DAMAGED ASPHALT in Substance Designer - The Rocky Series 4/5 - full tutorial

failure to see it's Daniel welcome to this new week today I propose to you a damaged asphalt we'll start with a simple basis a by tonal blending of gravel and tau then a warm part which comes with a mask the big cracks and the smaller ones will also be masked because we need to be light with us the mask will act as a way of varying the death of the cracks we'll make a color pass for each of those characteristics as you can see the roughness shows clearly and plays a good part in the render the difficult part of this project will be the color pass and achieving a balanced layout of the different elements I try to him for photorealistic render ok let's go ahead and start with the base the blending of a simple jar and gravel we can start our knowledge column by putting in 2/3 node serves for our and cells to blended with a multiplying mud [Music] - sells for in the foreground we need a height scale in buff to 40 in the sells for and 170 in the cells - let's also increased the disorder in the sells for in the blend keep a full opacity then to make this more organic a slob blur will do just fine so let's bring in one along with a fractal someone 32 samples point o2 intensity and min [Music] okay better already it's looking like a good job but it's not dense enough the solution is simple take a hike blend and a transform today the latter one will be used as a slight offset with the slope output in the bottom and a transform in the top [Music] it's been this with ATAR substance to make the tar we can make use of the already existing fraction someone blended with a black and white spots to for now I push the scale to the max in this black and white spots too we try to optimize this later and let's blend those two noises together with a high plant let's send this blended height to a histogram range with small values of 0.1 for the range and point 3 for the position [Music] we can plug it in the bottom height blend in the top we plug the gravel but we can make it more unified by using other words not so let's decrease the level house I at point 76 and the level Hin mid at point 42 [Music] okay better now it's time to build a simple one out Slayer we just add a slight variation to the base layer and Mintaka needs with itself using a mask that's the concept you can use a classic Quattrone to do that histograms can distance an edge detect and a slope blur mr. Graham just send the first slob Blair output of the base layer position 0.5 contrast point 75 resistance can goes into the mask input of the distance and in the source input just send the same slop blur output maximum distance 256 in the edge detect high tolerance so Tori Tori on soft one edge width and run s at the minimum in the slaw blur plug the black and white spots to in the slope [Music] semper swati - intensity 0.01 and blood mean ok so let's proceed with Minda can blend point 7 opacity to be clean we put the 1 out layer in the foreground and the base layer in the background as a mask we can use a new noise a black and white spots one and send it to the opacity slot but not before using a levels not to make it more focused in this levels we want a level in high of point 62 and a level in mid of 72 okay so that's a good start now it's time to build good looking organic cracks in the asphalt I think the main techniques are going to involve an edge detect a directional WAP and different kinds of growth and a new noise to start the sequence so let's bring in our last noise for cells one scale 6 disorder 1 let's pick this noise - an edge detect in the edge detect we want tolerance of one edge oneness 13 and with 1.7 next in line is a non-uniform blow to me I see this not as a mix between a blower and a directional whap it's kind of perfect the same time here are my settings 27 intensity degrees 135 the rest isn't touched the blur map can be a blood noise or blurred output from your graph in this case I'll use the slope blur output of the worn out layer which I will bloat with a blur HQ with an intensity of 3 then to make it look more organic even we can use the directional rap with a relatively high intensity 50 for example a whopping girl of 250 degrees as the intensity input we can use the black and white spots one this one first goes through a blur intensity 11 [Music] and a transform today in this letter one just divide the input by 2 so it goes into the intensity input of the directional [Music] [Music] to finish our big cracks we need some nice the slub blur is what we need again so let's put the direction on how to put into the grayscale input of the Slowbro in the slope would be nice to have something that comes from our asphalt layers for example we could take the outputs of the first blend node the one that combined the base layer and the one outer areas it's the Minda content okay let's use it we'll just send it through a levels not first level in high point 43 level in mid-1942 play the levels output by 4 plug the transform into the slab to finish we just have to find the right settings for the slab or some pearls 42 intensity point 2 and nada below this time because we don't want something too well defined I don't want to sharp edges so the blur mod is appropriate in this case okay let's create a new blend node min ducking point 8 opacity in the background we called the previous blend in the foreground the slope outputs the cracks now I'd like to create two masks for cracks because we don't want them everywhere so we can build a quick sequence composed of a blur relevance and a safe transform [Music] in the borough we plug the black and white spots one noise the blue intensity 14 in the levels level in low-point 27 level in high point 48 and level in mid points 49 safe zones from will just serves as an offset so X point 27 and Y point 20 to our mask is done and it goes into the blend opacity well I'd say that we have finished our grayscale height the normal is ver ready intensity of 10 poly Heights I like to place a blur not before the output just to smooth things out point-five intensity we do just fine you can also use a HBO nod 0.01 intensity [Music] now we have a better render we can appreciate what we've done more precisely what we need now is the diffuse and the roughness the principle I'm going to follow for the color is just to give one gradient map for each element of the texture so we'll have a color for the final layer one for the big cracks one for the wear and one for the top growth I would also like to bring some judge marks the center of the texture and probably marks or stains of spills product from trucks we'll see what we can do let's begin from the normal usually I use a curvature but this time I'd like to try with a normal to height HQ it's expensive but it brings much more details to the table let's plug it to a gradient map we need a wide range from dark to light Gray's let's do the same we've light our grades this time and the cracks but first we have to prepare the cracks for the color pass we have to mask them and probably invert them and bring texture to them it will make for a richer color pass let's go ahead and invert the cracks