Procedural Fabric Weave in Blender 2.90 - Studio Culture Livestream

what are we doing so aidan we are going to be doing a little i'm going to be streaming like a fabric shader setup it's like a really basic one but it's quite like it's quite satisfying to do um but first we're going to do a hard ops and box cutter giveaway just because we just reached 500 members and that's pretty that's pretty exciting yeah thanks everyone for coming i thought there's going to be like 20 people tops i thought it's just going to be like us and maybe like i've never been defensive yeah yeah yeah that every time we do the like the announcements in the announcements channel it warns you that you're about to tag everybody and it's like you're about to tag a hundred plus people and then the next week it was like 200 plus people and it's literally growing like 100 people a week so that's kind of cool um sweet well it's been a few minutes so i'm just gonna screenshot everybody not me and then you're in there and erin pogba's emoji hmm so how many people is this one we can do one four five six seven eight nine quackers are you sure oh wait does anybody already have hard ops and box cutter because i don't want to give it to somebody who's already got it if nobody's got it then that's fine well you might be lucky one two three four five six seven i've had what there's nobody else joined us there i don't think so 18 people oh my god everybody do a little drum roll even though you've all muted [Music] 17 number 17. the legend yay congratulations let me take you even though he stays he's like away [Laughter] cool and that's nice about that oh you were so close you were so close like just one away yeah and we're gonna do like more competitions and things um so and also the blender battles now have prizes so there's so many prizes i don't know i will send him a message wait i don't wanna oh my god okay so somebody i follow on twitter he's like a software developer but he posts i don't know this is so not blender related but he does these 360 camera things up mountains and oh my god i hate them so much because i'm very scared of heights but look how they're amazing but they're also awful anyway so um right let me just send him his prize yeah congrats copy link address hopefully that link works if the link doesn't work then uh give me a shout and i will get you a new one so okay uh i've got the let's give you some blender stuff okay see you later hi um you may not be here for long that's absolutely fine people come and go as they please um are you sure i know it's so late in india right now um right also there was another thing i wanted to talk about um which is collaborations so i know that we do our like weekly uh blender battles and things but i was wondering if people wanted to do like more long kind of like a few weeks or even like a few month collaborations but they don't really know how to get started with that so i know when i was a bit younger i didn't really know how to find people like i'm good at 3d modeling but i'm not so good at rigging or animating um but i feel like we have so many people on this server and so many people who have like really interesting ideas so if people are interested we can like connect the right people and make sure that people keep collaborating and like sometimes it just helps to be like a little bit accountable because otherwise you sort of drift off a project so yeah definitely yeah you're always going to work in a studio like even if you're a freelancer you're going to go into studios and work with other people so it's just like i think it's good practice and also like i want to make like i've got ideas for projects i want to make but i don't know enough about them to make them and it would take me years to learn like all of those extra skills to be able to do it so it's just like there's no point in learning the things when somebody else enjoys doing that anyway so yeah that might be a good idea actually just have a channel for it and people can put their name forward and like what they're good at you are good at stuff true beast what are you talking about but yeah like it doesn't even have to be like you're in it together for the whole project it might be like you're essentially like the producer but you're also a 3d modeler so you're in it for like the whole project but then you need like a rigger to come in for a day to help you like rig up your characters or you need somebody to come in and do lighting and rendering for you like that's something that i don't know like i can do lighting and rendering and things and i know a lot of people don't know much about like compositing and stuff like that so it's like yeah you're making a website for that exact thing ah i feel like um for like a collaboration platform that's really cool yeah if people have if people have ideas that they want to do and they want to look for people yeah in fact sharon you make a channel now just somewhere yeah go for it make a text channel somewhere so if you've got ideas for stuff you want to collaborate on just like dump it in the channel that doesn't exist yet and then yeah we can like start helping people find their stuff we don't have a rigger role in this server that's true we need to get a rigorol they did is there is there a new channel cool if you know what that is then you are very welcome to arrange that i've not been keeping on top of i know like um yeah but we got some like messages three from discord being like you qualify i wonder if we qualify for the discord