull the camera and lights out I'm gonna select the camera in the outliner and press m to move it to a new collection which I'll call camera and and then click OK the next thing I'll do is take this light and press and we can press it in the 3d viewport or in the outliner by the way so we can press M here and put that into a new collection which I'll call lamps alright let's select the plane and what we're gonna need to do in our shader editor here is now set up our bump now what I like to do is to try and align that with thinking in terms of also created a displacement image so we have two different nodes for this we go and go shift a and find our vector section and we have our bump node there and then again shift a vector displacement not gonna place that slightly underneath so the normal socket of this bump node can plug into the normal input of our principal shader and what we're going to do is we're going to plug something into the height so to do that I'm gonna go shift a and add in a texture gradient texture just a demo this and take the factor out port and plug that into the height now if we want to see exactly what this node is doing this is why we have the node Wrangler add-on enabled I can now go ctrl shift and now click on this node I'm gonna click it again to move down to the second output and we can see that we're getting a black gradient from the left side to the right side here instead of that I'm going to switch this over to a spherical gradient now often you're gonna find after making a little change like that you need to update the viewport by just sort of moving around in a little bit and the default mapping for this the thing that is informing this vector is starting it over here on this plane I want this to start from the middle so we can actually see a circle on this plane to do that again thanks to the node Wrangler atom we can just go ctrl T and it will automatically generate the texture coordinates and this mapping node forests now don't actually need that I really only just wanted this texture coordinates so I'm going to take this and go ctrl X to delete it while maintaining our connections through and instead of the generated coordinates I'm gonna set this to object when we update our viewport we can see we're getting this interview all right I'm gonna left click and drag across these breasts G we have them off to the side just to give us a little bit more space to add in a Cola ramp which under the converter section drop that in and now ctrl shift click this instead and we can see the results of this color ramp to increase the contrast on this I can just bring these edge flags in a little bit bring that to about there so essentially what was happening instead of it being a smooth gradient throughout a large part of it in the middle here is gonna be flattened out and our factors ctrl shift click on this principal psdf shader is going to remove that temporary viewer for us with just an emission shader and show us the results of this bump map on this principal shader now so I'm gonna set this roughness up a little bit as well 0.2 for now and we can see we're definitely getting some bump happening on this now for the displacement we're not really going to get what we want out of Eevee for this so let's switch over to cycles and I'm gonna plug the displacement output here into the displacement input of the material output itself and then since this is causing some confusion here I'm going to just drop this below so things aren't getting tangled up then I'll unplug this normal I'll plug this into the height of the displacement and we can see now we have that in the viewport again it's not actually displacing the geometry though to do that we're actually going to need to switch this over to experimental we're gonna come over to our modifiers tab we're gonna give this a subdivision surface modifier I'm just gonna keep the algorithm to just simple and we're gonna set this to adaptive and we'll see it still doesn't show up anything we just got one more setting to look at now we can go over to the material itself come down to the bottom since the key presses are getting a little bit awkward they have just added this little section again to this shader workspace and then down at the bottom we have this displacement section under our material tab of the properties window and we can find our settings section and under the displacement method we can set this to just displacement only and now we can actually see we get actual geometry in our scene rather than it just essentially being kind of a lighting illusion I'm just gonna come over to the modifier tab though and take the dicing scale here just down a little bit 0.8 maybe you'd be 0.5 smoothing out the top of that the lower this setting goes the higher the resolution of what we're using here but that's good enough so the main thing I want to point out here is that with these default settings strength at one distance at one and scale at one on this displacement node what we're getting in the viewport if I just press 1 on the numpad to jump into front orthographic is we're using essentially a 1 meter scale if I press the T to bring up the tool shelf and use our measuring tool here just left click on that and then if I left click and drag from here and go upwards you can see that's basically a meter and I'll just press the Delete key to get rid of that ruler and go shift space to switch back to the select box and press T to hide that again there's multiple ways we can get to everything all right so if I take the scale of this and set this down to 0.5 that's now half a meter and the consideration here is what are the most extreme highs and lows of this road that we want to make now I think we'll just do this about 5 centimeters and that means our scale is going to be 0.05 let's take a look at that so that's not going to be displacing it massively it's gonna keep us within sensible range and we can still use the full extent of black-to-white all our nodes now to have this bump node essentially replicate that we're just gonna set our distance to the same thing 0.05 so what I'll do now is come over to Eevee and we can see actually the displacement node is having an effect there which is very cool I'm gonna plug this bump node back in though into the normal socket and so things don't get too confusing I'm just gonna unplug that from the displacement material output so that we're not accidentally getting double the effect next I'll go shift and right click and drag across this point just to add this little re-routing node so I'm gonna press G just move that down a little bit like this and now we're basically set up to be able to work in Eevee with our procedural nodes but also to be able to switch this around and actually see a physical representation of that geometry shifted in real 3d space and not just our lighting illusion all right so now we need to talk about reference because we need to get clear on exactly what it is that we're actually trying to produce as you can see there's a whole bunch of asphalt otherwise known as tarmac images which is what we're trying to create but there's so many variations this I'm viewing in pure f by the way I'll leave a link for more details on that but essentially if we take a look closely asphalt is basically lots of tiny stones mixed in with some kind of tar material sometimes those little tiny stones are more obvious to see than others here the different colors a little bit more noticeable and some roads have different levels of aging throughout now I'm gonna try and aim for kind of this sort of thing probably I'm gonna freestyle it slightly but this is a good solid platform to spring off all right so we're gonna approach this by just focusing on the bump side of things for now coloring is actually going to be quite simple although we'll add some variation to it a little later for now I'll just turn that down to be a little darker we don't need this gradient texture instead I want a Voronoi texture so I'll go shift s and switch that to a texture or annoy texture and then I'll zoom in a little bit further and I'm just going to click this down arrow on the color ramp and I'll reset that color ramp I'm just going to give ourselves a little bit more space on top here since we don't really need to use this window so I'm gonna hover the little cursor in the top right corner of this window until I get the little plus icon it will crosshair I suppose and I'm gonna left