Concrete Material in Substance Designer | Beginner-Intermediate Tutorial

in today's tutorial we're gonna go over how we take a simple shape note apply some very simple tips and tricks' a little bit of magic and get an awesome looking concrete material like the one we have here so like always I've just started off by creating a new material and I'm going to immediately save that material and now I'm going to call this guy our industrial concrete and I'm gonna just label this as tutorial because well that's what we're doing right now we're making a tutorial so concrete industrial tutorial okay and now we've got that all set up so I want to give myself some room and as always I'm just going to make it base material so that we're going to be able to plug in our notes so that we're gonna be able to view in the 3d port so I want to make sure that we have our normals and our height for right now and I'm gonna make sure that our material is dielectric and now we're all set up so I'm gonna just right click this and we want to view it in 3d and now we're getting our great dielectric going so let's take a look we want to make sure that we add our normals and we'll just turn this to fill with alpha filled with input sorry and now we're good to go so the way that we want to start off our concrete is basically by blocking out what our concrete shapes going to be in this case it's going to just be a square because we don't really have any particular geometry that we want it to be right now and so how we do that is just add a not a shape glow a shape node and I'm gonna just plug this into our normal and our height also making sure just in our materials that our scale is turned all the way up now you're not going to see anything because we've got pure white but later down the line something's gonna start showing up so now I'm back on my shape and we get the square that's a good start because ultimately what we're going to be doing is working away and chipping divots out of our concrete and we need a white canvas or a blank canvas to start with because what we're gonna do next is we're going to start creating the little tiny divots that you see in concrete and we're gonna just need to basically subtract white values from our white shape to get the effect that we are trying to go for so we're going to do is we're going to start by using a another shape node and here instead of using the square we're going to use a paraboloid pattern so go down to pattern and we just want to select paraboloid and this is going to be basically the basis of what our divots are going to look like and now we're gonna warp and Bend them to to make them look like how we want to I just want to make sure that we're viewing this guy in the 3d and now what I want to do first is actually create multiple divots around our material so in order to do that I'm gonna run this through a tiled generator node and now again we're going to get the base squares that we normally get because we have to switch the pattern over the pattern type to image input and now we're gonna get our paraboloids and so i'm gonna bump up the numbers to about 15 by 15 just for right now and I'm gonna change the scale variation so that we're gonna get some variance in what our divots are gonna look like so I'm gonna run these guys just through a warp node and we're gonna start to see how they're going to basically start to look like divots and for the warp I'm going to use a purlin noise and now you can start to see that we're getting the warping effect of our Perlin noise however I don't want to use that one because I want to use one that gives us a little bit more flexibility with how big and how small if we change the distance here you can see that it's switching up our Perlin noise to make bigger gradients or smaller gradients and this is going to allow us for more flexibility when we're working with our work and now if I switch the distance you can see how it's affecting our tiles over here it's now gonna go back and I'm just going to really play around with some of our values and I want to decrease the scale I want to put the scale variance up to one so we get some really interesting or dynamic looking divot sizes and now I want to go down and I want to mask off some of them randomly just to get rid of them so that are not so uniform I want to make sure that our blending mode is to max so that if they go over each other they're gonna look more like they are um kind of intersecting with one another versus creating a pure white value which is going to look really bad when two of them overlap and then lastly I'm going to switch our position random to really get our randomness going and now you can see that we're getting it all over the place so if I click on this guy double click on that guy single click on this guy and I start to increase the size now you can see those randomness the random values that we're gonna get for our divots and I also want to decrease the intensity so that we're not getting anything too wacky and maybe I'll go back and just decrease the scale a little bit because I don't like how big they're starting to look because our divots are gonna look really really tiny if I just switch the distant size again starting to get some more effects that I like and I don't like that guy right there so maybe I'm just going to move down one and now we're getting some nice-looking divots but we want to see what they look like in our 3d view so we've got our divots right here and I'm just going to blend them together with our base shape which we're just basically using as our blank canvas so I'm gonna blend them together this guy in our foreground and you can see it's giving us basically the inverse effect of what we want our divots to be so in order to take away while white value from a white value we want our blending mode to be subtract and then I missed it there we go and so now you see it has switched our white value here to basically subtract any white value that it meets in this case it's going to subtract