community thing now because we just passed 500 and i think that was the that was like the limit for it like the proper to be a community server thing yeah that's a good idea to keep it a bit more separate how sweet yeah we have like growth statistics and things now okay so great let's do some blender so um this is going to be quite a simple shader like um kind of just like a cross shape basically like a very simple weave but we're gonna do it in quite a nice way so you have like one control basically for um like the width of the like if you have your cross weaves going like this and then you want your vertical ones to come up and like through right so you'll be able to basically control the width of all of them with just one slider but they'll adjust so you get this like that intersection is always like correct um it's really actually very easy to do um and we're just gonna do it all with like sign question will this stream be uploaded to youtube let me double check i'm recording yes it will be uploaded i am recording uh i always try at least to upload my recordings in full so yeah don't worry if you can't stay for the whole thing know where it is yeah and if anybody has any questions or anything just shout or if you want me to like do a different shader or whatever let me know so we're going to start with um uv maps because this is going to be like a fabric shader um so i was thinking about the kind of the really important thing about renders that people don't ever think about or certainly don't often think about um you're going to keep working gabe's going to keep working on his 30 90 but record it oh yeah nice you should definitely start recording and uploading time lapses because i think people gain a lot from the scene the whole process um obviously if it's only like a five minute time lapse as well that's really useful um so yeah so something that people don't really think about when making shaders is shadow shapes and things which are outside their shot um so if you've got like a so i've just got this which is just like a wall and a back wall thing i made this a little while ago but it's these like tree alphas that i've got off to the side that are casting shadows across the whole thing and that's going to make it like that's going to give you the interest and it's going to make you feel like the world is bigger than the picture um and that's a really important thing because like so often you'll get to the edge of a picture and it'll just be like you'll just have this like straight cut off and then anything casting shadow is inside the scene rather than it being like cast from outside like we have all this dappled shade and on the wall and then there's like something big casting another shadow so it's always really important to cast shadows into your scene and use shadows as a compositional element and a really good way to do that if you're doing interiors is to put basically like net curtains on the windows um and it's super easy to make a grid right so if i just take my uv map here and then do vector math set this to scale and then set this to fraction and then let me increase that you can see that's giving us a little grid you're very welcome legend did the link work let me know um yeah so once you've got your fraction grid then you can get a separate xy set and then a uh just going to take like a minimum here and then a greater than there we go um or actually less than because we're going to use this as an alpha mask so this is just going to give you like a really simple like cross grid and you can plug that into your alpha of your principal psdf or if you're using like a proper shader setup you can use that of course that's okay i'm quite aware that my um i'm doing grids today so i mean that's like the worst thing for jpeg compression on videos so um yeah i will keep it a little bit smaller i was just running through this one really quick because it's like a really simple one but then i'll do like a proper one with sign in a sack so oh nice a nice nice little voice chat yeah so if anybody's got any projects um feel free to throw them into there and yeah into these collaboration channels and then yeah just think about if if you have like a specific task that you want somebody else to help you with it's good to be like quite direct with what you're asking people but yes cool so um yeah so basically if you put like a grid over your window it's going to cast a shadow in so this side literally just did scale vector scale vector fraction minimum of the x and y and then a less than to give me that grid alpha so if you were to put this onto a like a proper curtain shape which you can do really easily with curves so if you have a curve like this just go into object mode in edit mode on curves if you delete the vertices and you go into the draw here then you can basically like draw a little wiggly line and this is going to be like the profile cut through of your curtain and then throw a extrude there we go on there and that's just like straight away giving you a curtain because it doesn't really have to look like much if it's going to be out of camera view anyway but then if you put your grid material on there right i'm just going to increase the scale of this until it's like a proper grid um you might want to do some things with like squishing up your [Music] um your textures on that but this is going to cast really interesting shadows onto your scene because of the folds in it oh my computer is rendering so slowly but yeah so you're going to get some really