click and drag to the right and I get a big arrow here but I'm not gonna collapse into that window I'm gonna collapse the 3d view into this file browser so I'm gonna shift position to here and then let go I'm also going to switch this window over to a UV editor just in case we want to alter those coordinates here for some reason so instead of using this object coordinates or even the UV coordinates for that matter which gives us this I'm actually going to use the generated coordinates which is basically the same as the UV coordinates as you can see there to take a look at actually what this texture looks like we can control shift click on to this node a couple of times I'm going to update the view by just scrolling around a little bit so we can see the lighter areas here that's going to represent a raised surface so anything above 0.5 and mid gray or 0.5 is going to be thought of as our mid level or neither raised or lowered and black is going to be pushing into the surface and since we have our displacement set up here we can pretty easily hook that up there switch back over to our cycles control shift click on the principal shader unplug this bump node out of the normals take a look around and we all be able to see all these little pockets these soft gradients down almost like it's in some kind of very smooth sand dunes I'm actually just going to help things speed up slightly by setting the viewport down very very low to around 5 it'll make our viewport a little bit noisier but we'll still be able to see clear enough let's switch back over to Eevee and just so I don't get confused I'm gonna unhook this and plug the bump node back in alright so on this Voronoi texture instead of using closest I'm gonna set that to crackle let's ctrl shift click on this a couple of times take a look at what we've got and if we crank this scale right it up I'm going to take that up into the high 50s and now this is starting to resemble all the little stones let's take a look at ctrl shift clicking the principal shader itself to see how that actually looks that's a pretty good start so the reason I've gone for this more crackle look rather than the closest look is because they have this much more rounded smoother look to them the edges between are all gonna be sharp but each raised surface in the center between those cracks is all smoothly interpolated so I'm gonna switch that back to crackle as that gives this much more chipped stoned kind of look it is a little on the digitally overly perfect look though so let's mess around with this what we'll do is introduce some distortion into these coordinates so let's go shift a and add in a color mix RGB node and I'll set that here and I'm gonna set this to add with the slider all the way at zero it's just going to take in our generated coordinates do nothing add nothing and then come out to inform our Voronoi texture so this isn't so great at the moment but at least we've now got something that we can add so what we'll do is add a little bit of noise so let's go shift a and add in a texture noise texture use our generated coordinates let's place that into the second socket and now what we can do is increase very slightly this factor slider and that will introduce the noise for us now basically we're getting a lot of larger wavy shapes so our noise pattern is way too large right now as ctrl shift click on this noise texture to take a look at what we get in the viewport so we're getting these large soft shapes so what I'm going to do here is also set this is quite high so something like 50 I'm gonna take the detail up to about 5 as well so within those overall larger blobs of color that we've got here we get even more slight nuances to it rather than it being very very smooth so you like one let's crack that back up and now our ctrl shift click on this for annoy texture a couple of times to see what we've got now and we've pretty much got it's so strong it's completely obliterating many of our shapes so I'm gonna set this right down to zero so we can see no effect and then I'm gonna hold shift and left-click and drag to the right just so that we can very slightly alter the factor slider here it really doesn't need very much just enough to give us a nice organic feel somewhere around there I think all right zoom out a little bit and also show the effect of this with our lighting control shift-click there take a look and yeah I think that's a lot more of a natural overall feel I don't like this roughness level at the moment I'm going to set this a lot higher so something like zero point six alright that's looking good let's try it in our look dev mode in our different lighting setup and I think that's looking pretty good as well so our stones in general are a little bit on the large size if I press n to open up the property sidebar you can see the dimensions two meters by 2 meters let's pretend to toggle that closed again and for that to be 2 meters obviously the size of these stones are pretty big indeed but I'm just going to keep them slightly large like this to help with the amount of geometry required where we displace this so when we switch over 2 cycles come over to the modifiers tab we have our dicing scale here that's essentially the resolution of the amount of geometry there to displace and the lower this is the more intensive it's going to be but if we just keep this texture a little bit large for now we can get away with not having to completely shrink our dicing scale and kill our processes all right so I'm gonna press Z and take a look at rendered and currently we're just set to be using this bump node I'm gonna plug the displacement back in and I'm gonna unhook the normal so perhaps even now the dicing scale is actually a little too high I'm gonna try setting that down to 0.3 so even at 0.3 these little stones are looking a little bit extreme at this point I'd jaggedness so what I'd like to do if I press 1 on the numpad and take a look from this front orthographic I don't want the the gravel that we created here these little stones to completely take the entire range of our 0.05 that we've got our 5 centimeters let's make these instead just take about two centimeters but without having to change our overall scale so to do that I'm gonna take the black flag of our color ramp so this is what's at the lower end of this scale and if we raise this so if I click on this and set the RGB value so left-click and drag across all three values so we can change it more at the same time if I set this to 0.4 you can see that's going to raise it up and then on the other end of things I click this white flag click on the swatch and for this one I'm going to set 0.6 so I've still got that 0.5 in the middle basically alright so let's take a look the scale of that is looking a little bit better now I think for these particular stones so now what we can introduce is kind of some elevation to the overall plane now we could just do this as a displacement texture in a displace modifier or out of interest let's see how we would approach this in our notes so I'm just going to take a noise texture plugged it into the generated coordinate so I'm gonna shift select those two shift D to duplicate them and the scale is a little bit large so I'm gonna set that down to around 5 so let's control shift click on this at times to be able to see in the viewport so before it was pretty high like this I'm just gonna set a detail right down though so to get these mixing together what I'll do is I'll take a color mix RGB note so shift a color mix RGB drop that in there and what I'll do is I'll take the output of this color ramp and plug that in the first socket which will bump this stuff into the second socket so if we take this all the way down to zero we're just gonna get there gravel stones and if we take it all the way to one we're gonna get our overall noise now what I'm gonna do is I'm gonna go full space on our node window because we're getting quite a few things going on now so go control space and that will maximize it for us and that means I can now take this output plug that in to the height and also plug that into this reroute node here so we have it going into our displacement let's just move that slightly over and our control shift click on the principal shader and control space to minimize the view again all right so let's give this bumpiness a little bit of a kohler amp as well so I'm going to take that shift d did you placate it and drop it in the