Creating Detailed Realistic Mossy Wall Texture in Adobe Substance Designer w/ Javier Perez

hey guys my name is javier perez and i'm currently a senior material artist at playstation's visual arts service group i've been in the industry for about nine years now in this lesson we'll be going over how to create a mossy cliff wall inside a substance designer we'll be covering techniques thought processes and general understanding of how the material was made so let's get started so to begin i'm just going to start up and create a new substance graph just going to name it cliff tutorial and the first thing i like to do with every material i make is just go ahead and bring in a base material node that way we can create the outputs from that guy you can go ahead and actually choose a template when you first create your substance graph but i like to use this method just for me it gives me a little bit more control on what um notes it creates and also just gives me a little kind of more control on how to set this whole graph up from the beginning so i like putting some base colors in there and some um some values on my normal and my ambient occlusion and height and then i'm going to go into my material and make sure that direct x is off and i'm just going to start with a uniform color plug all that stuff in so to begin i'm actually going to create the initial block shape that's going to be for our cliff now what i'm doing here is i'm just using a polygon and i'm blending that between a gradient linear what this does is give us a nice kind of interesting shape to start out with almost like a slanted rock almost we don't want to use something that's you know kind of uniform so this gives us a little bit just just breaks up the silhouette of that shape a little bit next up i want to start adding some cuts in here and to do that i just go ahead and bring in a cells scale it to four and then just blend it on a multiply continuing on i'm going to add another gradient to give the initial block shape a little bit more variation this just helps up break up the um just the angles that are actually being cut into the rock shape i want to make this when i'm going through all these steps i basically want to make this rock shape as kind of just just have a lot of variety in it because we're going to be duplicating it like later on in the graph i just want to have a bunch of certain aspects to this uh block so next up i'm just breaking up the edges with the crystals and a multi-directional warp grayscale setting it to a min and setting it to like around 60 and gives us this kind of result so now we're getting really crazy with just like the variation inside the the block itself we got a bunch of different cracks in there i bring in the levels to bring up the whites a little bit because we're losing them just slightly and that's just for later on when we start adding more things next up i bring in a cube 3d and i mess with the orientation and scale you guys feel free to mess with this one right here this one just uh it's up to you guys what you guys want to do here and then i'm just going to blend it again and this again it gives us um just a little bit more control on the angle variation it's similar to what we're doing with the gradient but because it's a cube 3d we're just getting a little bit more variation in there next up i want to add some slashes on this guy so i'm gonna do the same thing with the crystals but i'm gonna actually use a transform to almost squash them drown and squash them down and stretch them a little bit so they almost look like slashes they're going like in a directional pattern almost so here you can see me kind of messing with that and then i'm just going to plug that into the slope blur grayscale and just bring down the intensity slightly so now we have some directionality those scratches a little bit you can kind of see in the 3d viewport what we're getting there next up um i'm going to do the i'm going to do a subtle warp here and this is just to warp the edges just slightly sometimes these values i'm putting in i'm referencing off a finish graph but just so you guys know the valleys i'm plugging in here you guys can mess with whatever values you guys want but that's just to break up the edges even more so next up i want to add a little bit more directional noise it's kind of similar to what we're doing with the slashes but we're just going to do it a little bit more subtler and then we're just going to blend it into itself so here i just took a directional blur on those crystals and then do a transform to rotate them then a blur and then the levels and i'm trying to get those whites and blacks to really shine through so i'm getting those like peaks on there then i'm just going to blend that onto a min and with that i'm just gonna blend it into itself here that way we have a little bit more control on how much it's blending onto onto that the main shape that we have here so we're almost ready for the fun part here i'm actually i want to have a couple variations mostly two here so i just rotated 180 that way it looks like we have two different variations of the rocks but we literally just rotated one 180. to that way when we actually plug it into the splatter circular it actually is reading two different shapes rather than just one so we kind of break up that repetition