Herringbone and the Compositor - Getting Started with Blender Nodes

welcome to another procedural texturing tutorial in this one we're going to be tackling a herringbone and how we can use it with a timber texture in this case to make it convincing floor so to get the actual herringbone floor we're going to break this up into a series of tasks we're gonna make a UV coordinate per board we're gonna make a random value per board we are generating a displacement map as well we've got a profile for the edge and you cut in between little boards so people use herringbone a lot for interior renders and you see it all the time so it's really useful to have on your inventory or something that you can do procedurally just with a few different timber textures or even making your own procedural wood or using four tiles there we have it let's get stuck in we're gonna be using blender 2.83 I'm using the beats version but when you are watching this video 2.3 will have been released gonna hop into preferences and search for the node Wrangler add-on make sure that you've got this enabled so the topic for today is herringbone if we look at this reference here the herringbone pattern what you've got his boards which are laid next to each other but offset by one boards width here so the next one that steps up and then the next one is stepped up again the gap in between each of these boards in this column here we have a board filling this space and then we have one two three four boards off and then you have the next board and each board is itself one two three four long Alice space that we have a board and the amount of space that we don't have a board is the same I am gonna use UV coordinates because I like to be able to choose how I lay out my law pattern so input texture coordinate we're gonna be using UVs control H to hide extras and shift tab to snap to grid is that I'm gonna add to converter vector math and drop down here and I'm gonna change this to scale now you can choose what values our space goes up to run and sticking with vector must we're going to branch off at this point so and eight separate X Y Zed we're just gonna be using the X and the y because we have movies here so no third axis is being taken into account shift a ma and I'm going to set this to snap it set this to be one after this I'm going to add another one I'm going to set this to add I'm going to add to the y coordinate to know what we have is the Y gradient but here we are start at zero and then starting one setting to starting a three and so on and then after this we're gonna have a modulo as we increase this you can see that increasing separately and because we've added a snapped value of one our distance that each one of these is offset by is one and the width is one so we've already got our width being the same as they were offset in the length of our boards basically defined by this value here if we were to increase the scale have a look at this you can see that we've got back-to-back boards and actually what we want is one board enemy want a gap then I move on the next board and the same board no rewards board for us to do this rather than modulating at the length of the board we're gonna modulate double the length and we're gonna get less than the length so this is a pretty standard way to create alternating masks so if I add a value now input value and I'm just gonna rename this to press f2 that's gonna bring up the node label board length because we want to modulate at 6 and then we're gonna add another one and we're gonna say less than sorry you can see that this is giving us our alternating slots so if we have a board length of three this is fine to go into our less than but we need to double it before it can go into our module and so take the board length multiplied by two and I'm just gonna plug that in underneath here and we just need to copy these three nodes so shift D bring them down below and rather than taking the X into this snap we're gonna take the Y into it and rather than taking the Y into the add we're gonna take the ax into it in the top row we've got these vertical boards now in the bottom row if horizontal boards now instead of this being sex I am just gonna take this one straight from the poor thing so now we have this modulating two three this one modulates is 6 and that gives us the less than now if I take a color and mix RGB if I take the less than it into the factor to act as i1 mask and then I can take this bottom row into the top socket and I can take the top row into the bottom socket immediately we've got ourselves a herringbone pattern if I increase this you see it starts to get weird and then it gets back into sync with itself so this is because we can only work in full board lengths but if you hold ctrl it will snap to integers and you can see that that is giving us a variable board length and it's always sticking together now at the moment all we've got is a gradient in one direction which isn't good enough for our UV coordinate we need a gradient going from one direction and one going in the other direction gonna add a new one and shade it diffraction gonna take good from the X duplicate again take it from the Y and here we have x + y gradients now if I take this mix RGB and i duplicate it and then I take our Y fraction into the top socket and I take the other one into the bottom socket you can see our gradients are in the right places for our other gradients I'm just gonna add