middle there clicking on the down arrow I'm going to reset that all right so to demonstrate how this is gonna work I'm actually going to use a different texture so I'm gonna go shift a and add in a texture gradient texture and drop that in here plug it into the gradient give it some generated coordinates take the factor out into this color ramp and then let's slide that up a little bit and then slide this down a little bit let's ctrl shift click on this to make this absolutely clear so we've got black on the left side and a gradient value all the way over to white on the right hand side and if we take a look from the side angle we see this orange outline of where the original plane is and we can see how the black colors are pushing it below that and the white is pushing it above but if we add our gravel stones to this variation in general surface height here so let's change this to add let's ctrl shift click on the shader itself to make this a little bit clearer and take a look at the top we can see all looks pretty much okay but the problem is is that we're taking some values at 0.6 so if we click on this flag here take a look at it and we can see we have values of 0.6 there and over here we have file use of white we're actually getting 1.6 in some areas so this is raising it above the scale that we've already set now to help us with that we have this simple clamp value which is only gonna allow values out of here between zero and one and as soon as we do that we can see where that white or where the addition of what's coming out of here and here equals one and beyond it's just gonna flatten it right out something else to note about this is that now with the addition of all these it's raised it all up so almost nothing's getting pushed much below this orange outline of this original planes position so we're not really using the full extent of our 0 to 1 so what we need to do is actually take the result of this and subtract it so I'm gonna select this node shift D to duplicate it and I'll set this to subtract now the idea here is instead of getting 0 to 1 values out of here I want minus 0.5 it's a plus 0.5 so to do that we're just going to subtract 0.5 which is what we have there and if you want to make it a little clearer we can go shift a and add in an input value and set this to 0.5 instead and plug that in now this isn't kind of work either because we have our clamp value on so we're not getting any values below zero right now so we're gonna need to unclamp that and now finally we get the full range of our displacement now happening the only downside now is that it's a little bit on the flattened side at the top and it's a little bit flattened on the bottom so it's clipping out slightly and so the only thing we need to do is offset what we have on here so if on here where we've got 0.1 before our mid value that is 0.5 and on the opposite side we've got 0.1 above it so if we just take these values to instead of being 0 to 1 if we just take that to be 0.12 0.9 we should be able to get pretty much the whole value being used for the scale of displacement that we've selected at 0.05 or the 5 centimeters in other words all right so instead of this gradient texture of course we wanted our noise texture so let's plug that in and now we can delete that gradient texture and now we can see we get that overall bumpiness happening and we can set the scale of that here so maybe like 3 as we want this row to be fairly new and fairly well created so let's go in between something like 4 alright so with the displacement set a little bit better let's come back over to evie and we're getting a good look at what our bump node is doing but just to keep things clean and set that manually for now see now this is technically still a beta version so I'm gonna take the bump value and plug that into the normal all right so we've taken advantage of the fact that our rocks are pretty large to be able to test out that displacement without having to dice and slice too heavily on our subdivision modifier but now say we want to increase the scale of everything or at least our gravel stones that we have here so first of all let's just keep things organized so let's take this stuff here and press shift P to parent it into a frame and to open up the properties sidebar and in the label we can call this let's say height variation and this stuff below left clicking and dragging across there shift P and I'm gonna call this one gravel and just to keep things a little cleaner I'm gonna left click and drag across that stuff press G and raise that up and maybe the same for this stuff all right so let's make these little rocks actually little so let's going back into the gravel area I'm gonna left click and drag this across the side to give us some space first of all I'm gonna hold shift and right click and drag across these just to create this little reroute node which attaches to both of those little noodley lines there and then typically if we want to change the vectors of everything it's very easy to do because we can take a vector mapping node and drop that in and now we have these scale values that we can change and that's going to essentially affect the noise scale value here and it's going to affect the scale of the Voronoi texture here as well so we can leave these values as we are because we like their relationship to one another so to be able to alter the scale of both of them at the same time we can do that with a node here which is what this mapping node is doing and what I'm going to do is turn that up to about 6 so there's six times many more on screen now so I starting to look a lot more gravelly all right so let's zoom in a little bit closer come over to where I color enthis and what we can do with this color ramp is we can use this right-hand slider to push it down and we can sort of flatten things out a little bit now the reason I think that could be useful is if we take a look at the reference it does tend to be a little bit overall worn away or reasonably flat on top so I think that could be useful to replicate here and also I think if I just pull this in episode slightly we can kind of increase the distance between each little rock as well so I'm going to only do that subtly though something about there now another downside to using this linear fall-off is that our little rocks look like they've just had the tops cut off them so I'm gonna change this from linear to a much more smoother overall interpolation like b-spline let's give that a try and like the shade is compiled yeah it's looking a little smoother maybe I can squeeze these in further now I think that'll do for the moment well then I think we can add another little layer of variation to this so I'm gonna pull this down so that we can slot some extra nodes in here so the variety that we can add to this layer is just flatten it out in a few places and to do that I'm just gonna mix in what we put here with a mixer GB node so shift to add a color mix RGB node now if I just drop that in right here our Auto offset option is going to slide things along for us which might be a nice effect that could be a decent layout for us but if we wanted to keep everything perfectly vertical and kind of stacking things like layers that you might get in a 2d program like critter or Photoshop then what I'll do is I'll ctrl Z to undo that press G just to move that around there and then if we look in our View menu we can see there's our auto offset so I'll click that press G and drop that in and then we can re-enable that by finding it in the menu again there's a quicker and easier way to do that though we have a quick favourites now in 2.8 and all we need to do is just come in to that menu right click on the item you want and then we'll add two quick favourites now when we press Q over here you can see we've got our also offset that we can toggle over here though you can still see in there various other editors that they all have their own individual quick favourites all right so with that in here we are going to keep things very very simple we're going to go shift a add in a texture noise texture and with this thanks to the node Wrangler we can go ctrl T and I'm just going to delete that mapping node with ctrl X so it maintains this connection left-click and drag these press G to just give us a little bit of space for a converter color up node I'm gonna take the factor in and now I'm just going to select this swatch here for the second color