a little bit and here this is where the fun kind of begins this is where you guys can kind of start messing with these different values and see what kind of results you get the main ones i would say to play with are the position random the scale once we start bringing up the scale you can kind of see it starts filling in the whole note a little bit and then uh start messing with the luminance random that way it breaks up the kind of how how much these rocks are laying on top of each other and also the pattern rotation pivot is a good one to play with as well so here we're starting to get some interesting shapes it's almost looking like a cliff side now so i'm just going through each different parameter and just kind of playing and tweaking to my liking until i find something that i um that i think looks cool so already there once we plug that guy in we can kind of start seeing that we have these shapes and this nice cliff blocky shape coming through again as i'm going through the graph i'm naming everything and framing it that way it's just easier as we continue going down the line in our graph so now that we have these main shapes i'm going to do some similarities that we did with the original block shape and here i'm again just using a multi-directional warp with a purlin noise and i'm just going to break up the edges and then i brought in a levels to to bring in like some of the blacks and the whites because we're getting we're we're losing some of those a little bit off all the different uh things we're doing throughout the graph so this just brings us back into our correct ranges i'm gonna do more edge break up here um another directional warp but this time instead of using a purlin noise i'm actually using a moisture noise so feel free to uh use different noises you guys can kind of see the different results it gets for you guys so next up i want to break break up the actual surface of the cliff side so i'm just going to bring in a cells one and then i'm going to bring in a clouds two and i'm gonna slope blur these two together but you'll notice that on the clouds too i actually took that down to a 256 by 256. um i like doing this with some of the noises because when you start blending these guys in you'll get almost like larger shapes with your noises by putting it down to a lower resolution so play around with that here i actually plug in one that's 2048 just so you can kind of see the similarities between the two we're going to plug that guy into a directional warp from our original graph height and then we're going to invert that and then we're going to blend it into itself so here i'm just setting it to a low opacity 0.23 and just setting it to add and once we plug this guy in you can kind of see now we're getting some nice crevices some nice kind of indentations and just some overall nice surface breakup on the actual cliff so here i'm bringing in the shadows and what i'm going to do here is i'm going to invert this and then i'm gonna blend it into itself with a subtract what this is gonna do is that it's gonna actually make the it's gonna exaggerate the valleys so any dark spots you see on the cliff are just gonna get a little bit more deep and they're gonna be more exaggerated so i wanted that i just wanted those kind of valleys to be a little bit more exaggerated next up i'm going to use the scratch generator which is a great known substance and again this is like one of those uh nodes that you guys can kind of play with all there's so many parameters that you guys can mess with so you can either copy the ones i'm plugging in or play with them whatever you want but to this guy i'm just going to use a bevel and then i'm gonna blend a purlin noise on top of it just to break up so it's not completely repeating overall over the entire texture and then once that's there i'm actually going to blend it into our main cliff so what this will do is it'll give us some nice scratches in our surface i just wanted to feel like there was some sort of carvings into those guys so that's how i got that result again here you see me uh doing a subtract here and you kind of see before and after what's going on there something subtle but it's there um a lot of these kind of subtle tweaks you won't really see it till you kind of zoom into the material so um and here i'm at i actually went to the material properties and i'm just messing with the height and just seeing at different tessellation levels how it's working here next up another kind of small detail here i'm taking a dirt doing your levels to it and then a slight bevel and this just gives me some small little pockets or you know little crevices that you can kind of see so you go before and after nothing too crazy but again every little detail counts especially when these are going to be used for the normal and the color later on next up this is going to be the last kind of surface noise that i use as we start going into our moss layers so here this is where i just add the final surface noise it's just an overall noise you can you guys can feel free to use uh whichever one in substance i know there's a bunch but personally i love using moisture noise i feel like it gives me a bunch of control and there's a lot of cool settings you can tweak on that guy cool so this is where we're actually going to start our lichen and kind