Create a Procedural Stained Glass Window Texture in Substance Designer

I've got an interesting tutorial for you today today we're gonna make a stained-glass window texture while also talking about masks and how we can divide our material into multiple components that we can use those masks to combine everything together it's easy to get lost in a complex graph so by thinking about our material as a bunch of simpler components we can use masks to combine everything in the way that we intend first off I'm gonna show you the basic principle on how to create a simple procedural stained-glass material after that I'm gonna show you a more developed version of this material and how we can take the concepts that we've learned so far and from other videos that I've made and really enhance and increase the level of detail in our material let's get started all right so let's get started create a new substance going to use the PBR metallic roughness template and I'm gonna call this stained glass utility I'll keep it at 2k absolute 16 bits per channel and hit OK and you see I get a little pop up here if my Explorer I like to have that on my second screen here so I can free up some space for the tutorial let's just organize our scene a little bit so what I'm gonna do is go to my materials and change this to tessellation it's gonna bring up my properties here and I'm just gonna set it to something like 16 for the tessellation factor actually I'm not I'm gonna touch the scale at all yeah and you'll see why later because this is not a very tall material okay so up next I'm going to create a blend and I'm going to attach this to the normal and I'm gonna make a new ambient occlusion node and attach this to our output and then attach this blend to that and also I'm going to attach this blend to the height and delete that uniform color here it's the only at me because doesn't know if it's a color node or scale note they don't fix it as soon as we put something in there we're gonna be working from back to front here what I mean is the furthest away or lowest to the ground part of our height map it's what we're gonna build first and then we're gonna build up upon it as we go higher and higher in our height so to start off we're gonna create some supporting glass panes that are gonna hold up in frame our stained glass pieces so what I'm gonna do is I'm gonna get a clouds to node this is a great this is a great noise but it's got all these sort of light and dark peaks and valleys here and I want to get rid of that and just get the texture so to do that I'm going to add a high pass grayscale node so see what this does if I connect it here it's getting rid of those really that puffiness and it's just keeping the texture that I really like from this and I'm gonna you can adjust the even further you can change the radius how much you're gonna keep let's see I'm gonna keep it a bit low here that looks fine and also I think I'm gonna adjust the scaling of my clouds so I'm going to drag it all the way up to 8 that's good and I'm gonna adjust the radius even more excellent so if I pump this into our blend you see our errors go away and we're getting quite an interesting material here so far I'm going to adjust my height depth on the ambient occlusion so we're creating sort of a frosted glass kind of like texture right now to start off with so I'm gonna make some room here I'm gonna drag all this over and I want to make some panels and to do that I'm going to start with a tile sampler and I didn't want to add it to the end I'm just gonna add it separately so I'm gonna borrow this connection and hold shift and bring that back into our High Pass grayscale so we got our tile sampler and I'm going to adjust the X&Y amount so I don't want very many of these I'm gonna set this to something like 2 for the axe and three for the Y and let's scroll down here and adjust our scale so so that's looking good all right now right now if you put this in the height map the white parts are what gonna stick out and the dark parts are gonna sink in and we want to have the opposite of that so I'm gonna select my tile sampler node hit spacebar and add an invert grayscale and so now we have the opposite effect here and this is creating our frame basically of a frame around the outside and then our beams as it were in the middle and if I look at this now it's very clean and we want to distort them a little bit so what I want to use is a slope blur grayscale I'm gonna put that into the grayscale input and then as my slope intensity here for this input I'm gonna get crystal one noise this is a great noise and I'm gonna adjust this scale a little bit here I'm gonna bring this into our slope where and double click to see what it's doing and it's crazy right now but let's crank up the samples and that's bringing down the intensity here quite a bit actually we really don't need that much maybe something like 0.2 might just be enough sorry 0.02 is very small amount and let's see what this is doing here so let's go to blend and we'll take the connection here that's going to our outputs and just bring it into this blend and then we have a background here and the foreground for our beams and I'm just going to so you can sort of see what's going on here we've got our beams they've got a tiny bit of distortion on them for now I think it's all we're really gonna need let's uh let's increase our 3d view so you can see what's going on here and I'm going to now that I'm getting some height I'm gonna go to my materials into the roughness into the tessellation shader and I'm just gonna add the tiniest bit of scale here because if you bring too much out it gets really crazy really fast so I'm just gonna add a tiny bit that way we're getting some height here in our 3d viewport okay that's looking like