a converter combine X Y Zed and these ones which cross the braudys gonna be our X and the ones which run the length of the board is going to be our Y right now what we've got is two coordinates per board another function that we need is a it's not value pod so that we can use a white noise great random number just to keep things of those bit neater I am just gonna rename this multiply node 2 and multiply by 2 so you can see what we're doing here I'm gonna minimize it just so I can put that down there but you can still read it I'm gonna do is I'm gonna take our modulo here gonna do ctrl shift D and I'm just gonna connect it to this board link and then I'm going to change it from module Otis now if ever look at this one we've got is a row a row in a row in a row and they all have offset from one another now if I was to use the other ad instead you can see there is actually identical so I'm gonna need to adjust these because to be able to use our white noise texture we need to have a different value a title for our random noise to make it random so if I take another math node and I set it to add and I can add our initial snap values here so this is giving us vertical boards they're getting this way and you folks to take another one knows to take our step by me from the bottom and this is giving us snap values going this way now first I take one of these mixes knows to go a ctrl shift D duplicate it top one to the bottom bottom when it's at the top if we just double check our orientation we've got vertical boards and then horizontal boards like oh it's one vertical and then horizontal he fails to now put a texture and white noise texture onto here you can see that we are getting a random value per board however increases a bit more we have got a row of balls here and so on there's another one here and they are just where the value happens to be the same to change this to make sure that this doesn't and we're going to take one of our ads she's gonna change it to subtract now you will not get any values which are next to each other which are the same this is the basic setup for herringbone you've got your coordinates now purport and you've got your random value per board this method of masking up is pretty common and you'll see in a lot of the materials like fabrics where you want every other rope if we have our X and we just modulated to and then we say less than one and that's a really easy way for you to get alternating rows and then adding that to your Y is going to give you an offset for every other row so that's a good technique to be aware of the next part of this is going to be making this into more of a material so starting with the gaps in between the boards I have got my rows in I've got my lengthways for the road because we got going one wide we can have a convert it muff and we can set this to be ping-pong and we can set the scale to be 0.5 what this does is it gets to 0.5 and then it goes back to zero then we're also gonna take our lengthways what we want is where we have a value of 3 in our board length we're gonna want a value of 1.5 in our ping-pong here so I'm going to take this x ta controller shift D I'm just gonna put it above and we're going to change it from multiplier to divide I'm also going to rename this 1/2 just so that we can see what's going on we're gonna take our board length divided by 2 and this is gonna go into our ping-pong so now what we've got is we have a gradients going both ways for us to be able to minimize the number of the nodes that we are using I'm adding it by next way I said here then could add a color mix RGB set this to color burn as you increase this you can see that we are pushing the black point of our gradients inwards and after this I'm going to use a color Dodge set to be white well this is gonna do is it's gonna flatten out top section so it's gonna minimize but profile sewing with this set to 1 we're gonna move from a value of 1 to a value of 0 but we're still gonna be able to use our color burn here so now if I add a separate XY z-- that and the math set to the minimum and I take a Y into the bottom here and there we go now we've got the profile the side so this is gonna let us give a little bit of a softer fall-off rather than in just stepping suddenly and this is gonna set the gap in between boards and also it's just gonna add after this minimum another one I'm she's gonna say greater than zero so this one is going to give us our edge profile one is gonna give us a material mask so that we can put some different color into the gaps if we want it with wooden boards you got cupping happen and this basically means that the board tips up in the middle so you go from having a rectangle or wood like this you'll end up with a cup shape like this obviously less extreme but we want to be able to you have this kind of displacement in our material we also want to have a kind of tipping and to end first thing is we're gonna take the bottom ping-pong here to the moment we've got a 0 to 0.5 to 0 right 0 point 5 here and we want that to be more of a teacup shape so for us to do that we're gonna take the needle coming out of it we're gonna add a color RGB curve you know I'm gonna take the outside point zero five zero point five then I'm just gonna increase this until it looks like we're gonna get something that has no crease in the middle so we've just got that sticking out horizontal now so this is our cupping but at the moment they all