white from the base or blank canvas that we set up and now we're starting to get some holes or some divots in our concrete and now I want to just go over to our normal map and I want to switch the intensity because it's a little bit too weak I guess for what I like so I'm gonna go just switch that up to five so now we really get to see what our holes or our divots are gonna start looking like and now what I want to do is I want to take this kind of little miniature graph that we've created and I want to duplicate it because I want to do it again but I want to switch up the randomness and the variance of the scale so that we can get some more interesting and more diverse looking divots so I'm gonna hit ctrl C and I'm gonna ctrl V and I'm gonna just bring this above and now I want to erase this Perlin noise right here because we've already got a perfect Perlin noise that we can use right here and now if I go over to the tile generator I'm gonna go down maybe increase the amount that we have up to about 20 and 21 that's fine we can play with the scale a little bit maybe bring the scale variance down so that we can see more of them bring the scale up a little bit I want to see what the warping starting to look like okay so maybe bring the scale down again because I don't want something this big here just hit the scale down and play around with our X&Y randomness here so let's take a look okay so I like that so now we're gonna add a blend on to our bottom chain here and we're going to go and combine these two warp nodes now it's just going to display what our top one looks like and we get to have a kind of a sneak peek and maybe I want to alter it again but not right now we just want to take our blending mode and we want to change this to screen so now it's going to take any black value in our top one and get rid of it so that when we put it over our bottom warp node here it's just going to keep the white values and so now you can see that we're getting a unique looking map that we don't have to create all in one node we can use two different chains here and get different sized divots where we want to break up some of the monotony of the the graph or the chain that we had created before so I'm just going to play around a little bit with our smaller divots up here because I don't like just kind of how close they are and honestly I think that I picked too many so we might want to bring this down a little bit maybe bring it down to around ten or so we can bring the scale down and that's looking good now I just want to mess around a little bit with our bigger divots here maybe change the offset may bring the scale variants down a little bit scale up and there we go I like that I'm just gonna save it real quick and it's now I'm going to cover these guys click and drag over them and I'm gonna add a frame just so that we know when we come back later on what these are gonna be called and we just changed the title of our frame right up in here we're title hit enter and now we've got our divots frame so I'm gonna click and drag and just move all of this back as well as our blending node and so now we're ready to go on to our larger divots so now that we've completed our smaller divots we're going to actually use parts of this chain that we've created to create our larger divots so I'm going to just copy and paste our tile generator and our shape note here because these are going to be integral when creating our larger geometry so I'm gonna bring these guys over and so now I'm going to first off decrease the number that we have on the Y and I want to bring our scale way up right about 1.9 - works for me so I want to go all the way down and I want to make sure that our blending mode is still on Max and I want to start masking off some of our different shapes and I just want to play around with our X&Y random to make sure that we're not getting too many cracks and stuff and surfaces too close to each other but also that they look pretty non uniform random we can also play around a little bit with rotation but we want to make sure that things aren't you know rotating exactly the same direction together and make it look too uniform so I'm going to just have a slight free rotation with a very very slight free rotation as well so here I'm going to add a slope blur grayscale and what that's going to do is basically just affect our color values here and along the edges to give us more cracked shape ideas or geometry and I'm going to add a fractal some base node and when I plug that in it's going to basically look like it's being viewed through stained glass and that's just because we need to play around with our fractals on base here and immediately when I turn down the roughness you can see the jagged effects that we're gonna get here if I bring the opacity down you can see kind of what the the values are gonna look like and if I bring this right up bring our roughness down now we're gonna get some really really heavily influenced cascading effects here if I bring this down it really softens it and again if I bring this up you can see it really makes it a little more noisy I guess noisier so something around that looks good to me again playing with our levels here just to make sure and I like that that'll work so I want to be able to view this in our 3d view so I'm going to click on our blend down here and I'm just gonna add another blend and we're gonna essentially do the same exact thing that we did for these here I'm going to bring this guy and plug them in over top and you can see we're getting kind of the inverse effect yet again of what we want and all we have to do is change our blending mode to subtract and now we're getting these large divots in our geometry now bring this guy down here just so we can see a little bit more so we're getting our smaller little divots but we're also getting our larger divots in between so now that we've got both of our divots out of the way I want to be able to make a bunch of cracks that are just gonna kind of run along the