of bring in some of that nice fuzziness to the material since it's all very hard surface with the rocks we're actually going to start bringing in the moss and the liking on here so to start off i like bringing in a grunge map 04 and what i'm going to do is i'm going to change the settings on this tile generator to just give us a nice variation in a nice kind of repeating pattern and it breaks up just the main overall larger shape so the grunge map 04 is cool on its own but i just want to repeat it a little bit and give us some nice organic feel to it so feel free to again these are just nodes that you can honestly you can just mess with for hours and kind of tweak to your liking until you get something that looks pretty cool so either feel free to just use the values that i input here or do whatever you like once that's all set i add a blur high high quality grayscale just so that those uh edges aren't as sharp and then what i'm going to do here is i'm going to subtract with another grunge just to break that up a little bit more it was just it was just a little bit too much for the mask so i wanted to break it up with another grunge map now what i'm doing here is that new mask that we created i'm actually plugging that into the opacity slot of a blend that i'm blending our original cliff with a blurred version of itself so what i like to do when i'm layering stuff on top of materials is i i like to actually add a pre-blur now what this pre blur does is that it blurs the underlying area where the stuff is going to be added on to and it kind of conforms to the shape of the cliff so if you have these ridges like anything you add on to it it's just going to conform that shape rather than just completely laying on top of it so that's what you saw me doing there once i had that pre-blur i just added another blend and just added that original mask on top of itself moving forward i'm actually going to lower the levels on this guy because i know i'm going to add some more features uh mainly the moss and i just want to have enough grayscale values that when we add the moss like if say if we add like a white value or something that it's not clipping out at all so that's why i just lowered the value to get closer to a grayscale um to begin the moss i'm actually going to create a placement mask and what i'm doing here is i'm just using the dust node um and to get the dust node to work we're just going to plug in an ambient occlusion and a normal from our cliff material and this dust node is a great node to use to create like any sort of mask so i use it a lot in conjunction with the dirt node later on but this is just a nice way to get any sort of black and white mask so i go ahead and invert that i do a levels to get the blacks and the whites and then i just do another grunge and then um or sorry i added grunge because i want to break it up again kind of like what we did with the lycan mask as well so moving forward this is where we're actually going to create almost like a a separate graph and kind of combination here so we're gonna leave that mask that we just created with the moss placement and just leave it alone for now because we're focusing on creating the actual leaves for our moss so basically all i did here was take a disc shape i squashed it on the x and then i used one of my new favorite nodes the trapezoid node to just stretch the bottom inwards i then added a gradient to give it some sort of depth to the plane leaf and then i did a directional warp with a purlin just to make it give it some wobble to it so it's not completely straight up and down from there i'm going to plug in this new leaf shape into a tile sampler now before i i start using this tile sampler and messing with all these different settings i'm actually going to create a few inputs that are going to help us what in that are going to help us in some of the actual parameters that we're going to swit uh mess with in the tile sampler so here i'm actually just doing a invert on the scale of this um thorn shape that we created i made an invert grayscale i made a transform the transform isn't really doing anything or sorry i didn't make a transform i made a just a dot node just so that we can keep clean on our graphs to see all the connection points i made a normal and then what i did was i did a blend with a black um uniform color just to get a half almost um just a half circle shape going on there and that's going to be plugged into our mask input so now that we have all those guys plugged in this is where i start messing with the different parameters here um a lot of these kind of inputs that we plugged in we're actually gonna set the values to one here so like if you see me messing with a vector map or a mass map threshold anytime you see any sort of multiplier threshold it's it's mostly calling out to those inputs that we plugged in so make sure to use those to your advantage now i'm actually sampling off screen the completed graph so a lot of these numbers i'm kind of working from top to bottom but when i was actually creating this it was just more so um messing with these different values to see what kind of results we get and once i have kind of a clump that i like i basically take that tile sampler and duplicate it and then start messing with some of the parameters again just to get some sort of different