and you can see it's set to 0.5 that's right in the middle of our values that we have so we consider 0.5 as being completely flat that's what we want to mix in so what I'm going to do is I'm going to use this and plug it into the factor now what that means is zoom out a little bit if I crunch down the white values of this color ramp will make more of this texture map have white in it and that will make was use more of this 0.5 value so let's take a look at what that does and as we go through there we can see things starting to flatten now I'm just going to remember to click on this clamp so that we're not getting values outside a 0 & 1 on this should we add any further nodes and for this think I'm gonna just set this up a little bit higher so something like 15 give it a little bit more detail so something like 5 perhaps a little bit distortion even which introduces a little bit of a swirly fluid type distribution and then I'm just gonna play with the values here to introduce those small little patches or flatter worn-down stones all right so that's pretty much it for this first layer bump let's switch back over to cycles and check this out with the displacement so I'm gonna unplug the bump and I'm gonna plug this into the displacement there and as we can see if we move in quite a bit this is a little on the extreme side so for these smaller stones the general scale our music this isn't really working very well so that is being controlled over here so I'm gonna set this one down to a lot closer to that middle value of 0.5 so let's try something like 0.45 and then on the second flag let's change that down to 0.55 and now let's take another look generally around alright that's not looking too bad probably do need a little bit more geometry to work with here though so jumping back into the modifier I'm gonna set that down 0.2 well--perhaps 0.1 getting a lot more definition throughout there now and I think we probably should probably bring down our scale a little bit overall so let's go to 0.03 that's a little bit better and to unify that I think I'll go shift a and add in an input value node drop that in and set that to 0.03 let's go fullscreen on this just to give it a little bit more space a little bit more clarity and plug that into here and let's just raise that up next to the bump node actually and put that into the distance shift right click across there and I'm just gonna have this sort of travel around on this bump node like this alright just trying to keep things a little clean let's check all that in evie so control space to minimize the I'm gonna switch the renderer back over to Eevee and then we can already see kind of what the displacement is doing but I'm just going to simplify things by just brute force in it and just making sure it's definitely this bump node that is being used let's take a look at our base color here and the moment is just using this flat fairly dark tone throughout and now let's just give it a little bit of a subtle variation to this so let's go shift a and add in a texture noise texture I'm gonna run this into a color ramp though shift day converts a color ramp drop that in there I'm gonna take the factor out plug it into the factory in of this color ramp and then I'm just going to go ctrl T and then ctrl X that middle mapping node and then let's take a look at this control shift clicking on it I think I'll keep the scale to around there I'm gonna up the detail though so we still have those major overall shapes but those shapes now have a little bit more individual variation throughout them and then I'm just gonna step up the distortion a little bit to somewhere around there and then what I'll do is this white flag this white mark on the right hand side what I'm gonna do is um left-click and drag from this base color that we already set and drop it onto that white color swatch to change it over now what I'm going to do is just bring these closer together and that will really increase the contrast there and now let's see that all working together in concert so let's plug that in and ctrl shift click on our principal shader give it a second to update and there we go and now that's updated we can just sort of play with the values here a little bit and just sort of see the subtle changes that we get there I'm gonna set that maybe around 4.5 but this is pretty subtle characteristic to this layer alright so what we need to talk about next is the way that we're gonna layer things together if we were just sticking with cycles we probably wouldn't do this but for some real time results in evey there is a little issue that we might need to find a workaround for so here's some basic nodes that we've been using to inform the bump of our principal shader but if we start stacking things in our procedural textures and really start challenging evey then what we can do is let's say we move they're right ups at the top there this is basically just a duplication of those nodes that we have at the bottom there and I just saw linked together so instead of using just though no to the bottom let's use all of these nodes now and that still looks okay so let's take all these duplicate with shift D I wanted to just zoom in a little bit and make this daisy chaining here a little bit easier so I'm gonna plug that into the first socket left-click and drag across these g2 slide them up and then I'm gonna connect this into the height instead now and we'll give it a little moment for the shaders to compile and this is our major problem so eventually if our procedural nose gets too complicated we have too many calculations happening in real time I guess we're gonna max out our hardware or blender or a combination of the two basically and we're gonna be greeted with this hard to ignore indication that things aren't quite right although in cycles this isn't really gonna be a problem all right so back to where we were so in Eevee what we're gonna do is actually just layer a few of these planes on top so for a little bit of variety instead of just having one uniform distribution of stone size across let's kind of vary this slightly so I'm gonna double click on this plane and we'll call this lower layer let's duplicate this plane with shift D and right click to leave that in place I'm gonna press 1 on the numpad to head over into the front for the graphic view and on here I'm just gonna raise this ever so slightly up so G and then Z to make sure we don't move it on the X and y axis I'm gonna set that to 0.01 let's call this the upper layer also with this material let's call this the lower layer I'm gonna click on this little number two and I'm gonna call this one upper layer so to give this some different sized stones are going to come back down here and I'm gonna set this down a little bit lower so 240 so we can see these are all a little bit larger now but of course this is obscuring the lower layer that we have underneath this so what we're going to need to do is reduce the Alpha on this one so in our principal shader now we have this alpha slider so if I slide this down you can see not a lot of peyer's to be happening what we need to do is indicate in our material that we do want alpha to display in our viewport so we actually have this area in our shader editor in the properties sidebar which we can toggle at the end key you can see there's this blend mode and it's set to opaque in the moment and we also have this on the material tab in our properties window just right at the bottom we have some of these settings here so when we update it over here it should reflect that change over here so let's set this to alpha blend and now if we use this slider we can slide from one to the other rather than doing that though let's give this a proper alpha mask so let's design that right at the top here so I'm gonna use a noise texture shift a and add in a texture noise and then I'll also add in a color amp I'll connect these up and let's take a look at what we get in the viewport if we just control shift click on it all right I think that's looking pretty good so far I'm going to crunch these values really close together though as I don't want much of a faller I either want the top layer or the bottom layer to be shown and to get more control over this I'm going to select this and go control T that will create our vector noise here for us and this time what I'm gonna do is I'm going to actually just change this scale value somewhere around 3 so I'm imagining as this is a