like nice little shadow shapes just close this one so with that in mind we're going to make a we're going to make a slightly more complex one that basically we can texture like put image textures onto or you could even use like a black and white map if you wanted it to be you know like on lace curtains where you've got a pattern where you've got like denser areas of the weave and then some bits which are like more permeable that's kind of what we're going to do today yeah is that the laptop scene yeah [Music] yeah so this one he just got some he's done like a tree outside as well so you've got like dappled shade on the curtain but then you've also got all of these interesting like lines coming through it just makes things a little bit more like uh more spatial i guess because you get more about like the perspective going across things so yeah definitely think about shadow shapes in your compositions so to make the nice one we're going to be using sine so i'm going to take the uv map again and then straight after that we're going to use the vector math and q so we can use this to scale just so that we get as much as possible on here and then we're going to use the vector sine on here and this is going to give us a nice little grid pattern straight away the issue with using sine so maybe we're going to separate it first so the issue with sine is that it's two pi long like the wavelength so it looks like that in profile and you can see like where it's light and where it's dark is like where it's light and where it's dark um and each one of these is pi long so obviously the whole thing is two pi um which is a little bit of like i don't know i don't really like i like to normalize that down to be like one long just so it's a little bit easier to think about and i'm actually going to use a separate here just so that i can do my horizontals and verticals separately um so because it's two pi long if i multiply the input here by pi then it's going to go from being two pi long to being too long in terms of like everything else that we do so it's just going to make it a little bit easier for us to work with um so this then goes through sine so if i was to put this through a fraction which gives you like one thing like single unit sections you can see that that and this are now the same size which is just really useful um so we have this like pattern that's going like this but we need every other row to be like offset by half the amount and so for us to do that we need to split this space into alternating rows going up like this so that's taking the y here doing a modulo at two because we're going for every other and then we're going to say greater than one and this is going to give us that mask uh greater than one so this is just a binary output going black white black white um when we want to offset this not by one which is this height but by just a half because we want it to be offset only halfway so i'm gonna take the um from blenders and math class yeah that's what these always work out as uh charon's doing blender maths tomorrow is that right i'm pretty sure that's right blend of math tomorrow uh which is really really useful for procedural textures so if you're uh yeah super useful it's always really useful though like i still go to those oh yeah let me bring that up actually hmm yeah these streams will definitely help with that because i think that's the hardest thing like once you've got your feet wet with procedural stuff you can just kind of keep experimenting but if you don't even really like know how to approach it to begin with yeah literally everything is basically modulo and linear light that's just all you need to remember just linear light then you light everything all right they're all maths as well i feel like people forget that they're just maths and what oh this one cool so on this plane we have our sign and we have greater than which we need to divide by two oh thank you bmp that's great to hear i'm gonna be making more tutorials in the future like those um yeah like proper tutorials like that recorded ones rather than streams but yeah for now um i'm just doing streams because i haven't had like a huge amount of time your anyone asked for the ultimate minimalist gpu i love it that's really nice i love that it's just like just a copper plate like just the cooling is anybody else gonna get a 30 series i'm not sure about waiting until um like those new and video cards i was thinking because they're in like six months they're just gonna vote like release like a 30-70 super after you sell your kidney 30 70 oh yeah benchmarks and thermals yeah yeah i just wait what's an sff build i feel like i should know this oh small form factor oh man you're going to put like a huge graphics card in a tiny little case just get a big one just get a big case there it's so much better for cooling my case is really small at the moment and i've got a 2070 super in it and it is like i've just got the side off it at this point because it's got such bad cooling oh yeah they're like 1500 pounds for those 30 90s or i don't know if they'll actually be that when they get released i feel like i feel like those values are quite high that they put on that presentation um they're so sneaky right maybe we are setting by one oh that case is good is it oh it does have sides okay i kind of like the open attack like just keep that framework i feel like you could just make that though it looks cool with that side vent it's tiny though i just can't believe that you would get enough cooling