variation because i want to have two different clumps of the moss and to break up that surface or sorry to break up the just the repetition of the actual moss shape so instead of having one moss clump we have two and that kind of gives us a little bit more variety on the moss so once we have those two moss clumps i'm actually going to bring another tile sampler and this is where our map our moss placement mask that we created earlier comes into play so that mass is going to get plugged into our mass map input and what that'll do is it's telling this tile sampler only create the moss in this area from that mass that we created so here i'm just plugging in some parameters and rotating stuff as i as i go along and this is just giving us the variation again just playing with a different parameter seeing what we get here and then once i start bringing up the mass map threshold you can kind of see that it's the influence of the mask is starting to come in so as i bring it up closer to one it's it's almost one to one to that mass that we created from the moss earlier you can kind of lower it a little bit if you want more of the moss showing but that's just where i felt looked cool so moving forward the moss is looking cool at this point i wanted to add some sort of undulation on it just to give it like you know when you're looking at the moss i just don't want it to look completely flat on the surface i want it to have some kind of raised heights and different height variations so what i'm doing here is i'm just doing a black and white spots a high pass gray scale a histogram scan and slope blurring that it's a bunch of different slope blurs and blur high high quality gray scales and i'm just blending in between those to give some sort of undulation shapes to it so it gives us these nice almost circular kind of repeated pattern that you can kind of see here once i start blending these guys in it gives us some kind of interesting shape but mostly what we're concerned we're not really concerned about the way it looks it's just mostly giving us some interesting noise that's going to be overlaid on top of our moss that we just created so here i'm actually plugging in the moss that we created and then blending that with our newly created undulation and i'm using that same mask that way the undulation is only um it's only being affected to the moss that we just created so once we have all that in place i'm actually going to bring in a histogram scan and i'm going to levels out that new moss that we just created and this is going to be used as a mask for anything moving forward so anytime we want to call out the moss again we're just going to go to this specific mass node that we have here so kind of like what we did with our leican i'm going to do the exact same kind of setup here where we're going to do a pre-blur and you see right there where i added the mask and then i did a blur on top of itself you'll notice that it's getting this kind of almost smooth transition on the actual cliff and this is good because now that we have these kind of flat smooth transitions we can actually take our original moss and blend on top of each other and we'll have a nice transition we won't have any sort of clipping and it's just going to give us a nice kind yeah you can kind of see how it's laying on that cliff it's nice and even and it's it's kind of conforming to the shape of the cliff and that's because of that pre-blur that we're doing there so it's continuing to move forward making sure everything is looking good next up um i want to add some finer moss so we have these kind of you can individually see these strands in the moss i want to have just some more kind of noisy just just break almost another variation of the moss but this one it's not necessarily you won't be able to see the finer details so you won't be able to see the actual like the leaves in it and stuff so it's just like another almost more noisy variation of the moss just kind of give it some surface break up on top of what we already have so here i'm just going through with a black and white spots and i'm just messing with the slope blur gray scales and i'm and i'm slope blurring them twice and then blending between each other with some mass so and then it gives us this nice black and white um kind of result here and this is just going to be overlaid on top of our um actual cliff now before we actually add this guy on here um i'm actually going to do some subtracting of the crevices and i'm just doing a shadows and an invert on this guy now what this is going to do is the shadows and inverting it's going to give us a mask of where the crevices are in the cliff basically what i wanted to happen was i didn't want this finer moss to be hidden in those crevices i just want to be on the most top peaks so i made sure to subtract that from the actual mass that we had just gotten and again i'm using that moss mask because i only want this finer mask to to show up around where that um the original moss was so i don't want to be placed kind of randomly i just want it to be almost in conjunction in conjunction next to each other so wherever you see the kind of the moss that has the you can kind of see the leaves to it this one's going to be almost right next to it so kind of similar placement where the mask is and stuff like that here i'm just