road that my up vehicle is going down it this way that certain things might be stretched like a rolling pin in that way let's just see if we can add a little bit more detail with a tiny bit of distortion in there all right so instead of just looking at the mask itself let's see this in action now so let's go fullscreen just to make this easy to hook up so I'll take it from here into our alpha and then ctrl shift click back onto our principle shader control space again to show our whole workspace now and just give it a moment to compile a shaders alright let's get a little closer in and now we can see patches of those larger stones as well as our tiny stones of course with these planes stacked on top of each other it can get a little bit tricky to select one or the other we can of course just select them in the outliner but we can get them in the viewport simply and off just by alt left clicking and then we get a little menu of what was under our cursor at that time so that's gonna come in handy the other thing I'm noticing is if I get quite close and start to move around I can kind of see that this layer is hovering a little bit I don't want that to break the illusion so I'm just going to press n and take the Z value of this top layer down even lower so 0.001 and then try that again that's a bit better and and again to close that side panel so alt left-click I'll take a look at this lower layer I'll come over to the roughness setting I want to crank this up quite high actually 0.75 and then alt left-click and then take that upper layer the layer on top can be saved seven - they have slightly different roughness settings to help them pop through a little bit let's try this also in a different lighting setup so let's move over to our look that mode next I think I'd like to alter the the base color a little bit maybe set that to something like four and we should probably raise the black ever so slightly on these nothing's pure black after all so I'll out left-click and grab the lower layer and do that there also - we have four point five five and zero point three here left click and find our upper layer maybe we'll give the distortion a little bit something different but 0.2 let's take a look at the bump nodes think world do is sort of reduce how flat these are so on the upper layer I'll just pull this right-hand slider over to the right we see that kind of makes them more angular on the tops now so I'm going to take it quite that far but I'm not gonna have it quite as far over on the left as we did before perhaps I'll tweak that and the lower layer as well bring that over give a little bit more character onto those man let's take a look at the flattened patches that we have so let's select around these shift P and we'll call this layer flatten oh yeah fifteen five and one left click in the viewport let's get the upper layer and we'll do the same there shift P flatten layer we have fifteen five and one there as well so I'll skip that some variety let's try it ten and 0.5 and let's take a look let's also switch over to our rendered view to check that out there as well all right in this lighting I'm gonna add extra detail where I can so I know we can add the extra detail on this height variation and OH left-click to grab the lower layer to make that same change these overall patches we should find those as our alpha mask let's alt left-click so we can grab the upper layer and ctrl shift click this to want to give this a little bit more detail so let's try adding that to five and then let's take a look at the shader again and also let's just play with the base color a little bit and actually let's tries to take it this Oh quite high something like ten so much of this is quite subtle variation at this point of course for it's worth trying it in different lighting setups just to see what we get this is anything sticks out because we want our textures to be quite versatile limitation that springs to mind is that if we now want to alter something on both of these layers then we're gonna struggle or at less it's going to be very cumbersome to have to change multiple settings on multiple materials this is where we can kind of get around that with the magic of node groups so let's go fullscreen with control space in the node editor we've got our upper layer selected right here let's left-click and drag over here shift P and we'll call this our main mask or main alpha something along those lines and then this is gonna be our base color so let's shift P across those and then base color so down here we have the majority of our bump happening and let's say we have our individual flatten layer happening here let's say we wanted to flatten both layers at the same time so let's add that in let's press G across those two frames there just to give us a little bit of extra space and basically we want to take these because these are quite useful and shift B to duplicate them alt P to unparent them from that frame and instead what we'll do is press ctrl G to add them into an old group now the major controls for our node group are going to be in our property sidebar here what I need on the group input is a little grayscale node there I'm just gonna use this to do that if I just click and drag from the color ramp to the group input node inputs and outputs for the group then pop up in the properties sidebar to the right now that's showing I can hook this noise texture back up to the color ramp and then also I'm going to take an alpha out of here and plug that one in here but then I'm going on Hawk it again and I'm just going to rename these by double clicking on them and calling them input and output we don't need to worry about default values or minimum and maximum outputs as these are going to be plugged in basically so I'm gonna plug that into there and I'm gonna plug the input into the first socket here so we're taking whatever comes in and replace it in some parts of it based on these nodes with what we have in the second socket of our mix node this flat 0.5 color or value now what I might do is give ourselves a little bit of a unique character in here and create a vector mapping node which is going to allow us to stretch things out a bit so I'm gonna scale the x-axis by 5 so it should look a little bit streaky and I'm going to tighten the contrast on these so the results of this node is a little bit more noticeable and a thing that should do for now now all we need to do is hook this up into our main network so I'm gonna press Q for our quick favorites and disable the auto offset while we do this drop that in I'm just gonna press Q again reenable that most the time we like that up for this I'm gonna zoom in and I'm gonna call this global Watson and even if nothing is using this I'm gonna save it in this blend file so I'm gonna click on this little icon here alright with that I'm going to set the other layer like that so control space o left click in the viewport or at least after it's finished calculated and then click on the lower layer and then I'm gonna click on these two lower areas here drop that down and then go shift a and add in a group and now we've got our global flat in there again Q I shouldn't have been so quick with that drop that in allow it to recalculate the shaders again and then Q again and we'll reset that Auto offset to enabled again alright so in our viewport we can see the effect of that now and to be able to change it on both layers at once we just need to simply press tab to take a look inside this node group and if we change these settings now so something like 2 or keep the detail up and maybe take the distortion down you can see we're actually affecting both layers at once now a little bit is on a flat side so much of this is actually maybe too flat so let's not have this take maximum effect so instead of having white let's just drop this down a little bit to say somewhere around there so in other words once white comes into this factor slider it's gonna use whatever's in the second socket which is that completely flat 0.5 value that we have and then from there we can kind of play with the position of this and where we want there was additional more uniform platter parties to be I'll try going with that for now but of course with all of these controls a lot of it boils down to personal taste so feel free to tweak like crazy and check it in many of these different settings these different lighting setups so now that we know the basic principle are building