surface of our basically otherwise unscathed geometry here and so we're gonna essentially create it the same way that I've done in the past tutorials and we're gonna use cells three because that gives us a really a nice cracking effect and we're just going to slope and blur and warp over top of it to give it more of a rocky cracking effect and so I'm going to first make sure that our distance is set lower so that we're getting larger cracks because we don't want to have you know thousands of different cracks all over this because it's gonna look too busy or too noisy so I'm gonna set this down to about four if I can get it there five works and now I want to slope blur greyscale on this guy and the input that we're going to use for our slope is going to be the fractal some base so we're just gonna borrow from our large divots and plug that guy in and now we're gonna get some really wacky stuff and we just want to make sure that we increase our samples but really decrease our intensity so now we're starting to get some cool looking stuff I also want to make sure that our mode is set to minimum because we're going to get the the essential cracks but we also want to have a little bit of chipping away of our edges and if I increase our parent size here you're gonna really see what I'm saying maybe bring it up to 2048 as well yeah so we're gonna get some nice little gradients of chipping away and if I increase the intensity you're gonna really see what I'm talking about here so as of right now I just want to start seeing this in our viewport so we're going to add another blind to our daisy chain here bring this over top and now we're getting that a real cracking effect and if I go back and edit our blur grayscale here you're gonna be able to see once I take the intensity down we're getting a nice chipping effects and if I change our blending mode to blur it's going to kind of take away our initial cracks and if I change this to max it's gonna take away our like edge details I suppose and it's just going to leave us with the the higher values here so I use men because it really gets into the nitty-gritty details but I'm not going to go with this high of an intensity so I'm gonna bring it down to something about let's do 1.5 and so right now I like that but we're not done I'm going to on top of that at a warping node and I'm going to see if this Perlin noise zoom that we use for our small divots had some interesting effects and certainly interesting but not the effect that we want let's see if we can decrease the intensity that's going to give us something kind of cool so this is with our warping and this is without our warping so you can see that they're a lot flatter and a lot more will say geometric and as soon as we add a warp we get a little bit of a more organic flow to it things aren't as sharp and as you know 45 90-degree angles and we can really just play with our warping intensity to get different effects so I I'm happy with that I like how it's turned out and now we need to once again switch our blending mode in our blend node down here and because we've got white with our black divots we want to make sure that the whites gone but the black still shows up to subtract from our white shape node that we've started with so in order to do that we just have to switch our blending mode to multiply and now it's going to get rid of the white and keep our black parts of our texture here and so now that's looking really good but I don't want to have our cracks affecting our texture or material entirely so I'm going to on the end of our work add a levels node bring this guy up here and now I want to make sure that we're kind of eradicating some of our darker spots so you can see when I crank down our white input there if I can capture the light at a good angle there we go basically just removing some of our cracks so I'm going to bring up our mid value here and start to decrease our white so that we're getting only cracks that go so far and don't continue along the entirety of the texture so I'll just play around a little bit to make sure that we still got some cracks and I want to bring our parents eyes back down to 512 because I want to see what this is gonna look like at a lower resolution texture and I normally try and go back and forth between 2k and 500 because I want to see what it's going to look like really the highest value that we're gonna see in a game engine and possibly one of the lower values that we're gonna see in a game engine okay so we've got some cracks showing up if we tune this back to 2k not showing up quite as much but they're still present and maybe we're gonna dial back our white value a little bit and I'm happy with that because now we've got some of our cracks showing up but it's not all over our texture and again once we get going we're gonna be able to play with some parameters to basically expose more cracks or less cracks as we please and with that we are ready to continue on so now that we've got our cracks all finished up we want to start adding some more texture to what our material or our concrete is gonna be and I'm gonna refer to it more as a textile because I want it to basically be what are we gonna feel when we actually touch this concrete because concrete is while it may look smooth it does have some micro surface roughness or bumps to it and so you really have to imagine what this material is gonna feel like if you were to just go and take your hand and right up and touch it and run your hand across it and so for that I'm going to use a fractal song base again and I'm gonna create a new one because I want this to be independent of what we've used it for both of our large divots and our cracks so that we can change it independently and so I'm going to plug this guy in to a blend node that we're going to add again to our chain just so that we can see what's going on in our output here and now you immediately see that we get some interesting looking micro surface roughness or bumpiness to it and I don't want it