when I need a blend nerd copy mud in the foreground we put the inverted cracks and in the opacity the cracks mask then I'd like to texture of this result so we can use another blend nerd multiply in the background and in the opacity we can plug the previous blend output and in the foreground the outputs are the first blend node you know the one with which we blended though the where and the base let's create a friend for that called cracks for color and while we're at it let's create frames for everything we have so far so notice [Music] bass [Music] we're all walnut area [Music] [Music] cracks krex mask and color then grab a gradient map you want a light grace [Music] then a multiply blended [Music] [Music] let's blend the first two gradient Maps so two cracks go into the Frog round and in the background the gradient map we already did and as a masked of them we can use the first blend node in the cracks for color frame [Music] okay time for a new gradient map this time we'll colorize the where so it's just a basic gradient we don't change anything let's use a new blend is a new gradient goes into the foreground the previous color blends into the background and as a mask we'll use the one we made before for this one out part you know comes from a levels not [Music] [Music] [Music] now I'd like to colorize the gravel the lighter ones so very simple and you basic gradient and in the base frame just locates the transform node we'll use this one as we input for the gradients then same process and you blend copy opacity point 25 and let's just plug this colorized travel into the foreground in the background the previous color bed okay good progress that's work on the roughness to bring more details in the render I'd like to start with a grunge map 15 and with a safe transform we could offset it a bit point 13 in the white offset now let's isolate only a band in the middle so you need to blend multiply and in the foreground just put a gradient linear to tiding three rotation 90 degrees to actually isolate the central part there's a good and quick technique grab a copy blend node put the previous blend in the foreground and play with the cropping area right point 68 left point 32 then let's just blur it intensity of 10 and use the strong levels Lavelle in high point 32 level in mid same point 32 and then let's multiply these levels with the cringe map at full opacity of course we have to take the outputs from the safe transform now bring an invert and connect the normal to 8 HQ 2 it then is just a matter of blending it with our grants decal let's use the screen mud [Music] now we need to grab a histogram range just to be able to make some changes in the roughness and plug it to the roughness output okay good that was a good thing to do roughness frame is needed don't forget it [Music] now let's go back to the color pass so back in our color frame another blend nod screen blood print six opacity of course we need a gradient map we take our grains decal to it this decal will also need to be connected to the blend opacity it's going to be used as a mask also let's make a last detail we'll use it as a color and as a roughness addition take a grunge map to balance point 15 and contrast zero let's just have the details with a safe transform offset X point 28 and Y point 47 great then connect it to a gradient map four to six gray values will be enough and now we have to produce our last color blend but the blending mode should be ad linear dodge point 66 opacity use the crunch as a mask also taken from the safe transform output and let's finish the roughness with this additional detail so let's add a mask light and blended in the roughness frame just connect the safe transform output from the crayons to [Music] we are almost finished but exact smaller tracks [Music] in this new blend choose min darken the foreground just plug the cracks after the use of the safe transform [Music] [Music] we just wondered sighting of 3x upset point 33 Y point 22 and the rotation of more than a hundred degrees 130 degrees could be could be enough as a mask let's just use the cracks mask but inverted because we don't want the smaller cracks to be at the same place as the big cracks [Music] okay good so now if you remember we need to optimize the black and white spots to the scale made it too expensive sometimes you can just try to bring back the scale to one and see if it changes anything in this case the difference is thing so let's keep the scale at one it's way cheaper that way let's head to the base frame and have a look at our blended height [Music] to me it's blurry so we should sharpen its editor the standard value standard opacity of one will be good [Music] [Music] okay in the black and white spots one I would just like to try to set the disorder at one and the roughness at point six just try just try to play with it I found it's a very important setting with roughness in the back and white spots one I just take the time to see if I can change something more [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] for the color we can use the PBR base color validate as you can see we have red warnings that means that we have values that are too dark almost black and in the PPR guidelines that's something we want to avoid you can simply make sure that your colors are valid by using the PBR albedo safe color and if you want to learn more about TBR I recommend that you check out the guide published by Erika rhythmic it's free and it's online okay cool to conclude this project I'd like to say that the difficulty here is to get a good definition of the gravel and the details when you work with rocks and stones getting surface precision is tricky you want to avoid blurriness and you want richness in the texture details the shoppin nod at just achieve that I like the central part with the brownish dirt and the light marks as you can see the sides of some glossiness the darker and more damaged imagine vehicles on the road and the wheels are wearing the sides in the middle we have more roughness because maybe dirt or some products just peels on the ground at least we managed to create a bit of context with this texture I guess a render and marmoset would be quite good-looking and I should probably make a bonus video one day about marmoset rendering just let me know if at something you'd like to see of course it would be easier to judge this texture with more context the world borders maybe more details may be painted signs on it but here I just increased the tiling and we may have a better feel of it playing with the shining option is something I recommend for you to better gauge your textural work I wish you a good week Godspeed and see you next Monday bye bye [Music]

Channel: Daniel JR Game Art

Views: 14,969

Keywords: allegorithmic, 3d material, material, texture, shading, shader, procedural, substance, height map, substance designer, texture creation, texture artist, industrial look, design, texturing, ilya kuzmichev, curve sampler, curve mapper, curve drawing system, swirl, asphalt, damaged asphalt, dirty road, substance road, substance asphalt

Id: SpYQciwHoMc

Length: 29min 50sec (1790 seconds)

Published: Mon Nov 05 2018