an extra layer let's do that one more time but give it a slightly different feature this time so for example I paint stripe going down the center line here so let's make sure we have our upper layer selected I'm going to go shift D and then Z to make sure it's constrained to the z-axis I'm going to press n to open up our properties sidebar here you can see this first upper layer is zero points so this one I'm going to set to 0.002 so they're all the same distance away basically while we're here let's call this paint stripe white and we'll also give this a new material we'll duplicate this one and call this the paint stripe white as well let's make it about the right size let's press s and then X and start scaling it in and the type zero point zero two to get something that looks about that thick and then I'm not gonna start on the bump just yet but I'd like to make a change straightaway on this so instead of this being zero point zero three see now this is just gonna be a slight raising of paint I'm just gonna set this down to zero point zero one alright but just to speed things up in the viewport here while we work in real time I'm gonna unhook that normal output of the bump so that it's not gonna try and calculate all of this stuff well we really just want to concentrate on this alpha all right so let's start with getting the horizontal alpha that we need first and also I'll take this scale value and set that to one on X we might need these nodes but for now I'm just gonna keep them simple like that so this noise texture let's change that by using shift s so we're gonna switch that over to a texture gradient texture set to linear by default as control shift click on our color ramp here so we're just seeing the effect of our color ramp in the view and I'm also going to click on that down arrow and reset this color ramp all right so let me reposition yourself over here and what we have here is a gradient of black going into white from left to right what I'd like to do is fade it on both sides so I'm gonna click on the plus icon on the color ramp I'm gonna set that to white so click on the swatch and drag that up and then on this far right like that we have here I'm gonna click on that I'm gonna set that all the way down to black I don't want it to raise in this kind of like triangular peak that we have here I want to flatten that right out in the center so I'm actually going to take this black slide that all the way over to let's say 0.1 and that's click another one and put this all the way over to 0.9 so those two inner flags are the same distance apart all right so let's take this back up to one and now we have what we need going horizontal if we check out our reference image you can see on long the edges we need a lot more noise happening so let's try and implement that so we know we need to place some noise before this gradient texture so to do that it's very similar as we did before let's reset it up for practice let's go shift a texture noise drop that in here we also need a mix RGB node so shift a color mix RGB I'll drop that into here so basically what we want is the pure texture coordinates coming in and if we set this down to zero all we're going to see is that pure texture coordinates so the undistorted coordinates if you will and now what we want to do is add just a little bit of this crazy noise but as we do that you'll see it starts to slide off and so we're going to need to account for that because we need this to stick into position so I'm going to do is I'm going to duplicate this color node this mix RGB node drop that in just bring that back over there like that and then instead of having the results of here coming out scale between 0 & 1 similar as we did with the overall bumpiness that we did the overall height variation where we subtracted 0.5 we're going to essentially do the same thing here so I'm gonna subtract completely the value of 0.5 so I switch that to a subtract and that way when we start to add this in it should keep the noise relatively in position but I can see that the noise is just a little bit too large at the moment so let's try say about 30 times this so 5 times 30 150 in other words so let's now add that in and that's not looking too bad it's looking quite vertically streaked though so I'd like to offset that by changing the scale on one of these axes and we can do that by changing the y-axis so I'm gonna take this up to about 30 and actually take this right back down again so say something like if I let this do a lot of a scaling work instead and then maybe that's a little bit too extreme because we're losing it a little bit at the edges so I'm gonna hold shift and left-click and drag on here to make it a slightly more subtle effect alright now for the slightly more challenging section which is the vertical spacing so what we're going to do I'm gonna take all of these notes I'm gonna press B and left-click and drag across all of this the shift D to duplicate it and raise it up this vector mapping node I'm gonna set that back down to one though this is our noise to disturb the coordinates that we're getting in but for now I'm going to set that down to zero so this stuff isn't having any effect and what I'll do is show another way of creating a gradient texture so I'm gonna press X to delete that and instead go shift a and add in a converter separate X Y Z we plug in our coordinates which really although this looks like a lot actually it's just taking this generated coordinates all this is doing nothing and then we're gonna separate it so it's ctrl shift click on this to take a look at what x coordinates do it and you can see that's running from 0 to 1 from the left to the right side control shift click it again to see the next socket down and what we're getting here is our vertical now this is what we need so we could have rotated our coordinates using the vector mapping nodes but I find this a slightly simpler way to go about it so just to drill a point home I'm going to go control X and delete that since we don't need it all right so a handy little math function that we can use let's go shift a converter math and drop that in is the sine operation so let's plug that in there take a look at what we've got now well it doesn't look like very much but if we add in another math node so let's go shift D and duplicate it and move that to the left there let's give ourselves a little bit more space switch this first one from sine to multiply we can start to increase this value and get what now looks like these vertical intermittent stripes now what's actually happening I think is we're getting values going from minus 1 all the way to 1 depending on what the input is that we give it but on screen we're not can see anything below zero is represented other than black and nothing above one other than white we can get some crazy things happening if we're plugging that into a bump node but what we're actually going to do anyway is bring in this color ramp node and this will have the effect of essentially clamping things down between 0 and 1 anyway so we don't know you to use these checkboxes with this color ramp I'm going to actually reset that and it means I'm really gonna be able to crunch this right down and really tighten that edge we kind of zoom in a little bit we see what we get in so at this point let's bring these two together so we've got a horizontal and out vertical so you know we're only dealing with black and white I'll just use this multiply node here so shift D to duplicate and bring that to there I'm gonna have her example stripes in the first socket and add vertical stripe to the second when I multiply them together but I'm going to clump it to be on the safe side since we're after this color ramp now which was also behaving as our clump and then also now after this I'm going to duplicate this math node and add this as faller so I'm gonna rename this to fall off its the reminders of what this is doing I'm gonna set that to power now a value of one that's not going to be doing anything if we zoom in even further and increase this value you can see it's changing basically the fall-off between white and black I'm gonna set that around six I think on the vertical side this could be probably squeezed in a little bit further just to refine that and a couple of extra controls that we can add to this let's zoom out a little bit and come back here this one is basically our frequency so let's label that as such but if we