rotating light making sure everything is looking good and i'm just moving the outputs because i know i still have quite a bit of ways to go on the graph so just going to continue forward next up i want to add some pine leaves that actually lay on top of this moss so what i'm doing here is i'm actually taking a gradient i transformed it so i rotated it i believe 90 and then what i'm doing here is i'm doing a curve at the bottom and blending between the two now as you can see what when we blend those two you won't really see it until you actually add a histogram scan because then we'll bring in the peaks of the whites and the blacks and you can kind of see the silhouette it gives us so it gives us almost like a half crescent like leaf shape kind of like what we did with the moss to get the full shape i just moved it to the middle of the of the texture sheet did a mirror so it mirrors on both sides and then i did another transform to scale it in i did a non-uniform so it gives us some sort of um depth to it so it's not completely flat did another warp so it just it's not completely straight up and down and then here i'm just adding some sort of noise on the actual uh pine piece so it gives us some stridation so it feels like it's it's almost like it's like a piece of pine that fell off the tree or something like that here i'm just doing two transforms to rotate them into place because what i'm going to do is i'm going to use a height blend to stack them on top of each other so it looks like this kind of piece that you would see falling off a tree you know when two pieces of like those little pine needles are on top of each other i just want to get some sort of variation like that so once i have that i'm actually going to do another directional warp and with a i believe it was a paraboloid and what this does is it's just gonna i'm gonna move this around until i get like you can kind of see how it's doing a slight warp to it it's similar to doing like a purlin noise but with when you add just a a basic paraboloid you kind of get a little bit more control of where you're placing this movement once that's all set i basically do the same thing with just a single pine needle so before i did the height blend and i do the same kind of um thing with the directional warp to get two different variations so what this is doing is that it's giving me two variations to plug in similar to what we did with the moss we wanted two different clumps well with this guy i wanted two different pine needles variations now instead of using a a tile sampler like we have been in the past i'm actually going to use a shape splatter what the shape slider does is that it gives us the ability this note is really good to overlay things so it kind of conforms to the height that's already there so instead of laying it out flat and just having the white peaks just being flat it's almost conforming to the shapes so it's gonna lay nice and evenly across the surface so here again this is one of those i know i've said it quite a few times but this is one of those nodes where you can kind of me there's a bunch of different parameters that you can play with and get some different results the amount of pine needles the rotation of them it's similar to what you get in the tile sampler but it just the way it's being overlaid on top of the material is just a little bit better so i love using the shape splatter when i know i'm going to overlay something on top of a material but i also want it to like tile a bunch of places so this is a perfect example so i'm taking a pine needle that i want it to conform to the shape of what's already there but i want to just splatter it all over the current material so the last thing that i'd like to add to this material before we continue on to our albedo is a four leaf clover so i thought the moss and the pines were cool i just wanted to give it i wanted to give the moss a little bit more uh just break up so just having this little detail helped a lot to break up the moss so there's some instances where you can kind of see clovers um randomly so this is the area where i'm actually just going ahead and create that and again it's just a couple polygons a shape blending it between each other doing a subtle blur some histograms some transforms and then here i'm actually mirroring that transform so that slight rotation with the mirror now gives us almost that heart looking shape i want to give it some depth with some non-uniform blur and i'm also having another kind of depth area with the gradient so the gradient makes it so that the edges of the clover flare out where the inner part is kind of just indented inwards after that i want to add some veins onto this guy like you would on any sort of leaf so i just go ahead and do a cells an edge detect a blur high quality grayscale and just blend that into itself and same thing here with a stem i want to have a stem on the clover so i'm just doing a basic shape just a really thin straight up and down rectangle do a non-uniform blur grayscale to give it some sort of depth and i'm just going to blend that onto the shape that we already have continuing on to the same kind of treatment that we were doing with the veins i wanted to have give it some sort of directional veins um or almost directional horizontal lines so that you would on like leaves and