to be you know that harsh so I'm going to first off decrease our parent size and we'll go down to 512 and now I'm going to run this through a levels node so that we can increase the height and we can increase the recesses and we can also increase what our texture is gonna look like on top so I'm gonna go down and I'm going to change the roughness a little bit nothing too drastic and if you change the opacity it's gonna get darker and I don't really want to affect that on our fractal some here I want our levels node to be the indication of height nough so I want to switch our minimum level and you can see in our 2d texture here it's just adding a little bit more variance to you know what our different color ranges are gonna be our color values so I'm gonna keep that something to around five so that we get a little bit of larger bumpiness as you can see with our darker and our whiter spots but we also get some more individual pixels or color variances and then the same deal is with our max level you can play around and get something a little bit smoother or something a little bit sharper and I'm gonna leave that at around ten because we don't we don't want something that's too wacky and too out there but we do like to have a little bit of variance and now we can change the levels by just increasing our black output and decreasing our white input so that there isn't such a drastic change between the two of them and normally I try and go for kind of a a mid gray value while still keeping a little bit on the whiter side again you don't want to make sure that you're not really playing with these too much because when you peak as you can see any area is now what we've indicated black to be is this gray because we've increased our black output here is now just flat and we don't want to do that so I don't really touch these up here when I'm only using our levels node as a height indication so I'm going to increase our white level up just a little bit actually all the way to the top and I'm going to just use our black output as any indication or basically height adjustments and so I like that right now we're getting is you can see a bit of a you know random or bumpy looking feeling to it or textile so if I was gonna go and put my hand right on that and run it across I'd be able to feel those bumps and the way that we're gonna blend these together is if I just click on my blending mode we're going to use multiply and now you can see what its gonna look like over top of our cracks and our you know larger and smaller divots and it's gonna fill in pretty much every part of our material because we've told it to just multiply over top so any white parts are going to be kind of disappear any darker parts that are not pure white are gonna show up and you can see that little variance hopefully if I really crank it as well you're going to be able to see that variance on both your material and your texture so we're just going to frame these guys as well and I'm gonna call this textile so that we know where we're gonna get our kind of feeling of bumpiness from and now we're ready to move on to our pebbles so next we're going to work on creating our pebbles and the way that we're gonna do that is very very similar to the way that we created the divots and the idea behind the pebbles is that as the concrete has been chipped away and chunked away we're gonna just have some rocks and pebbles within the confines of our larger divots and not really have anything up top on our surfaces so how we're going to do that is I'm going to just once again take our divots base here and I'm going to copy them and then I'm just going to paste them right over here and I'm going to get rid of this connection to our warp because we're going to utilize a fractal some base which we will indicate later on so with these guys here I'm going to just also add in a slope blur over top and what we're going to do for this is I'm going to once again add in another fractal some base because I want to individually alter these rocks and so we're going to go to fractal some and connect that guy right in now we're gonna get some interesting looking stuff if we just increase our samples a little and decrease the intensity make sure we have this in view this now you can see kind of the effects that we're gonna start getting and there we go so just playing around with a roughness global opacity and also making sure that our intensity is is fairly up there it's about halfway and just playing with our different modes I still like that we're able to get some unique looking rocks which we are going to strew about our material here and we want to make sure that our scale is nice and up and these are going to be our larger rocks and now how I'm going to go about warping them is if I take our fractal Sun base here and now you can see that if we increase our intensity we're gonna get some more distinct looking rocks so I'm gonna play around a little bit with our number and our scale just to bring scale variance down just slightly and making sure that we also switch around the X and the y randoms to get something looking really nice and really interesting and we're going to do the same for our smaller rocks so I'm gonna copy and paste this chain and I'm going to delete this because we don't really need this guy because we've already got a perfectly good node right up here so I'm going to connect that guy into the slope layer and we're essentially going to get the same as before so I'm also going to delete this guy as well because just for redundancies sake we don't need to compute a node that we already have up here so I'm going to just click and drag this guy and bring him into the tile generator as well and now here is where we're going to start creating our smaller rocks and all we need to do is really bring up the the number that we have and play around with our warping intensity and again our X and our Y randomness in our position just to get something that's breaking up I'm also going to scale it down a little