our base okay so I really want to keep organized here and what I'm gonna do is I'm going to break this down into components so it's really easy to piece everything together and I'm actually gonna take a few steps back here so we've got our tile sampler here with our beams and we've got our supporting glass here I'm going to get rid of this blend and I'm going to select these this whole beam section here hit spacebar and add a frame I'm just gonna call this beams and then I'm gonna select the clouds and the high pass grayscale I'm gonna call this supporting glass texture so we see what our graph looks like now and I'm even going to disconnect this because I want to start building these things on later on so what's cool about this process is that you'll be able to input any shape or image into this utility that we're gonna make and the result of it is gonna be something that represents a stained glass window so we're gonna create our own shape today but you can make your own or import a bitmap it's up to you so we're gonna create a flower like shape today so let's get started I'm gonna move these things down a little bit we're gonna use them a little bit later but what I'm gonna do now is create a new shape node it's got our shape here and I'm gonna choose a pair of bolide I'm gonna keep it at 1/4 the scale and the size it's looking great and I'm gonna use a really cool node called the shape mapper know this is a really neat note so the shape mapper node takes your input and distributes it in either a circular or a polygamous shape really useful when creating flowers or moss and we might get into that in a later tutorial so right now we've got our shape mapper I'm going to plug it into our input here and you can see what it does it's automatically set to circle and we have a circle distribution of our parabola wide shape and we've got a bunch of really cool parameters here we've got our pattern amount so we can change how many there are we're gonna choose eight it's got a radius here I think yep I'm going to keep it down to zero so we're getting sort of that flower like shape now and we've got a width here let's adjust that a little bit and of course you can change the rotation if you'd like it's up to you I'm actually just gonna keep it to fall for now so I've got the basics of our shape here now next we're gonna use another really cool node and that is the quantized grayscale so if I type in quantized they're the quantized grayscale node is similar to the poster eyes filter in Photoshop it takes your grayscale input and it divides it evenly by creating this stepping effect so you can adjust the levels of detail with only one parameter here and that is the quantized parameter so if we bring this up if I double click here you see what it's doing it's adding some resolution and increasing the amount of steps between light and dark here and our grayscale values so I'm thinking I'm only gonna want about four steps here because I wanted to be a very simple pattern but you can increase the complexity and it will also work with our utility node no matter how complex this quantized grayscale node is set to so I'm doing a little pre-planning here and after the quantized grayscale I'm gonna add a levels node because I don't want these inner circle parts here to be absolute white I want to bring it down a little bit because I know I'm gonna select these shapes as masks later on and to make that easier I'm going to bring down our luminance values here just a little bit because there's going to be other parts of our shape that are going to be absolute white and we'll select those later on so I just added a levels node right down the value here you can see what it's done after this levels I'm gonna add the edge detect node and this is such a useful node I'm gonna bring down the edge roundness here and the edge width you can see what it's doing it's creating a really awesome shape right now actually let's dial in some of these values here I want the edge width to be about here and for the roundness you see if we make it to round it starts cutting off some of our shapes and that could be your desired effect but I think I want more of this petal shape so let's go with something like 0.78 for now alright and just like the shapes that we have for our beams I'm gonna want to add another slope blur greyscale and instead of using the same one I'm gonna create another one here so all I'm gonna do here is I'm gonna select and drag hit ctrl-c and ctrl-v to paste and get rid of that extra connection here and now I have an identical slope blur greyscale and I have two separate slope blur gray scales here because I want to adjust these values separately later on I might want to differentiate the amount of detail that I have on my flower shape than I do from my beams so I'm gonna bring in this edge detect and double click on the slope learn to get the preview working and right now where we had it before with the point zero two intensity and crystals at a scale of eighteen works just fine for now but we might want to adjust it later so we've got that little bit of detail going on and that's looking great now same as before I want the black outlines to be the parts that are sticking out from our height so I'm gonna have to add another invert grayscale here so we've got these outlines in white now and in addition to that I'm actually going to add another connection coming out of our slope blur grayscale and I'm going to be adding a flood fill node so the flood fill nodes really handy it takes all of these shapes that are surrounded by a black outline all these islands and detects that there are different shapes themselves so we can add different utility nodes to this flood fill for instance flood fill to greyscale and now if I double click on my flood filter