want to offset this what we can do is duplicate this math node place that before and I set that to add and now basically if I hold shift and left click on this you can see that we can offset its position so I'm just going to set that down to zero for now and let's rename that as offset and then since this sine node doesn't actually accept a second input we can actually collapse that with the H key that'll make that stand out a little bit as well and this node here I'm going to duplicate shift E and place it afterwards if we change this to an ADD operation and take that down to zero I know again I'll hold shift and left click and drag across this you can see that now we can control the gap size since the values between minus one and one that we're getting we're starting to raise though is very very dark values right up and once we get to one we essentially close the gap so I'm going to set this to around 0.5 the frequency maybe if we set that at around ten we can just get two of these stripes so if you become slightly longer and it's that the offset maybe we can see where we can place these maybe the frequency we can increase just a touch more to shrink them down a little bit and then again alter the officer so I just want a little bit of black at the top and a little bit of black of the bottom basically alright that's great the only other thing I want to add to this is a little bit of noise variation and so what we'll need to do is bring in a little bit of this which we already had set up so let's give that a try I'll hold shift and left-click on here just see what we get getting something quite spiky looking there and it was like we can take this really really low if you try setting this scale up a little bit yeah something like that alright so what we can do is we can add this into our alpha so I'll go control space now and let's clean up the node graph a little bit so I'll drag that all the way over there I'm gonna have this plug in to our alpha socket I'm going to ctrl shift click on our principle shader bring that a bit further over there and this is actually going to work pretty well as a bump map so let's take this and also plug it into the height there and to clean things up a little bit I'm gonna left click and drag across these press G to move these up and I'll also do that with this stuff up the top take that to there and also will plug this in to that node and also plug the bump in to our normal socket there click and drag across this raise that up a bit and so we're not using any of this stuff at the moment and now we can hit control space let the shaders compile and then we'll check it out alright let's zoom in here a little bit it's looking pretty good we have these three key sections though which is because of our noise texture here and since our plane here is squashed quite dramatically on the x-axis we're getting a lot of squash there we'll deal with that in a moment in the meantime I'm just gonna make a quick alteration to this so if we zoom out a little bit more and we play with this value that we duplicated we have this one called frequency and this one called frequency but this one really is altering the gap in fact if we make this more obvious by selecting this far right like on this color ramp and we'll select that and raise that all the way up so that it's a bit brighter and we can see what's happening zoom right back into this second math node here that we've got set to add and if I just slide that we can see that as our gaps shrinking so let's name that as gaps the next thing I'd like to do is take a closer look at the way this is blending in to the plane underneath so you can see it's kind of which we don't really want and what I'd like to do here is actually just change this from being an alpha blend to an alpha clip so that setting is going to be found in the material or in fact in our property sidebar so I'm going to set that over to Alpha clip and all that to update and now what we want to do is set the clip threshold without the clip a pixel is only going to be either on screen or not on screen at all there's no middle ground here with the Alpha clip this is very binary stuff now the clip threshold is gonna take the grayscale input that we've got and with it set to zero it's going to interpret only pure black that's meaning that's what we want as alpha but if we actually start to hold shift and left-click and drag across on this to raise this value we can shrink it in a little bit and really I'd like to have something a little bit more about that or somewhere around 0.25 now something else that's caught me attention is the fact that we have our shadow mode here set to opaque and basically we don't want any shadows here so I'm going to set that to none I'm also gonna take out upper layer and set that to none and while we're at it let's come over to our rendering engine and switch that two cycles now it's going to try and start subdividing things and displaying them in the viewport now I don't really want that to happen just at the moment just to demonstrate this so I'm going to take the cycle settings feature set and switch that back to support it and then let's press Z in the 3d view and switch that over to rendered and now if we zoom out a little bit we'll see things don't quite look how they're looking in evey if we switch that back and that's to do with those shadows so if I switch back two cycles again we can see we're getting a little bit of a shadow from this white stripe price it's more noticeable on this piece here and in general we can see some darkening from our top layer so this is simple to fix I'm going to take the paint stripe mesh come over to this object data tab I'm going to scroll down and find our cycle settings and I'm simply going to turn off shadow now when we do that this is no longer going to cast any shadows let's alt click somewhere here and select that upper layer and again here this should have a bit more of a dramatic effect if we just switch off our shadow casting here as well now when we take a look at this come over to our rendering and settings and switch from cycles back to Eevee you see everything's matching a little bit more closely now all right let's select the paint stripe and let's try and fix some of this shrieking here so zoom out on our nodes and see what we've got a very quick and easy way to fix this streaking is instead of using the generated coordinates we could use the object coordinates but if we do that at the moment it was still gonna get that same streaking effect because we've squished our mesh so much on the x-axis so if we just reset that to one by using our apply scale so control a and apply the scale and now that resets back to one but maintains that same size and now we can see a more general evenly distributed bit of think it's kind of grunge really just gonna play with these settings a little bit if you set this up to around 50 squeeze in the contrast to this a little bit more but lessen the overall effect I'm gonna set that to be quite bright only the other side is white and while we're here what we can do is give this a little bit of a option to be colored to do that I'm going to add in with shift a a color mix RGB node drop that in there and I'm gonna set this to multiply once that set to multiply we can set the factor all the way up to 1 and this color swatch here if we make sure that that's set to 1 basically this node is now doing nothing I'm gonna set the clump on on this as well just like we don't get any unpredictable effects and really all that this is designed to do now is if we want to colorize this in any way or darken it we can click on this color swatch and we can set it to whatever color we want so typical colors might be yellow or orange perhaps red it's probably differs depending on where you are in the world mostly I'm just gonna reset that back to 1 let's also rename this to color and we'll left-click and drag that into our little base color frame here alright the only other thing I want to fix on this stripe here is that it's very flat overall we have all this stuff at the bottom that we're not actually using so I might use a little bit of that as a jumping-off point what I'll do is just add some very simple noise so I'm gonna take this this and this by shift selecting on them press ctrl C and then ctrl V to paste and G to move those up and then I didn't mean for them to pop in there I'm gonna sort out in a second in the meantime I'm just gonna left