bit and bring up our scale variance so now I'm going to blend the two together and just like we did with our divots I want to make sure that we're able to almost inversely get rid of the black and keep the white and so to do that I'm gonna go down and I'm gonna go to screen and now we're getting our bigger rocks mixed in and around with our smaller rocks so now I'm gonna blend these two our consistent chain here it's now you're gonna see that we're getting some very very sharp sharp rocks and I don't want to do that I want to make sure that we put screen on it and so now it's going to blend in a little bit nicer but we don't want rocks up here and we only want our rocks in our large divots and we're gonna need a mask in order to mask off where we don't want rocks and we do want our rocks and how we're going to do that is by using our large divots over here we've already essentially created a mask and we're going to use this by just clicking and dragging our final node over here into the blending of our blend node over here so when I do that you can see that it's removed most of the rocks that we have on the outside however if we take a look we've got a very weak mask because it's got some areas that are gray some that are you know a little bit darker almost to the point of black and we want our rocks to show up everywhere that we can in our large divots here so in order to just bump that up I'm going to add a levels node to this bring it over here so we can see it and so now I'm just going to ramp up our white levels bringing up our black a little bit just so that we get pure black and pure white so that anywhere that's white our rocks are gonna show up and anywhere that is black is going to just be left to whatever other you know materials are textures that we want that surface to represent so now you can see that our rocks are starting to show up but now they're way too high and in order to do that we're just going to switch our levels and I want to in this case decrease the height that we have so inversely to what we did with our textiles and push up our black output now I want to bring our white output down so that things aren't as white on their maps and subsequently becoming taller so something like that that looks good where we've just got some nice little rocks in there and snap we blend these two if we look at it you can see that we're only getting a few rocks here and there so I want to just play around again with our tile generators here maybe increase the number of rocks that we get up here increase them down here and now when our map we're starting to get a little bit more I do want to decrease the height still because I don't like how tall they're starting to look and if we take a look over here we're getting some rocks and that's starting to look good so I'll bring this back up and make sure that we frame this whole thing and we want to call this one pebbles and now we are ready to move on so now we're ready to move on to our final outputs and we're not going to need this base material anymore so I'm gonna delete that guy and now I'm gonna start setting up our outputs so we're gonna plug in our normal to there and I want to make sure that this is our height map or at least the second last stage or height map so I'm gonna plug this guy right down into our height and from italic I'm gonna do like we always do because there's no metal or metallic values in this material I'm just gonna set it to a grayscale uniform color going to make sure that our parent size is absolute down to 16 and I want to make sure that our levels node is just able to bump everything back up to the size that it needs to be if we're going to use this in a game engine or a another rendering software and for right now I'm just going to make our roughness a grayscale and just about halfway up and now I'm ready to start working on our base color and so we're going to use a pearly noise one as the basis of what our textures are going to be and I'm going to run it through a directional warp and the intensity I'm going to use is the textile fractal some base that we have because that's a majority of what the geometry for our material is going to be and so the geometry should affect what the colors are also going to be overtop of it and you'll see here what I mean in just a second so I'm going to take our textile fractal sum and plug it into the bottom of our directional warp and it's not going to do too much but if I increase the intensity up to a hundred now you can see we're starting to get some like spatter or some random grunge enos and what I did is I took two of these and I changed one to 90 degrees so that we've got it going in two different directions and so in order to get the effect that I got I just took these and I cranked them right up to a thousand and now you can see we're starting to get some like splats or blotchiness and if I crank this guy up to a thousand as well we're getting the same effect and so what I did next is I just blended them together so that we get these randomness kind of coming together and being cohesive with organic nests and so the blending mode that I chose for this was Adso because I want the white values to kind of subtract each other and also blend together and add on top so now we're getting some really contrasting areas where we're gonna have some really neat color information so next we just want to run this right through a gradient map and now here is where we're gonna get all of those fancy colors and I'm just gonna plug in our gradient map right into our base color for now so that we get to start seeing how it's going to look on our material here and you can see that we're already getting an interesting-looking blotchiness effect to it and so I'm gonna go into our gradient editor and I'm going to just start messing around with the values and again we don't want anything that's white or black because concrete is rarely just pure white or pure black so I'm gonna bring these kind of up into the middle areas and you can