greyscale and I just the luminance and the random here you can see that each of our islands here have a different luminance value so I'm going to turn the luminance all the way up the luminance random all the way up to one and I'm gonna adjust this luminance adjustment so that we get some really harsh values here thinking negative point zero five looks good for now and we're gonna use this as an intensity multiply it for later so we have this coming out of our slope glare grayscale and we also have our outlines inverted coming out of the same node let's make some more room here and I'm gonna select these nodes hit spacebar and create another frame here so we're keeping organized I'm gonna call this flower great so we have our flower our supporting glass texture and our beams so we need to create a bunch of masks in order to blend everything correctly and also so we have a lot of control later on so I know that I'm gonna need a mask for the entire flower shape so to do that I'm gonna extend our frame here a little bit and to get our entire shape let's see we've got our levels node here and it has all of our values we can use a histogram scan from this node type in space bar in histogram scan then I go from that levels and I drag it in here double click and I move the position up you see that we're getting those values and if I increase the position all the way to the right and just keep the contrast at one for good measure we have that entire shape here and we have that mask histogram scan is a great node for making masks and we're gonna use it a bunch the next mass we're gonna make a mask for our beams and you'll notice if we double click our slope blur a scale that's coming out of our beams here and we zoom in you see these values aren't exactly black and white they have some gradients and some grayscale values in there so we need to use our histogram scan node again to create a full black and white mask for our modified beams so again we can extend this a little bit I'm gonna add a histogram scan bring up the position and the contrast here and you can see now we have a mask encompassing all those grayscale values we can see our detail here so I'm gonna start combining these things together a little bit so again I'm gonna make some more room here move our outputs over I'm gonna add a blend node so I want to get the outlines of our flower that have been slope dirt so they're on the store didn't have a little bit more character to them and I want to get the levels with all of our grayscale detail and I want to combine them together so I'm going to use this blend and I'm gonna take the distorted outlines here and drag them into the foreground and then grab our levels here with our grayscale data into the background and I'm gonna set this to add so now you can see our outlines with our distortions and our grayscale values I also want to start adding my beams in but I don't want them to overlap with our flower shape so I'm gonna create another blend I'm gonna put the histogram scan with that mask we just made of our beams I'm gonna put that into the background then I'm gonna find our flower mask and bring that into the foreground so now if I set this blend to subtract you'll see that our flower shape is now being subtracted from our beams so you can see all these pieces are starting to come together and we're gonna start adding them together shortly let's blend these two together I'm gonna take our beams as the background and our flower as the foreground and set this new blend to add you can see they all start fitting together now so these outlines intersect with these outlines but don't go through the petals we're starting to get a clearer picture here and to finally start adding things into our 3d view we're gonna use an amazing node called the height blend node so pipe blend so the high plen takes three inputs here we got the height top the height bottom and then it outputs a blended height result and a mask all of these outputs and inputs are extremely useful so let's take this flower and beams and put it in the height top and then this is sitting upon our glass that we made earlier so let's go back and find our supporting glass texture and to keep things kind of organized I'm going to rearrange these two so we've got the beams above the supporting glass texture and let's take our high pass grayscale that we made from our glass texture and bring it into the height bottom of our height blend we'll double click that let's take our blended height output here and I'm using the middle mouse button to pan while I have this selected and let's put this into the foreground of our blend and now we can see what's going on here but it doesn't quite look right yet so let's go back to our height blend and change the height offset here now if I bring this down you'll see that our flower is sinking in and if I bring it up our petals are now starting to lay on top of the glass now I'm noticing I think I have my scale and tessellation up a little too high so let's go to my materials hit edit you can do this two different ways you can go to materials and hit edit if your already selected on the proper tessellation shader or you can go to here and choose tessellation it does the same thing if it's already selected and I'm gonna bring my scale down just a bit really don't need that much because it's a very flat surface and so now you can start to see what's going on here we've got our intricate flower shape here with these outlines looking like realistic pieces you can see we have our slope blur grayscale to those outlines really adding some character to it to both our beams and to our outlines here are pieces of glass and if I hold ctrl shift and right click I can move the light around we can see what's going on here okay so let's keep ourselves