cup in the same direction they all cut upwards like this we want them to be 50/50 was to do this we're just gonna take our white noise texture as a random output cell if you subtract 0.5 then half of these boards are gonna be below zero and half of them are going to be above zero and then if I multiply this by this then what we're saying is this RGB is outputting a range of 0 to 0.5 and what we got here is minus 0.5 to 0.5 and therefore when we multiply these together we're getting a range of minus 0.25 to 0.25 so nice cupping seen to you I also want to have some tips along my board so we're taking the same idea of 50% of our board seeing some way the same we're gonna take our lengthways here and rather than this zero point being right at the tail we want this arrow to be in the middle there for us to do that where we have a board that is three long so zero to three and we want it to be minus one point five to one point five so we need to subtract and by five so / - he's here I'm just gonna take this value and subtract that from it so now we have all of our values in the middle same idea with our white noise we're gonna be multiplying yeah and this is gonna give us some amount in some direction so this one goes this way and this one goes this way and we've got our cupping and we've also got our profile on the edge so all of these three things need to connect and duplicate my mix I'm going to change it to add we've got our minimum note goes in here into the top socket into the bottom we are going to put our cupping here the range of this was from minus a quarter to a positive quarter I want to make that slightly higher so I'm going to set this multiply by 4 and this is just gonna mean that our range goes from minus 1 to positive 1 in this one and our range for the tilt is negative 1 point 5 to positive 1 point 5 which has the range the length of our boards and take another mix node afterwards looking to the top here and then we're gonna plug how it tilts here know what we're getting is the ability to say how much tilt we want and how much cupping that we want so this sorts out our displacement I'm just gonna put this into a frame but we've got at the moment his coordinates and when I put an image texture on these I say I put two of the same image texture next to each other so I have wood in this direction and wood in this direction you're gonna see that they are repeated but what if I could randomly pick boards and flip them 180 degrees and if we take our randoms I'll do you here so if we want a different randomness then what we have controlling our displacement and I can take my random value we can add a speed texture white noise and I can change it to 1d just who is doing the smallest amount of computation possible I plug the random into here so it's gonna be driven by the same seed value right if I change this up here and it's still going and drive this one to change but it's gonna give different values so now if I take a converter math and I said this to be greater than 0.5 and this is giving us a mask black and white between values which are greater or less than 0.5 and then if I take another math node and I multiply this by hi and we have 0 and PI now and PI radians is 180 degrees which means that anywhere there is white we can spin our coordinates by 180 degrees I'm gonna add a vector mapping node and I'm just gonna plug the coordinates into the top socket and I'm gonna add a converter and by next why is that a focus in the facade like listen to rotation control H some of these have now gone black stop that they have disappeared these aren't just using negative coordinates and the location as well we're gonna want to offset by x and y values we have in 2.83 a color output I can plug this color into the location and that's going to shift to my coordinates and scale we don't know how big our images are going to look but at the moment we have hey eevee space which is one across the three long for these boards which means that any image that we put on here he's going to be titled three times in length so it quite probable that we're going to want to reduce this so that we've got a closer view of our wood textures I'm gonna add a color invert like this into the scale and this is gonna give us that nice little seam into our image textures the next thing for us to do is to add our boards I've got some textures here three different textures along with their normal nubs and their roughness maps if I just drag these on if we are using a normal map needs to be non color and if we're using a roughness map also needs to be non color you'll need to set those I'm gonna minimize these and put them together so one two and three so all of these need to be driven by the same factor in a plug all of these in now if we have a look at our would diffuse you can see the women get really close our texture it's three boards wide so I'm gonna want to reduce that until we have like a realistic amount of timber on each board if let's um we translated them so we are not getting such bad timing but it is clearly recognizable is only one image if I do this again you have a similar issue that we're gonna take same idea of this white noise we're gonna do control shift D so we have another one dimensional white noise being driven by our original white noise up here I'm gonna pull this forwards we've got three images in each one so we're just gonna make a gate take your white noise converter math take the