see we're already getting sort of a neat effect just by having first off a really interesting and blotchy gradient to work with but also how easy it is to just get something interesting with really just two colors which are very very similar in their their color value so I'm gonna mess around with the colors for just a little bit and I'll show you what I have I want to get back so now here's the color combination that I came up with and I'm gonna bump it up to just a 2048 texture size so we get a little bit nicer resolution and you can see that I've added a little bit of saturated color just at the very very tip of our material here it's just a bit of an off grey into blue and you could see that it kind of is intermittent along our texture here just to break up the monotony of having a bunch of grays and white values and so I've made the very very top of my my gradient editor here a little bit blue and the bottom just a normal about mid-tone gray and then I've kind of just taken these two here and use them as my middleman for how much blue or how much gray I want to have in my texture so now it's starting to look good but now we want to start coloring in our larger divots here and so we want to only affect the color of our larger divots and the rocks inside them and we're going to basically need to blend together two masks in order to do that and how I've done it in my material here is I've taken the mask that we've created for our blend between the rocks and then I've also added over top of it the rocks that we have indicated so what I'm going to do is I'm going to add a blend and I'm gonna put this level's node into the bottom and over top of it I'm gonna take the rocks that we have here and put it in the foreground so now I'm going to switch our blending mode to subtract and now you're gonna see that it's going to take away the rocks from our mask here and that's exactly what we want because we want to just be able to change the color of our divots down here and now I'm going to run this guy through a gradient map and I'll bring these over to our albedo and with this guy right here I'm going to once again make sure that we don't have two White's or two black and just kind of bring it down so that we've got a nice gray tone and so I'm happy with this for now and so we're going to add a blend and we want to see what this is gonna look like in our texture and you can see it's really affecting up the walls of our divots here so I'm gonna dial this back a little bit bring the blackness up a good amount and I'm also going to use our mask here as a mask for our blend between the two and so if I change the color of our gradient here it will show up a lot clearer what we're essentially masking off and now you can see that I've done the the black levels here maybe a little too little too high so I'm gonna bring this right down so that we're still getting some of the rocks non colored but that we're not getting too harsh of a a contrast and I'm actually gonna switch this back down maybe make it maybe a darker gray not necessarily black but a little bit darker because we've chipped away into our material here and lastly I just want to make sure that we're getting some of this you know random scatter material or a texture from our top and so I'm just going to change the blending mode down to overlay and now we're gonna get some of that in our recessed areas of our larger divots so I'm happy with that so I'm just gonna clean these up a little bit to make sure that if we ever come back to this we know what's going on and I'm gonna add a frame around these and call it our albedo now we'll bring this up here and now we're good to go so now I'm gonna start working down towards our height and I've noticed that we are getting very very deep recesses in our height map here and that's because we have a very very jex deposed white of our surface but then a very very dark recess where our large divots are going to be and to fix that I'm just going to add a levels node towards the bottom and I'm going to play around with my outputs until we get something that's not quite as deep and just like we did for our textiles I want to make sure that I'm only really using our black output because if I was to use say our white output here now it's gonna bring everything down towards our divots here and I want to make sure that we're not touching any of our you know top height I want to make sure that if I'm bringing our Heights closer together that I'm bringing our bottom height up it's just gonna make your life a lot easier when trying to use your texture for a game or a render because as you can see we're using our parallax occlusion to give the sense of height which is not really there because there's no geometry here it's all a sense it's an illusion essentially but if I was to bring this down and bring our height down you can see that that's creating a little bit of a trippy effect where we can almost see into the next texture or the next material so I want to make sure that I always bring my my Heights upwards versus bringing them down so that's still a little too jagged a little too deep and something along those lines looks pretty good it's not too deep but it's just deep enough to get the idea and now things are really starting to shape up for us here we're getting nice colors we're getting some nice nice destruction details but we're missing a very very vital material or a texture map and that is our immune occlusion so I want to make sure that I add another output come down and switch it to ambient occlusion and I want to make sure that I label everything accordingly switch our label to emit occlusion just to help us out in our viewport and make sure that we put this in our material group it's now if I view outputs in 3d we're gonna get black because this is essentially without enough output or an input saying yeah everything is black everything is shadow so it technically is viewing correctly but we're saying everything is shadow so nothing's gonna show up so I'm