stuff so went ahead with the tile sampler did an edge detect did a safe transform grayscale with the safe transform grayscale you can rotate things on a 45 while keeping the tiling consistent so if you were to try to rotate this with a regular transform it's going to actually break the tiling so uh make sure to look in the safe transform if you're having trouble with that just did a quick blur directional warp and then i'm just blending it on top of the clover i made sure to grab a mask prior to the shape that we were getting just so that this new directional veins just applies to the clover and similar to what we did with the to get the actual cliff shape with the splatter circular um i just plugged in the that clover shape but instead of going crazy with the different parameters like we did with the cliff this one's a little bit more simple we just wanted to rotate three times so this is just me messing with some of these parameters to get a nice clover shape i'm missing with the radius so they're kind of closer together it's looking good and lastly i just want to do a subtle warp to it so brings some organic feel to it so all the edges aren't just perfectly straight and it's not a perfect shape that we start multiplying everywhere so once we have this guy i'm gonna do the same treatment that we did with the the moss the original moss where we have all these different inputs again i just created a thorn and i'm grabbing an invert grayscale i'm doing a transform similar to what we did with the dot node the transform is just merely there to keep the connections nice and clean i'm doing a normal with a value of three and keep it on directx and then i'm doing a transform and scaling that thorn up and then um just warping it slightly with the purlin noise that this one is actually just to get the mask of where these clovers are kind of appearing so last last time when we did the moss we did like a half sphere because we wanted that half sphere looking shape for our moss clumps this one we want the clovers to be in the center but kind of fading out outwards on our texture sheet so that's why i did the i scaled up the sphere a little bit or sorry the thorn and just gave it some undulation to break it up a little bit so now once we have those guys plugged into the appropriate slots this is me going through the different parameters and just finding something that i'm liking so basically what i'm looking for is a nice clump of clovers that will be able to do that same treatment we did with the pine cones where we're just going to do a shape splatter and just overlay them on top of our moss so again here throughout the entire graph i'm just keeping consistent with naming things and keeping stuff nice and organized it makes it a lot easier once we're you know going through our albedo going through our roughness just to find connections and know where things are happening so on that on that shape splatter i actually went back again and to grab that moss mask that we were talking about again because i know the clo the clovers i wanted them to be on top of the moss i just went ahead and grabbed that moss mask so it's super important that one i keep going back to because i know that's where stuff is going to be placed and it's a good input to have because in the shape slider they're all there is a mass map threshold and it tells the shape splatter only splatter the shape on the areas where the mask map has its influence on so again here i'm just messing with the same parameters again you can kind of mess with these um to your liking or feel free to just plug in the same values that i'm plugging in here so here i'm just adding some frames again keeping everything nice and neat on our graph i'm a big believer in just keeping your graph nice and organized i hate seeing spaghetti notes all over the place because it makes it harder whenever all that all those connections are going all over the place to find where stuff stuffs are plugged in and just overall makes it less presentable so here we're actually going to start our phase of creating the color map for this guy our albedo so the first thing i like to do is we're gonna take the the final height map and we're gonna blend it into itself but with a ambient occlusion so you saw me there just plug in the final height into an ambient occlusion and i'm overlaying the final height onto that ambient occlusion this gives us a little bit more noise and it helps the gradient map just have a little bit more information to read i added a fractal sum in there and blended it again on top of itself and then i started bringing in a gradient now the colors that i'm sampling are off-screen off our completed graph so feel free to sample any sort of colors off cg textures or wherever you guys like that's always one of my favorite things to do is just grab some photo reference and just grab the color picker from the gradient and just kind of sample some colors from it now one thing about this guy is i'm going to use the get slope feel free to download it off the substance share what this guy does is it gives you a nice it gives you a nice mass for like the peaks and the valleys on your material based on the height so what i'm doing here is i'm grabbing the height before i added all the kind of micro noise and all that stuff so you'll notice i didn't grab the