organized a little bit here so we have our masks and I want to start commenting some of these because you can comment on a node and that really helps you sort of organize your thoughts you can see everything right in front of you so I'm gonna take this note here and this is our combined height we're gonna use this note quite a bit because we need to send this out to multiple outputs and other notes later on so what I'm going to do is I'm going to right click this lens node now this blend note is the one that goes into the foreground or height top of our height blend so I'm going to click that blend right click it and choose add comment and I'm just going to change this to combined height I'm also going to label our beams mask so I'm going to right click add a comment beams mask so overall things are looking pretty good here I've got a couple of our pieces we got our flower we got our beams and we've got our glass texture underneath everything the next thing I want to do is add a bit of texture onto our petals because stained glass windows have a very particular sort of painterly style texture and I want to show you a neat way to quickly whip that up here in substance designer so to do this let's create a clouds - noise using clouds - quite a bit today and I'm gonna add a neat node to it called the swirl greyscale node and it does exactly what you think it does here you can see we've got this little transform we can move it around and we can choose the amount so I'm gonna I'm gonna scale up this transform uniformly by holding alt and shift and bring this up here to the notes of the maximum that it'll go around the frame here and I'm gonna adjust the amounts don't want it too much and I'm gonna plug in a directional warp to this and the directional warp takes two inputs the first input is the default one that takes in our grayscale values here the next one is our intensity input now remember earlier I said we created this intensity map using our flood-fill - grayscale node from our flower so if I take these and connect them I take the output of the flood-fill grayscale and bring it into the input intensity input of our directional warp you can start to see what's going here if I increase the intensity in fact let's increase this intensity quite a bit let's say 200 and you can really see what's going on here notice that this part of the pedal and this part of the pedal are moving at different rates and that's because the intensity map that we created here have different grayscale values be lighter our values are the more the directional warp is going to take effect the darker it is the less it's going to move by this directional warp so if I bring up the intensity you'll see it varies based on the flood-fill grayscale know that we created so let's increase this a bit more to something like that for now we could change the warp angle here so you can see where it's pushing that swirly texture that we've made around and you can choose whichever you'd like to do here let's select these nodes and frame them up and because this is specifically for colour information I was going to change the color to something that's different in our graph so can really see what's going on and I'm just gonna call this swirly albedo texture and it will just place this up here for now so the next mask that we need to create are for both the petals and the beams together to get all that information I'm going to use our combined height mask that has everything in it and I'm going to create another output out of that and grab our handy histogram scan bring that position all the way up and the contrast all the way up for good measure and let's let's move this over to where our albedo texture is and let's add a blend node so we're put our direction O'War p-- in to our foreground here and we'll put the histogram scan into the opacity mask you can see now this is only taking effect where this mask takes place and let's see what this starts to look like in our 3d view here so I'm going to take the output of our blend that we just made and drag that into our base color and can you really see now what's starting to happen you can see that pattern that we made those brushstrokes are really showing off here but unfortunately they're showing on top of our outlines as well and we don't want that so we need to make yet another mask here and this is the reason why I decided to bring a levels node in between our quantized grayscale and our edge detect in our petals because we just start selecting some of these values with our histogram scan and some of them are going to be pure white and the petals are not so we need to get a selection of just our edges and all these edges include our beams so to get that mask let's double click on our combined height and you'll see our outlines are in complete white but everything else has a different grayscale value so that makes it really easy to select just our edges and that's why we darkened our petals with that levels known earlier so let's create that edges mask so I'm going to drag yet another output out of our combined height blend and that's going to be another histogram scan so we're adjusting the position and you really don't need to go very far because the white value is pure white and I always like to increase the contrast just to make sure but if we increase this further you'll see that we're selecting more pieces really we just want those outlines so yeah point zero two should be great to just get the outlines and we need to use this mask to subtract this swirly albedo from our outlines so we've got a blend here with everything in it let's add another blend off of that so it automatically puts the output of our albedo blend into the background now we need to take our outline mask that we created and put it into the