just going to plug this guy right in and if we're gonna get some interesting details because we're saying that the black stuff is all shadow and now it's going to basically just really really harshly shadow our material so I'm going to put in ambient occlusion node in and we're gonna get something a little bit nicer but not really what I want as you can see we've got a very very non shadowy top but then the divots and the larger divots are almost like infinite holes so I'm going to just bring this down on our height depth so that we're saying it's not very very a deep the recesses that we have aren't too deep and I'm going to switch the radius down to something more like that so now you can see if we get some shadow detail but nothing too crazy and now the time has come for us to look at our roughness and normally I saved the roughness for last because I want to make sure that we've got all of our vital information such as our geometry and our color information down so that it really helps me kind of understand how I want the lighting to affect our material and where I want light to be you know more or less rough or I should say the material to be more or less rough because right now we've got a uniform color and if I change this it's going to be you know shiny or glossy or in every part uniformly and so how I go about creating my roughness maps is I take the information from my normal map and I plug it through a curvature smooth and so I take this right here and so we get a lot of information and it really shows us where our edges are and where our geometry is and so the thing about our roughness map is that white values indicate where light is most rough or materials are most rough and darker values and indicate where we have glossy err and so our roughness map or our curvature map right now is pretty much inverted because we've got our darker divots here but that would indicate super glossy and so we've also got our our edges which are whiter which would in the real world indicate that it's probably a little bit glossy or at least shinier but how our roughness map reads it or our roughness output reads it is that it's going to be rougher so in order to get this correct I'm going to run this through a levels node and I'm gonna plug this in and so what I'm gonna do with the levels note is I'm gonna take our inputs here and I'm going to switch them so that we have essentially the equivalent of an inverted map and now it's gonna look a little bit weird because we're used to seeing our lighter values up top and our darker values being below but now our divots as they're whiter we're going to have rougher or less shininess to it and our edges are going to be blacker or darker and that's going to indicate that we have some more gloss to them and if I go over our divots you can see that we don't really have much of any gloss to them and so now we can start playing around with this too and get the effect that we are looking for and now if I play around with this you can see that certain areas start to light up where certain areas are not as shiny and I like that little variance or that randomness in the roughness but I don't like how glossy it is overall and to decrease that I'm going to bring our black output up and so now the overall glossiness has faded a little bit and now something like that looks really nice where you can see that we've got a little bit of a rougher normal surface but towards where our cracks and our kind of events have happened we've got a little bit shinier edges and you can see it even along some of our divots here's that we've got a very very rough middle to them but then they've got a little bit of a an edge where the Sun or the light source is going to kind of catch and reflect off of and so now I'm just gonna come back down to our aim and occlusion and I'm going to try and do my best to circumvent the issue that we have when importing into unity 5 as you can see I've got my compatibility view on and we're not able as of recording this video quite able to import a material into unity yet it's not compatible with a substance designer 6 so the way to get around this is going to take our curvature smooth note here and I'm going to run it through levels and so just again looking back and forth between the two for reference I'm going to play around with the levels and see if I can get something that somewhat mimics that of our amine occlusion and so I'm happy with that so I'm going to just take this guy down here and I'm going to plug this guy in it's now you can see that the the difference is not too strong and we can again play with the levels if we want our shadows to be a little bit darker versus a little bit lighter and how much we want them to be affected overall so I'm going to delete our amine occlusion now because we've substituted this guy in its place and from there I'm going to do one last final touch on our albedo map and that is going to be creating a dirt mask and so I'm going to type in dirt and I'm going to go down here where it says dirt and this is going to give us a mask and I want to plug in up top our immune occlusion so the one that we've just created here and also our curvature and so now this is going to give us an interesting mask that we can use when creating a dirt mask or a dirt material over our albedo so to demonstrate this I'm going to add a blend between our finished albedo and our output and I'm going to use our dirt here as a mask for what we're going to indicate our dirt color to be and so I'm going to just pick a uniform color and to really show off I'm going to just hit orange make it really really a awkward color and we can see what it's gonna do so right now we've got our dirt really really rampant within the larger divots of our material here and I don't want it to be so dirt that it's just completely covered the bottom and so to fix that I just go and switch our dirt amounts that it's kind of collecting you know in the sides and along the edges and it's also collecting in our divots here