in there like it because you're going to have a cpu that is not going to be bottlenecking a really powerful gpu as well so that's like double the cooling can you fit an ai aio in there like a water cooler i know there's some like super compact ones of those as well it comes with a kraken really is it a very expensive case um so just to say what i just did there basically i've got um my modular greater than to give me my mask and then i'm adding this to the x right so that's basically offsetting every other row every row that is white here gets offset by uh by one and then the multiplied by 3.142 that's just multiplying by pi to compress the space and then we're putting it through sine oh you have a cooler masters case damn i cheaped out on my case on my pc case so done it was uh yeah everybody always says that you should get an expensive case huh that's really cool i feel like it could be real one cat and you're ruined me yeah it's a nice little like i say i could run that i can see myself having a case like that but you're going to have the bench space for it how many you don't have like the desk it's so difficult as soon as you start researching pc parts and then you're like oh yeah but actually four thousand pounds isn't that expensive in pc terms so maybe i should just fork out even though i i don't have there's no way i'd ever have that much money buy a car for that amount um right so the reason i duplicated these uh is because if you flip the inputs then see these ones go vertical that's a bad arrow whereas these ones go horizontal so it's literally that easy just to make them go one way or other um but when you've got your sine waves like this if you put another one let's try and do this in perspective so if you've got one like that then you need to have another one which is going to be like going up where that one is low so you can basically use a maximum operation like maths maximum just to make them like it'll put the correct one over the other one if that makes sense so i don't want to have the white spaces in the same place really simply you can just times this by minus one and that's going to flip that so now we've got them in different places and then after this you can put a maximum here and you can see that we've kind of we've already got like a very close looking weave but it's kind of it's too close right there's there's no way that physical stuff will be able to like pass each other that tightly because there's just there's nothing there there is no gap for like this veneer to pass through the other one and too squarish yeah so there's no like lateral fall-off is there and we want it to be like rounded as if it's round um but again this is really easy to rectify where we've got this sign up here um it's basically it's even though it's coming down here and up on this one you can just put like a math absolute on here and it will make them all positive right so this basically works by if you have your sign looking like this as soon as you put an absolute on it everything which is in this space here below becomes positive right it basically just ignores anytime something says it's negative it's just like well now you're positive so we can just put an absolute on that and then this can become the rounding for our bottom one and we can do the same from the bottom one right and now these vertical strands will become the rounding for our top one right so we're just trying to reuse as much information as possible here every time you have a node that's got information in it use it as many times as possible um i was working on a project the other day and we had some shaders that were like um just image textures and there was oops uh duplicate that right like loads of image textures but they were all using the same like uv coordinates into a mapping node that was set to zero zero and it's like if you've got a mapping node like if you're even using it right if you don't need it then get rid of it but if you are using it and they're all the same then just use the same one for all like for every image you're not gonna there's just no need in having like all of these extra nodes all over the place i don't think it's necessarily gonna slow it down is it i don't know maybe it's gonna slow it down as well even though they're holding the same information you're better off just you know keep your node network as small as possible and reuse as much information as possible um so with this one all i'm going to do is i'm going to multiply it by these vertical like that vertical absolute so now this looks like uh it looks too much like just fading into all corners because it's the same way on all corners but we're gonna we're gonna rectify that in a moment as well um so i'm gonna also grab a multiply down here and also that absolutely can go in there multiply and addition doesn't matter which way the sockets go they're like uh i can't remember the name for it there's like a there's a name for an expression which can work both directions um but like divide and subtract you need to make sure that you've got stuff in the correct sockets and it's like we it's the way that we read it so it's like the first one and then the operation by the second one interchangeable is that is that what it's called yeah go for it [Music] yeah yeah wait what what like divided by oh i see what you mean so sine and cos of y it is the same but i've already got all of the nodes in place um i feel like i don't know if this would work for what i'm about to do with it hmm yeah yeah so um basically