foreground and subtract it and it's looking pretty good however notice that we're getting a couple gaps here and we really need to refine this edges mask just a little bit more now if you ever have this happen here's a cool way to fix it and that's using the distance note so if I look at my edges mask here this is the one that comes out of our combined height and we were find it to extend these lines we're gonna use that distance node so I'm gonna select the connection coming out of our histogram scan hit space bar and type in distance and it looks a bit crazy now don't worry too much we're gonna refine it in a second with this node we can extend that mask really cool node so I'm gonna choose a value somewhere around right around here not not very much at all and to focus this in I'm gonna use the node that we've been using so much lately and that is our histogram scan histogram screen is so useful it's like a levels node but it just gives you two easy sliders here so if I bring up that position and the contrast check this out you can refine and you can see what's going on in our 3d view at the same time as our 2d view which is really cool because we have this all connected up you see our histogram scan is connected to our distance node which is connect to the foreground node and start singing a song into our base color so if I click that histogram scan keep the contrast at one and just adjust that position we can add more thickness to this mask and if we do too much you can see it's eating into our petals let's bring it down a little bit and you can see what adjusting with the contrast does - it softens that mask a little bit so you might need to just play around with your shape let me get a good mask here we don't want any edges that's looking pretty good I think actually we need to tighten it up just a little bit more excellent looking good so we have that really cool painterly look going on with our petals so let's zoom out a little bit make sure that we're keeping organized I'm gonna bring our outputs in that final blend know that I have going into most of those outputs bring it over here so looking at our shape here when we think about stained-glass windows we know that all of these pieces need to be supported and you can tell that some of these pieces like this one doesn't have any connections to any of its neighbors it's kind of just floating in the middle there and that doesn't look very stained glass-like so what we need to do is we need to start adding some supports here and to do that we're gonna use a cell's noise now let me show you what I'm talking about as a final piece to our puzzle here I'm gonna go and create a cells for noise and cells for is unique because it has an input which allows you to drive this cell like pattern here by a shape or grayscale input so in theory if I just add a shape and we can add another parabola load here and I plug this into the input of our cells and I double click on the cells go to the color source and choose image input check out what's going on here it's remapping this shape into this cell pattern and you can change the scale you can get very specific looking cell shapes going on here you can change the disorder with that in mind I'm gonna get rid of the shape here I'm gonna take the levels note that we've been using to create some of these masks I'm going to branch off another output and drag it into the input of our cells remember we have image input enabled as our color source and we can create a very custom pattern based on this one input here so we imported our shape brought it into cells and I'm gonna adjust the scale a little bit here I'm gonna attach an edge detect to our cells here and you might be able to see where this is going I'm going to change the width I'm going to make these a bit thinner and I'm gonna change the roundness here just a tiny bit and looking at our shape here the only thing that we need to add supports to are these two loops so if I go to that levels we only need to add supports to this shape and this shape in our petals the outside ones are connected to our main support beams that we have so let's get a mask of just those two from this level so of course we're gonna drag another output and get another histogram scan let's change the position and increase that contrast so we know we just want those two gonna get a blend and our foreground of the blend is going to be this edge detect the background is gonna be our new mask care of the two petals and the blend mode is going to be set to subtract so now you can see that where our petals are that's where these supports are not being added so now all we have to do is add these supports into our graph so the proper place to do that is going to be between the blend here that's going into the foreground of our combined height and that combined height blend I'm gonna add another blend and we're gonna set this blend to add and what we're gonna add from our foreground is this new support blend that we have you can see now we've created a procedural support glass shape here and what's really cool about this is we can go back go to our cells for and we can move this disorder around and we can really dial in an art direct what we want these supports to look like you can change the scale you can add more you can also go into your edge detect and you can change the width so you can make these really thick or you can bring them down and the roundness so what's neat about the roundness is if you look at right here let me increase the roundness we get more of like a welded shape going on more realistic in this case and now it looks a bit more believable like everything's being held together and this is all being driven by our initial shape in this cells for which then goes through the edge detect so now I just want to