and I also want to change our grunge amount up a little bit so that we're getting some fall-off dirt kind of towards the center we can also change the grunge scale which does exactly that if we take a look down here and I switch it really high it's going to just kind of repeat a lot so that we're getting some smaller and smaller grunge's I don't want to have too high grunge though and so I'm gonna bring a grunge amount up to so point seven because I want to be able to get some dirt just up top here and actually I'm gonna bring that down now that I'm looking at it just a little bit and so we're just playing around with these values you're going to be able to get an interesting looking result and you're gonna be able to have a lot of unique looking dirt that's been randomly placed just based on a mask that's taking the input of your ambient occlusion and your curvature so now I'm going to switch this color down to something that's a little bit more reasonable and dirt like so I'm gonna take something like that and now it's really accentuated where our divots are but it's also created some more break up in what our monotonous gray material is going to look like and we can also add this to our roughness map here if we just bring this back and we add a blend over top of our levels and we want to just take our dirt mask and plug it in top and then we want to make sure that we set a blending mode to screen so we're going to get rid of all the black but leave some of the white values so that the the reflections aren't happening where we've got our dirt and so now we've got a very very non reflective large divot where we've got most of our dirt appearing and so here's the initial test material that I made to get an understanding of the material that we're gonna make for this tutorial and I'm gonna show you some of the parameters that I have created just to make this material a little bit more versatile because I didn't know if I was going to use this for a floor if I was gonna use a for a wall and I wanted to keep both options open and in doing so I tried to make my material flexible so one of the things that I added was the ability to turn our rocks on or off because when you've got a concrete floor having rocks in between the divots makes a lot of sense where else are the rocks gonna go right but if you happens a wall these rocks all of a sudden start to defy gravity a little bit and so I wanted the ability to turn them off and so what I did is after our pebbles here and move directly after our levels node I added a blend and what I did was plug our levels into the background and I plugged the levels of our metallic into the foreground to give us a difference between a black and our rocks and so what I did was I just went to our opacity here and if I hit reset you're gonna see I've got zero opacity as our rocks being on meaning I want you to show me what's in the background being our rocks and opacity being one which is our foreground which is our totally black texture so in order to expose that all you have to do is right-click on your node and you want to go to expose parameters and for here because I've set it up we're a blending mode is switch all we have to do is click opacity either to 1 or 0 and so I've hit opacity and I just single click on it and I want to call it rocks on and off indicating that I want our rocks to be on when it's one on the left side of our opacity and off when it's on the right side of our opacity as well I've also made sure to add a hue saturation and lightness node just to the end of our albedo chain here because if I want to switch our albedo colors or lightness around I can do it on the fly and I don't need to come back in here and alter all of our albedo Maps here and so what I've done is essentially what we've done with the the rocks on and off I've just gone to our node here hit expose parameters and I've checked off our saturation our lightness you can also do the same with your hue and I've renamed these to something that's meaningful to me like albedo hue a beautiful saturation I'll butyl lightness and I've just hit OK and so now if I create a new substance graph I'm going to click-and-drag our material out here make sure that everything is connected and so now you can see that we've got our material in here if we increase the size to 2048 by 2048 we've got a nice-looking material that we also have some parameters for and so I've done small divots on and off large divots on and off we can also rotate our divots rotate them randomly we can change the position we can turn our cracks on and off we can change the amount of cracks that we have turn our rocks on or off as well change the dirt level as well as change the hue or the saturation of our material and so by just exposing these parameters in our initial material we're able to make our material that much more versatile not much more flexible and we're able to switch these values in game so I encourage you guys to go around and play with your materials that you've created see if you can expose some parameters that help you make your material that much more versatile and start thinking about how you're able to make things or replicate things that you see in your everyday life start looking at materials that you are interested by and think man how can I make that so I look forward to seeing the materials that you guys made and as always hopefully this helped you out and and inspired you to keep on creating thanks guys and I'll see you in the next tutorial [Music]

Channel: Get Learnt w/ Chunck

Views: 91,968

Keywords: 3D, tutorial, concrete material, substance designer, substance designer material, substance designer tutorial, substance designer tutorial beginner, pbr, pbr tutorial, pbr shader, concrete material tutorial, game, game asset, unity, unity 5, unity 2017, how to make, how to, education, substance designer 6 tutorial, texture, texturing tutorial, concrete texture material

Id: n3D1XasCTec

Length: 64min 51sec (3891 seconds)

Published: Thu Nov 23 2017