to make these oh it's like a big grid at the moment i've just put it through this maximum um but i'll just go back to viewing one of them commutative property oh is that the reversible ones i feel like that sounds more like what i had in my mind um so after the absolute i basically i want to make it narrow i want to have control over the spacing in between right and ah no worries man thanks for coming by um i'll see you later yeah take care you too um so if you have a if you have a gradient like this right and we put a color burn this is what we're going to be using here then it will not touch anything which is at a value of one right but everything below this it'll make darker until it's zero so it's a clamped operation um so at a factor of if we put black into the second one here right so you can see as i increase that it's making it narrow if we put 0.5 into the factor then the graph is going to come out looking like that so it's going to clamp everything below 0.5 and then it's going to go sharply up until it reaches 1. so it's not going to touch one at all so even if we go up to like 0.999 whatever it's going to go across to that value at 0 and then it's going to go up like essentially vertically once you get to 1 it it like makes it look like everything's black but technically there's like an infinitively small bit of white on there um so this is controlling the width of our sections i'm also going to do the same to the other absolute so that we've got um that one also being controlled so now if i go to this maximum you can see that we've got a little bit of a pattern appearing i'm going to add a color invert and then just going to use this so i always use inverse because i really like sliders but you can basically think of it as like if the black if there's black in the color in the color um when it's not inverted the output is zero because it's black and when it is inverted the output is one because it's white um so you gotta go eat lunch ah no worries man oh it's always so bizarre to me that people are like eating lunch at nine in the evening time zones weird i was thinking about um i looked back at one of the blender nests from a few months ago and like because you can see my window next to me in the blender nest and it's like daytime at eight o'clock and it's like it's literally pitch black now crazy it's like properly turning into winter um right so i'm just going to plug this invert into both of these color bands right and this is going to give me a single controller to control all of these um and what i want to do is uh so because we're using color burns here right the output of the color burn is zero to one it's a clamped range um so everything in this space here right in that one is now zero it's not a negative number um so our sine wave that's coming up and down horizontally this is now being clamped off at zero because it's being multiplied by zero for this section um is that right maybe it's not right actually hm i was just wondering about using like an alpha map let me just try something real quick because this might save us some time so if we can use a greater than minus no no it's not going to i was going to say if we could use greater than minus 1 and that would give us like the full the full thing just because otherwise we've got to like do a little bit of maths to get these sections to join up because obviously when these get narrower they're actually going to be exposing the cord underneath like the thread underneath um it's quite easy to do but i just thought there might be a quick way but there isn't which is fine um so the way to solve that is basically by putting an ad after our sign and so what that does if you have a sign like this and you add something to it afterwards then you're going to basically like shift it up right so now you have more length versus like a narrower bit which is underneath so this section will be zero and this will be like uh above zero oh nice what they called like the no skid plating yeah yeah i love that you both just said that at the same time cool well if you're making like a land rover defender and you need some no skid plating for your roof then this is like perfect for that um the easy way for us to like basically make everything work nice and easy stick an ad on here right so you can see that as we add that it's going to make that longer you can also see that when we want it to like perfectly join up there this is around about 0.7 this output is around 0.7 for it to like perfectly line up these would actually be exactly the same which is convenient because we can just plug it in and then we can take another one down here after our multiply and we can just plug that one in there so now we have like a properly adjusting shape it's kind of mesmerizing anyway i need to do like a value thing right so if you if you wanted to put a uh a map like a color map on here then you're going to need to essentially pixelate it animate it and call it a night now we can just like grab a value here this needs to be between 0 and 1 frame by 50 um percent one oh it's so good it's kind of jumpy though does anybody know the python for ping pong do you know what's something that really annoys me actually like i think this every time i work in blender notes we don't have a vector ping pong you always have to do like separate xyz ping pong all three of your things and then join them again it's such a pain and ping pong is so useful um the scent tau and then we can put this sign maybe that's not working um yeah anyway