do a little bit of graph cleanup and I'm going to create a frame for all of these different masks I just want to be able to label them a little bit this one here the one that comes out of our distance node these are all of our edges so I'm gonna call this edges mask this is our full flower and beams mask this is our flower and greyscale and this is our supports I'm gonna keep those out of the mask frame for now this is our height blend I'm going to keep that out here for now and to add a dot node here hold alt click and you can sort of redistribute these connections if you like so let's select these space bar add a frame and I'm actually gonna let's go with purple and call this masks and so we can get a sort of an overview of what's going on now I also need to create a frame for our supports so really the way that this particular utility was created is we have all these different pieces here it's got the supports the flower and the beams and the texture in the back we've got our masks and these drive all of the different parameters and we can use these masks to even adjust our roughness or metallic and they're all being blended together to create our material so for now here's our final craft and there's so much potential here one of the things I really wanted to show off is the fact that this is fully procedural if you can really change our main input here and dial in any kind of stained glass shape that we'd like to so we can change the scale things are going to update accordingly we can go into our shape mapper and we can dial down the pattern amount you can see this is all updating procedurally here we can add more petals we can change the radius no matter what kind of shape you put into this into this quantized grayscale note it's going to propagate and create your stained glass texture which i think is pretty cool okay so I thought be really cool if I went ahead and took this material a little bit further and I can show you how by using some of these maths and by adding more properties to this texture like an emission channel and a roughness Channel you can really extend and increase the detail to our material so to start off I actually recreated and enhanced our frosted glass texture that we did so what I did here if you look at the result of what we've got you can see we've got more of that kind of smudgy refractive glass so to do that I just took the clouds too that we've been using and scaled it scaled it up or down I guess depending on how you look at it and I added a slope blur grayscale and used our crystal one and when you do that if I increase that intensity here you see we start to get that frosted look and then if you want to you can add a blur onto this to sort of give it sort of a less of a sharp feel I kind of left it here just because you can but I'm not really using it here in this example so after that I want to start adding some color to our albedo so originally we had our swirls but we didn't really have any color going into it so when I did was I took a uniform color here and I got a histogram select so a histogram select note is kind of like a histogram scan node except you can choose which position in the histogram you can basically select in this case and change the range and the contrast you can get any of our any of our grayscale values so you'll see if we go back to our really useful quantized grayscale into our levels node we've got these different levels of our histogram and with this histogram selects node we can select which range we're looking at in this case I'm just looking at just this range of gray so with that mask that we create I use that as the opacity for blend with our uniform color and we've got our orange here now when I did this though it got rid of all of those swirls and detail that we added so I then took our mask that we kind of created here to create our original albedo which is our flower swirls without edges that have had a comment here and put that through a gradient map to convert to color information and then tightened it up with the levels and took it as blend and now we have that color and our swirls together and that's what's giving us this effect and it basically did the same thing here with all the other colors so I selected the next range up here and then added a blue color blend that in selected the next range and edit a green color and then finally over here I have a mask of just our outlines and that's because if you want to you can affect the color of just our beams and edges here which I ended up not doing but I left this here just in case I wanted to so really what we could do is we could just take our color here and set it as the background of this final blend and this final blend has a mask of just our supporting panels no edges and no flower and that's in the opacity of this blend and then I have a uniform color here that I can now change to any color and now our background glass panels can be any color we'd like them to be and that goes right into our base color output so now we've got some color going on after that I decided to create the roughness values that really sell some of the detail and the reflections of our stained glass material here so that clouds to comes back I use the levels to refine the information just a little bit to get some really contrast II values here and then I blend it with a uniform color so I can really set the roughness and multiply which is what this blend mode is these levels with this color I then go and I get the flower swirls without edges because I really wanted to adjust the roughness of these patterns here so you could see as I move my light around you can see right around here we're getting some really nice painterly strokes like the there's a thickness to that paint so I took this gradient map because it's color