value multiply it by three or however many images you are using we're then gonna take the next one I'm going to snap at one there right now we've got zeros ones and twos and then what we're gonna do is we know add color mix RGB and we're gonna plug our first two colors into it and we're gonna plug the top yeah and bottom goes into that last one we have all three of ours logged in we've got a snap value here this snap goes into the first one so now we're separating and doing one type in another and then we want to add the third one as well so we're gonna duplicate our math node we're going to subtract one again so now we have three different types of board we need to do just the same thing for our normals and our roughness and we need them to be in the same order I'm just going to take these two mixes ctrl shift D bring them down ctrl shift D and bring them down this whole setup looks quite complicated but it's just giving us a normal roughness and a diffuse which is correct for each tile they're all taking the same coordinates just yes I'm gonna take these I'm gonna put them into a group say it's giving us a factor in and it's giving us to double use these degrees are actually the same plug that one in me name this one to seed and we would like our scale to be controllable from the outside so I'm just gonna put pain that's gonna give me the factor and I can just plug that into the scale again there change the name of this scale you know our outputs we've got color we've got our roughness I'm just gonna take a great roughness and normal map and I'm just gonna rename this one to images that's just made it a little bit easier for us to control things and keep this all nice and neat all we've got to do now is read up our displacement our principled node and then we can do some renders so shift a shader principle psdf improving our roughness into the roughness here I'm gonna add a vector a normal map numb them up into the color here and plug this into the normal of our shader so we've got a fairly even Sheen we've got our roughness all together here talking just how to convert a color ramp to that and you can increase the black value and pulling the white point sometimes it's nicer to have these look a little bit more worn especially if you're gonna be adding some displacement to them that just makes it look like the varnish has come off the high points gonna reduce that a little bit never yeah that's got a nice little patina to it now if we increase our board size here not making any difference and that's because we don't have anything being driven by our material mask which is this one here so we can take this into our mix the first socket is now a color of the grooves and the second socket is the color of our boards can change this vitarka I'm gonna come back to our color burn here we're gonna reduce this way down so we just got a little hairline final thing displacement so making sure that you are in need experimental feature set we're gonna hop on over into the modifies and add a subdivision surface set it to simple and tick adaptive so now in cycles rendered view at the moment we have a dead flat line we have all of this information about our displacement here add a vector displacement node plug this into the height and we're gonna come over here grab our material output node we're gonna from the displacement into these placements okay see then nothing has happened so far this is because we need to go into our options setting change displacement U displacement and bump now we appear to be underneath texture so amazing that looks almost perfect and maybe just a little bit too high I mean said the middle of the one obviously displacement scale is much much too high I'm actually just gonna add a shader and diffuse just so that we've got plain something to look at then I'm just gonna increase this slightly so you can see the cupping is happening yeah we've got this cooked over that way and then we have a few boards which are cooking in the other direction so that's working perfectly if you do need to change that profile that is under here and you can also see that we have different amounts of tilt per boards because we're working with floorboards I'm going to make the color dodge all the way up this is the amount of profile that we have matter boards now it's these two ads that we're gonna work on sorry I just saw both of these back to nothing we can adjust our or depth so this is how deep it goes into the Greve we're gonna get a point Oh is probably fine and then as we begin to add some cupping I'm just gonna add some tilts T towards the goal is just to make them look a little bit worn nothing crazy just enough that they look aged now you also generally find that in houses you've either got four or five times longer than wide so kinda sinister four and then what's going to increase the scale of this to twenty so you can see that we've got some tip and we've got some ping I think I want a little bit more tip and a little bit less cupping there is just a case of seeing what you like and then if we go back to our principle shader and there we go we've got wooden boards that have got a little bit of variation to the height angle I'm just gonna have a couple of assets make sure I have denoising data enabled on my render layers thick use nodes and I'm gonna add a filter Dino menus into a minority image generating normal noisy Edo so we have our D noise image we're going to add a color