ping pong basically goes from like the from zero to the value that you put in and then back to zero and it just does that on repeat so it's a really useful node to have yeah i just it would be so useful to have a vector one because so often if you're making tiled textures um so like if you're doing decorative tiles right or um let's just do something really quick here if you've got a uv map and you've got a let's just set this to scale so that we get a certain number of tiles here then if we take a separate xyz and a math node let's zoom in a little bit oh hey kate um so then we can have a ping-pong in here right so if we're ping-ponging at 0.5 then we're going from 0 to 0.5 to 0 0.5 0 and so on but if you want that in both x and y and then you want to come back to your vector so we're going to combine x y z again so now what we have is like uh quarter matched tiles so that basically means that the uh each quadrant is like a mirror image um so if you had something that was like pointing to the middle then each one of these would also be pointing in this direction right um but this is quite useful if you have like a some kind of texture that is um just grab this one i donated earlier if i put this on here then you can see that we're getting like an actual like fully mirrored in all directions thing so ping pong is so useful for doing this kind of stuff um because like you could only just have and you didn't realize how much math was involved uh you don't really need to know the why but it is worth knowing like visually what stuff does um yeah it's easier the more maths you know um but like i didn't really know so much about this stuff before i started working with blender so you do end up learning it just by like necessity and like seeing it i feel like schools you don't really realize how stuff necessarily works because you don't get to see visually like how it comes out whereas like yeah well i'm thinking of doing i was thinking of doing like um like getting basically like high school curriculum and then teaching it visually so like just teaching it as maths but being like okay this is what it looks like if you actually like can visualize it yeah i mean i don't know how many like i don't know how many school kids would be interested in that like i don't know at least in the uk i don't feel it's it's like definitely more interesting than just being told to like oh just remember like polynomial expansion like just remember that formula which is like just it's just pointless there's literally no reason to remember i remember somebody asking like and people always ask this right kids are always like why am i even learning this it's useless and the teachers are just like oh you just have to remember it for the exam it's like the hell it's not useful to me yeah but i mean if it's uh smooth maximum i don't know i mean oh that's not really doing anything good oh actually smooth step okay yeah sorry i was just thinking about smoothing in general um yeah but stuff like that you don't really need to know what it's doing you just need to know what it looks like um which like that's how i learnt nodes i know sharon you're like way more maths orientated um okay i feel like it's it opens the door a lot for people likes when you as soon as you start seeing this stuff and you're like oh i kind of understand like this is coming like up and over this one because the sign is like higher here than it is for the other one like it kind of makes sense officially um hmm yeah yeah yeah it does yeah yeah a very inefficient way of learning but kind of fun um right so uh if we want to oh you explain to a friend derivatives using matlab that oh because it's more visual yeah yeah it's just i feel like so many visual learners would be so much more math interested if it was taught in a more visual way um and there are so many different ways to teach maths visually because it is like it's used for so many visual things now um i guess it's just like a it's down to the teachers not being taught about it because i guess most most math teachers are interested in maths already you know like they're they're just like they just learnt it because they learned it whereas like a lot of people have to work quite hard to learn this stuff um but seeing it visually it makes it so much easier yeah yeah yeah definitely you should just drop a link to that in the chat if you can i feel like my obs is not recording uh it's not recording the obs sound and discord sounds all right so frustrating i literally don't understand i know but we've got it i got it set up before um just fix it no i mean i like having you talk it's it's nice [Laughter] and i feel like it's easier for people to um yeah hmm wait say something again i mean i can hear you obs cannot that's so weird we're gonna have to fix that at some point it is fine people can turn up live that's like the privilege of being here live is not having the technical difficulties okay so i need to put a unique coordinate onto each one of these threads so that we can put an image onto it so basically where i need two different coordinate systems and i need to mix them depending on which thread set on basically because we have uh like overlapping stuff here um it's like it's too many things you can't like you can't make a coordinate system that's going to have both the verticals being narrow and then the horizontals being like half a step off but being a wide one that's also narrow it's just like too much i mean you could probably do it but it's just too much effort