final height to plug into this guy i went back quite a bit to find the height before we added the final like moisture noise and stuff like that that it just gives it a little bit um it gives the get slope a little bit better information to read because it's mostly focusing on larger shapes rather micro detail gets a little bit too noisy the get slope is really cool because it reminds me of um one of the matte caps in zbrush that gave me the peaks and the valleys um so it gives you kind of that similar effect and what i did with that get slope was i used it to create a mass to blend two different um gradient colors into itself so i had a light kind of brown and a dark brown and that those were just created from hsl's that we got from our original color block in again moving forward getting some more color variation and here i'm just adding some i'm just getting some basic grunge maps with some directional warps uh to just break up the surface of the color get some different colors in there and the directional warp is actually the um the intensity is actually coming from we created a another ambient occlusion i'm just using that as the intensity for the grunge so it just warps a little bit you can kind of see once i start bringing up the intensity the kind of result it gives us there and this is just to bring in some whites in here so again uh i i like just bringing in a levels or an hsl and just slightly shifting the color that we have i feel like it's a lot easier than just going in and creating another gradient color pictures and stuff especially if you're just doing like solid colors or just like similar colors it's a lot quicker to get those notes now next up um i'm gonna add some dirt to this guy and previous videos that you might have seen i love using the dirt node inside of substance designer and it's a great way to create a mask to get some dirt onto your materials all you really need is a curvature smooth your normal plugged in and an ambient occlusion so that's what you see me plug in here and i'm just messing with the different parameters to give me a mask of where i want this dirt to be placed on the material this mask is going to be plugged into the opacity of a blend node and what i did um for this guy i literally just chose a solid uniform color so like a brown for instance here i just did a just a straight up brown i didn't use any sort of grain or anything and i felt like that worked for what i was trying to get there so kind of like how i described getting the hsl levels to get some different colors here you see me take the original brown and i'm just literally messing with the hue shift to get a green now what this is gonna be used for is for our moss um again we're just getting some colors here um i just felt it was a lot easier than to sample like a texture and get start a new gradient and get some different colors for me this is a lot quicker just to just change the hue of some gradient that you have going on um it gives me a pretty good result but feel free if you want to you can create a gradient whatever you guys like and this is where we're actually we went back to find the lycan mask and that's getting plugged into our opacity of that blend node so that's how we get that nice greenery starting to show up on to our material next up this is where we're actually going to get the moss color added on this guy so here i'm actually going back to again that that famous uh moss mask i just i'm always going back to it because i know that's where um our moss is being placed um so here you just see me plug that guy in again just sampling off screen the colors that from our finished graph just to get something similar i'm going to blend between these guys with just another grunge feel free to use any sort of grunge you want i just felt like this is what i needed i i wanted the the moss to have some sort of variation in the hue so it just wasn't overall a same green color i wanted to have some sort of differentiation in the greens so that's why i have like a lighter and a darker green and then just use a grunge to blend between the two and once i plug this guy in you can kind of see now we're starting to get that the moss showing up on the cliff so you know starting to give us some nice color on our kind of our brown cliff that we got going on and here again i'm doing that same trick just doing an hsl to change the hue because i'm looking for a new color for the finer moss again i just went back like how we did where we found the moss mask i just went in and find the finer moss mask that we added and plug that into our opacity of the blend same thing this one i actually did start a new gradient i went back to where we actually added the pine needles and i'm plugging that guy into a new gradient and i'm sampling off screen a texture of some pine needles that i found um you'll notice that it the gradient might look a little weird a little noisy but it's okay because um we're literally just taking that and blending it um with the mask that we're getting it from our shape splatter so the bottom um connection point of the shape splatter creates a nice mass that we could plug in a flood fill and create a grayscale mass for it so that's how we're creating our black and white mask here continuing forward this time i say same thing bringing in an hsl to change the hue color