color balance after the color balance we're gonna add a distort lens distortion add the image to that and then we're gonna add a color alpha over like that it's the bottom of it and then this is gonna go into our image so it's fairly simple setup here our resolution to 1920 by 1080 and we're gonna do a couple more things as well once we have the render in front of us so first thing to note is that how a displacement is much too high contrast in our roughness map is much too high and now I've changed the resolution we are clipping Suzanne quite badly so procedural textures I'm going to reduce and increase I am going to drop the displacement scale down to 0.01 I also want to reframe my image so I'm speeding this up just while I had a couple of extra things here I thought it would be accidental just with the floor so I want to put in a wall and skirting board or the skirting board I just make an l-shaped extrusion and use the bevel modifier with it customer profile to give me that top edge modifier has some issues with complex profiles and corners so I just have two skirting pieces clipping through each other or texturing the skirting I used noise for the roughness and bump and I have a custom procedural scratch node that I had somewhere and the wall I do the same trick with daisy-chaining to noise textures to give a nice effect if you want to get any sort of gradient or the compositor you need to add them a texture there in this case I'm going to add a vertical gradient erase you can do a couple of things with this we're gonna increase the contrast of class I'm also going to use it to create some bars top and bottom so input texture start with a bit of color balance gonna increase some of this lift and some of the gamma and drop a bit blue into the gain I'm gonna go to red as well give me that kind of warm homely look that's the original and that is the color balance version no lens distortion is interesting because we go projector so we don't actually get any proper distortion but then we increase the dispersion this is basically adding chromatic aberration okay all the way you can see we're getting a very hard flip you want to go to about 0.2 just to make it something very subtle orange fringe no the Alpha however we don't need because we ended up putting a wall in so we don't need the alpha over anymore instead we're gonna add a color mix it's just like a mix RGB in our shader editor and we're gonna add our texture here add the color to the bottom drops the lens distortion is the top layer and so it's color burn right now this is much too much you just want to go over there every small amount and this is just increasing some of the saturation some of the darkness up close could you forget this texture and this time just gonna set up a little then up to top and bottom bars I'm gonna have how are you this is gonna be the thickness of our bars that's point one and then a converse and math and this to subtract so we can do one subtract our value we're gonna duplicate on there and we're gonna take the color of our texture the value into the bottom of that and that is going to give us some black brother bottom and this is going to control the thickness of that bar we're then gonna do the same thing but with a less than node color into the top how I subtract into the bottom and that's gonna give us the top bar there now just multiply these two together and that's gonna give us the top and bottom bar now if I take them plug this multiply to the bottom and now you know if we reduce these 0.1 or something worth being aware of when you do your herringbone the herringbone is never laid diagonally like this and never points to the corner program and which points to a wall and this is the reason that we used UV coordinates because it's very easy for us to just hop into our UV editor if I edit mode I psyched all and I can just rotate this by 45 degrees and there we go now we have herringbone which is running properly towards the wall so now we've got our boards aligned just hit f12 and jump into your rendered view and we can see how this is all I know you're coming out and there we have it a few things which I haven't covered ever before of these procedural scratches these are based on a video by blender insight there's a link in the description below I just made a group that does that and I add it whenever I need scrunchie so that's really helpful to me and for the wall material you don't really see in this render but we are using a noise texture looked into you in noise texture so you can daisy-chain them like that and it will give you interesting effects I do play with the different textures bang in mind that this is only using three different image textures for the timbre I think it looks good just that little compositor setup as well really gives you a lot of control if there has been another thing that you have missed or I've skipped over it too quickly is gonna be listing nodes down in the description so if you've missed anything you can check that and I'm also gonna include a list of the shortcuts there will be a screenshot of my shader nodes for the herringbone floor and I'll also put in a screenshot that you can positive nodes if you're interested in how we did that today thanks for tuning in I hope you've enjoyed it and I'll catch you in the next one

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Id: QxQBWR7sntI

Length: 24min 18sec (1458 seconds)

Published: Wed Jun 03 2020