to be worth it so we're just going to make like two separate ones uh one for the horizontals one for the verticals and then we're going to uh we're going to join them with a mix factor which is taken from like one of these where this is greater than zero so take a math node on here and take this as being greater than zero so there we go everywhere that we have a horizontal now we can use this as a factor and then just everywhere else can be the vertical ones and then we can mix it basically on this um and then we can also use a greater than on here right so everywhere that is absolutely black on this we want that to be transparent so that you can see through it uh like we did with the like the net stuff at the beginning um so yeah it's all just about like building up a system here hey you're new around here just the things you say that math would be so much more interesting if it was visual like this totally agree oh thank you so much that means a lot uh i also agree that maths would be more interesting this visual i really enjoy maths now like i find this so interesting to do obviously that's why i'm spending all my time doing it but if i had been taught maths like this and i think the same about like history in school like if i'd been taught history like in a much more visual way rather than just writing essays that would be i'd be interested in it yeah exactly that game of thrones okay you missed the giveaway i'm sorry yeah legend won it what was it yeah congrats man if people don't know what box cutter is it's worth it's like a really good modeling add-on um this is just stuff that's been made with it uh basically it gives you loads of um oh yeah it's non-destructive as well so it's like right up our street as a procedural community because we're you can like basically do all this modeling and it'll create like cutters and now you better think you missed ah a literal box cutter tool it literally just gave away a knife that's it it's um if you're interested in box cutter josh gambrell has a really good long but really good tutorial josh campbell he's like a hard surface youtuber um hard ops there we go yeah he's the guy who makes it as well so he really knows his stuff master xeon pmp no worries man this will be recorded so um yeah catch you later if you're interested and uh yeah swing by anytime uh that video that i just dropped in that is the [Music] hard ops tutorial from josh um adopts is massive it's like an add-on so it's uh yeah definitely have a look at it um and thanks to master xeon for giving us that free version to give someone a treebeast is having some trouble with nodes you're in the right place you need to make your eyes see through interesting have you is this something that you're making or your literal eyes okay that's quite grim oh is this an eevee that's not a good look like that's some really awful disease uh you could see it before are you in cycles render but you're currently in ev is that what we're looking at yeah well if it's set up for cycles then you might not have um oh you've got it in ev have you got it set to ev on your render tab because if that's set to cycles then you won't get the material options you need to turn on refraction there's not too many things out there for the eevee stuff let's just have a look quick so if i just add a sphere here or a monkey and then if i make this into glass i mean that literally just works straight away that's annoying oh maybe it's not showing anything through it yeah so you need to turn on like is it screen space refraction and also you got to turn it on there and in your material um yeah it looks so good i really like that like colored pearlescence that he gets going on it right um oh my god crackers now i was about to say that you you don't there you go in okay um right okay true beast in your ev render settings oh there's no way for me to zoom in on this um you need to make sure that you've got screen space reflections turned on and then tick the refraction tick box and then under your material where you've got your pupils or your um sclera maybe that's what it's called have you got it working nice oh refraction yeah yeah because it's like the light inside object stuff back into cycles here and nowhere is your eyes look amazing by the way are they procedural like all of the blood vessels and stuff i mean they look grim but in a very convincing way oh you wish they were procedural cg cookie has a really good video on making procedural eyeballs i think is it cg cookie uh yeah he does all of his stuff um like procedurally like all of the veins coming around they're pretty good yeah yeah that's why he uses that that's the only time i've seen anybody use it as well it's a good tutorial though he's very like thorough i love when he's just like i don't know why this works but we're gonna do it on the the mapping stuff it's like nobody really gets it um okay all right i need to try and make these oops and we got twice um yeah need to try and make these have like an individual index so that we can properly texture them um so in order for us to do this i need a combine xyz a combine xyz and then we need to take in a like an x value which i'm just going to take from this original one right over here like that so that's given us like the original scene x that we have at the beginning and then our y value is going to be uh like one of the modified ones um so for this i think i can take this one's taking off the y is this right m you gotta try and remember how this works maybe this sometimes it's