information that we're dealing with now you could also use the grayscale values if that's what you're looking for and I inverted it that mask that we created brought down the levels just a tiny bit and then blended them together so now we have sort of a rough variance on our flower shape I then took a mask of what our glass panes are looking like here with all of our sort of variants and you know with that frosted glass texture and I applied that as a mask to this last blend here and used a uniform color so I can decide whether or not these back panels are more rough or completely shiny I decided to settle for something right kind of in the middle where it's not too rough not too shiny and you pump that right into your roughness map so that's giving us this really cool effect where you can see we've got some variance in the roughness in the back we've also got some variance in the roughness of our of our beams here you can see we've got a little bit of variance there of course with our flower as well so I really wanted to show off that sort of stained glass feel where you have light coming through the glass I kind of wanted to fake it within a missive map so if I go to my environment you go to edit and then bring my exposure down you can see we have this emissive map here and it's sort of faking the idea that light is coming through even though there really isn't and you can adjust the values of this so that just takes our albedo texture our swirly albedo texture and blends in the basically the final output of our our colors here and if you apply that masks and just use a coffee on blend you get that and then I use the levels to sort of tighten this up and brighten up places and put that into the emissive channel where you can just to make another output you just press space bar and type in outputs and then you can change the the usage of this output so right now in this case and on a day usage here and choose emissive then to get it to show up you have to right-click and say view outputs in 3d view so I'm gonna bring my exposure back up a little bit and the last thing that I wanted to do was add a little bit of transparency so if you look here you can actually see through if I rotate our environment you can see down here you can see through the glass just a little bit as if that paint is starting to fade so I took a blend of our outlines I didn't want any of our outlines to be transparent so I just added a completely white uniform color lunging it with our edges mask here that we created a while back so then I want to vary the opacity with this maps that were using with our swirls and all that stuff we have really beautiful grayscale values here that we can use to vary up our opacity and so if you tighten that up a bit with a histogram scan so you see we have less values here but we do have a little bit of these sort of poking through and apply that as a mask we now can choose how transparent and opaque our flower is so and that's coming in to another blend here so that we don't adjust any of the background transparency if we don't want to so if I adjust this opacity here you can see I'm just adjusting the background but if I adjust this one we can dial in the opacity of the window itself so now you can see straight through it and then we can dial in some of the transparency there so this is what our new graph looks like I put all the new parts in this yellow and these yellow frames and I made a frame for our outputs just to make it more clear lastly I want to show you what it's like to add a bitmap in and create a custom image here so I brought in the substance designer logo and I converted it to grayscale using this greyscale conversion and then I inverted it and because this isn't a complete black and white mask I did have to change some of the levels to make it much more of a black and white sharp mask so now if I take this and put it into my quantized grayscale you can see our changes are propagating through the rest of our graph and we're getting a stained glass substance designer logo here it's pretty cool so of course you can change the colors you can change the patterns you might want to change the supports a little bit because this one's been doubted for the flower but anything that you add in here and back to you know you can always bring this into our shape map where you can see what the shape mapper does here let's plug it in and that looks a bit silly but you can see what's going on it's kind of cool so yeah you can get an overview of what this graph looks like and that is how you can create a stained-glass material in substance designer so I hope you learned a little more about masks and how you can break your graphs into simpler components so that keeps you from swimming through a lake of connections and lines all that craziness if you liked this video hit the thumbs up and subscribe to the channel if you're interested in more tutorials and hit the bell to be notified when I post new videos and if you're new around here welcome welcome everyone and thank you all so much for subscribing to my channel great to see that so many people are interested in learning more about substance designer and other 3d applications if you'd like to see more about what I'm doing check out my Twitter I have it linked below and I've got a live stream coming up later this week where we're continuing to develop a sci-fi wall texture that we've been working on I've got some pretty cool ideas for that so check that out later this week and thank you all so much for watching I'll see in the next video

Channel: Jeremy Seiner

Views: 3,277

Keywords: game art, texture making, substance designer, allegorithmic, adobe, stained glass, stain glass, proceduralism

Id: X1PYCens5lk

Length: 45min 43sec (2743 seconds)

Published: Sat Jun 20 2020