um and this is going to be used for our clovers i'm going to go back into our shape splatter do the same kind of treatment to get that mask that i was talking to you about so you see me here duplicating that um flood-filled grayscale and here i'm just plugging into the opacity of this blend now you can kind of see the clovers are starting to pop in a little bit they're a little because they're like a darker green as opposed to the lighter green of the moss like you can kind of see them a little bit better now earlier on we added the dirt only to the cliff but now that we've added all this new stuff i just want to add a final dirt overlay on top of our whole material so the dirt also affects the the moss so it just gives us a little bit more definition to the shapes and all the different stuff that we added so the clovers of the pine needles and all that stuff and i'm talking about giving a little bit more definition um this is our final kind of tweak that we do to the albedo is we're gonna add a curvature smooth so this acts almost like a cavity map it gives us a nice highlights and crevices onto our albedo so you see me bringing in a curvature smooth and then once that's being blended on with an add sub i do a curvature so sobel sawble um again with an add up at a low opacity and just plug that guy into our final output and that pretty much sums up the the final albedo here i'm just going ahead and moving some stuff around because i know i'm going to start working on the roughness i just want to keep stuff nice and organized and this is what i talked about how those those like spaghetti strands just going across a bunch of different nodes it's it makes it it's an eyesore for me it's a little hard to see so just want to head and move those because i know this is the next part i'm going to be working on so i want to start on the roughness and to start i'm going to take our final albedo and i'm just going to run a grayscale conversion through it once we have that it's going to give us a nice gray scale but the va the values are going to be a little bit too extreme so we're getting a lot of darks which is going to make the material feel um uh almost like if it's wet or something so i bring in a levels and start bringing getting it closer to some grayscale values and once we have that i'm actually going to duplicate that sl the get slope and again use that to my advantage to get some nice uh peaks and valleys from our earlier um our earlier height map so you can kind of see that we're getting just the larger um edges on this guy and what i'm gonna do is i'm just gonna blend this guy on top of that newly leveled um grayscale map you can kind of see we bring down the opacity we can kind of see now we can almost control where the the highlights are going to be so there i have the highlights the darker areas are just on the edges of the cliff so that's why i just overlaid that guy and next up this next kind of portion is is pretty much similar to how we were treating the albedo where we basically took a uniform color or in this case it was a gradient for the albedo but because we're working with grayscale valley on the roughness i'm just taking this uniform node that's just a solid black and what we're doing is we're gonna basically go and find all of the um all the masks that we are using the to tell the color okay this is where this specific color goes we're gonna take those connections and tell the roughness okay this is where this specific color is gonna go onto our roughness map so pretty easy um i'm just gonna go through the same steps so i'm gonna go from the moss to the finer moss to the pine needles into the clovers again you can kind of see me going through it i'm just literally grabbing the same mass and this is just uh easy it's almost like streamlined um this way because we're using the same mass and because we're we were doing it in the same way that it was layered on the material you just go from a left to a right so here um just doing the pine needles again just going ahead finding where that mask was and uh i chose a uniform color of white here and then i'm just messing with the opacity so feel free to mess with any of these values to see how they fit your needs i wanted the pioneers to feel a little bit more rough not as smooth and finally the clover is coming in so that's like one of the last masks that we're using here and lastly these are like the final tweaks that i just go in and do i'm just moving stuff into place naming stuff accordingly looking at our final graph um i noticed that the curvature sable was set to direct x so i went ahead and fixed that and i thought it was a little bit too intense so always zooming in on your final 2d image is a great way to see of any discrepancies that you might not have seen earlier so here i'm just rotating on the 3d sphere kind of give you an idea of what it's going to look like in the final renders so that about covers it um hope you guys learned something in the next video we're actually going to take that material and we're going to bring it into unreal to do some fun vertex painting see you guys in the next one [Music] you

Channel: NVIDIA Studio

Views: 25,788

Keywords: NVIDIA, NVIDIA Studio, RTX Studio, NVIDIA Creators, NVIDIA Design

Id: cr5xutRazB4

Length: 45min 44sec (2744 seconds)

Published: Wed Oct 28 2020