click and drag across all of these and press X to delete them now I'm going to zoom in and grab these three and Alta p2 unparent them or pop em out of that base color frame and also as I want this stuff to mix in with this information that we've already got they're informing some of the bump I'm going to lower this base call it down a little bit and slot these in here instead all right also a little bit of cleanup let's press B and border select across all this alright actually before we parent all this stuff I press alt a to make sure everything is D selected then press B to border select across for ease and then shift P to pop them into a frame of their own but I'm gonna make sure this frame is selected and then press G and then move it inside the main alpha frame and that this one is called this horizontal and then all of this stuff at the top so let's press B to border select across that this is all that vertical stuff so let's go shift P again make sure this frame is selected and then drop it inside that main alpha frame and then let's name this vertical alright I'm going to go full screen with control space and what I'm going to also do is just left-click and drag across this press G to slide that out I'm gonna make this a little bit easier on us because these two F a bump and this one's for alpha so let's go shift and right click across those press G to move that up a little bit and shift and right click across this I'm gonna reroute that down there just to separate that a little bit and now I'd like to do is merge this stuff in with the bump that we've already got to do that simple enough we just need a math node shift a converter math drop that in there I'm gonna set that to multiply clump it and then take what we've got here and set that into the second socket now we're using pure black on this at the moment and the scale is relatively large I'm going to set that to object as well so it's not all streaky by default as you often get with the generated coordinates and then with that I'm going to left we can drag across these go shift P and let's call this simple general unevenness that's the terrible name but let's just go with it all right let's go control space in on this simple general unevenness let's see what we've got let's try with this slide a little bit I'm going to set that down all the way to the left side and increase the scale on this quite a bit maybe to something around a hundred take the detail down a little bit and the distortion perhaps we can leave off a lot of this things just down to personal taste of course and then maybe we can flatten some parts of it smooth over the gradient from the flat top to the rest of it by switching this to say something like b-spline and then with the leftmost flag I'm actually going to raise that up so it's not pure black and that's kind of gonna control our strength so first I'm going to wait for it to compile which it's got now and so as we raise this up we're gonna soften the overall effect but I'm just gonna leave it around there I think my zoom out and take a look all today to deselect and yeah I think that's looking pretty good I'm going to lessen the contrast of our base color here that the grays blood is that we've got I'm just gonna raise those up a little bit more just to make that a little more subtle let's have a overall look around this now let's check it out in some different lighting as well so I'm gonna switch over to our look dev mode click on the down arrow click on the sphere and try something else like this or maybe this think they're working pretty well I think I want the Alpha mask to just be a little softer though the transition between these so I'm just going to go back over to our rendered view because we can kind of still see that here so I'm gonna click on our upper layer find out alpha stuff but no one's controlling that alpha right here and these are quite tightly packed creating this very harsh blend so let's try softening that off slightly can play with exactly where that emerges as well and perhaps we can also change the color slightly and just try and match it a little bit more something like that but hopefully we've still got plenty of variation throughout and now our nice little test for this would be to grab our light that we have here which is right up here in our scene and I couldn't lower it just off to the side and make our bump map really fairly extreme you're really working for it now and with that let's mix a couple of final tweaks so with this paint stripe I can click on the color swatch here and lighten this and sort of reduce the bump amount happening there let's just zoom out a little bit more again yeah I think I should be okay the large stones that we have here let's make them actually quite small let's find our gravel here and which ones that we got here we have a Voronoi texture scale let's try setting that to 60 which looks very similarly size to our other stones let's just check what they're set to on that lower layer we have that set to 58 that gravel 58 so there's no surprise there let's go back to the upper layer and set that to maybe something like 80 instead also something that I'd quite like to do is give all of these stones a little bit more space so the space at the moment between the individual rocks our little gravel stones here they all seem a little bit too tightly packed so I'm gonna grab this here as we raise that in we can see the distance between these and let's give the lower layer the same treatment let's take this lower flag on our gravels color ramp and push that towards the center and we should separate out those stones as well something like this let's take another look overall I think that's looking pretty good what we can do with this extreme angle of this light here is combine the look def mode with that light so we can click on here and put scene lights into it and maybe take that light and I'll come over to the energy settings of it and set that down to say something like 300 and that's looking pretty good let's try some other look dev scenes for example this dark one let's toggle the lamp off let's try another and yeah I think I'm liking that overall a quick addition we can of course make too this is just to give it some extra lines so I'm gonna go shift D and middle click and drag to lock this x-axis here and then left-click to drop into position about there and then I'm going to duplicate that material and call this paint stripe yellow instead I'll zoom out come over to our coloring and give it that yellow something around there and then I want to remove that gap so I'm going to come over to here and I can select this math node here because it's taking our horizontal stripe and then multiplying the vertical stuff that we've got on top so we don't need any of those nodes so I can just select that one em and I give it another moment to compile and that's done and then let's zoom in a little bit and then go shift D duplicate it again maybe I'll try and squish this one down so a little s and then X and scale that down a little bit further and maybe we can get away with that a little bit just ignore that over to the side shift select those two shift D and X and then move those to the other side go R to rotate and then Zed to lock it on the z axis and then I'll type in 180 just a spin nose round and then just offset them slightly with G and then X and then left click to drop them into position of a to deselect control space to go fullscreen I must zoom in and take another good look at this brush we'll take those two little skinnier versions and go ctrl a and apply the scale on them so they don't look too out of place but yeah I think that's looking pretty good as a clean section of road all right so that brings us to the end of the road pun intended congratulations for making it this far I realize this one is quite a long one on that please let me know if you prefer these kinds of longer deeper dives into something or whether you'd prefer a shorter and quicker to achieve type project it's always an eternal struggle trying to find the right balance on that one so any help is much appreciated anyways thanks for checking it out hope it's been helpful and I'll see you next time

Channel: Aidy Burrows 3D

Views: 50,665

Keywords: blender, 3d, cg, tutorials, aidy, burrows, creative shrimp, 2.8, eevee, procedural, texturing, asphalt, bump, displacement

Id: Hb81bSTygt4

Length: 67min 50sec (4070 seconds)

Published: Mon May 27 2019