just a bit of trial and error until something makes sense okay i feel like it's maybe this we will see momentarily oh no these worms have come back so this was um what just went into the chat these came from was it after earth's stream last week it's nasty it's really nasty and now the emoji it is procedural it's based on like a custom voronoi that they made last week which is really good yeah is that um and he recorded that is that going up on youtube uh so how is it nice little collaboration um it's yeah are the audio is not working for the stream oh what pain yeah that was a really good stream though uh you're going to do some more on you for um yeah like tyler ball things you were saying tyler baldwin which i think is super useful um right i'm trying to get my head in gear um so the idea is that we can snap so that we have pixels um it's gonna be like one by two or maybe two by one there we go um so basically each one of these yeah i think that's right each one of these points should have its like a unique value and you can find that by putting a white noise on just to make sure that each one of them is different basically um each one of these looks the same to me i feel like they're not changing how i expect them to um oh can you share your first animation yes please do animations always take so long to render just like you don't really realize how much they scale oh don't how did you do this it looks so smooth the way they're following it is it using like animation notes or something and it looks so good it's like so satisfying how it moves oh sweet nice i will definitely watch that later no polyfilled nice cool yeah the animation came out looking so good man right um trying to work out why stuff doesn't work when you're like not entirely sure like i was expecting this to work but it hasn't um i feel like it should be one by two yeah yeah i know right so what's even happening here so we've got our zeros and ones oh yeah i know what you mean yeah so not this just be using this yeah you're absolutely right one of these is bound to work don't worry wow i feel like it's right though it's just um i might be taking from the wrong one potentially let me just um mask this out i always love with procedural notes when you're like i'm absolutely 100 certain about this maths and then it's just like no yeah oh yeah goodnight aidan thanks for coming by um all right let me just multiply this so you can see it's not lining up i don't think so next i took x directly from here am i doing the right ones though yeah please let me yeah yeah doing like a fabric [Music] thing i know this is the first time this happens every time we're only an hour and a half in it's fine it's not like we've got anything to lose yeah okay let me show this fabric and this one i think that's right on the displacement well we've got a height map already so it's nice and easy for us to do this uh turn on adaptive subdiv if you've got cycles enabled and the experimental feature set um i don't know why it's still experimental but there we go um we've literally had it for like three or four years now so i don't know why there's nothing else i swear that is added in when you do the experimental four years yeah crazy and then you need to set the material settings it's either here on your end menu or at the bottom of your actual material settings in here um i'm going to set that to displacement amber and then in render view i'm going to just use one of my studio lights and then adding a displacement like that so this is the displacement map that we're looking at here it's got the black and white information it goes into the height of the displacement node and then that goes into displacement um obviously way too tall and then everything which is black we also want to be transparent which is this one so this goes into our alpha of our principle node and that's just masked everything out there and then this invert will change the thickness like the broadness of our strokes um so just for now i'm going to take the height map and plug that into the base color as well just so that we have like a little bit more shadowing then it's essentially like you can think of height maps as being like an ambient occlusion map as well um so they're very very useful um so that's basically it for the like the controls are really simple for this one you've just got your scale right at the beginning which lets you set like how much of your pattern you've got and then you've got um your invert over here and this basically just sets how like spaced out your strands are and then yeah so that's it for that section i'm gonna go back to trying to sort out this uh it's always really fun to like put put photos of stuff on other things i feel like it's one of my favorite things i always do it when i make textures um so like normally you would have like a snap or a modulo or something and those things always go together like you if you're modulating your texture you can always just like take that section of it um where you're doing like pattern generation and then go like in parallel to that and change it to snap and this will give you like your snapped values and in this case it's a bit more complex because we just have a whole bunch of stuff happening kind of at the same time um so let me just have a little think once we've worked out one it's easy to do the other side because obviously it's just flipped [Music] so this vector we want to take our x value and then the y value um we want to have as these so i'm pretty sure it is actually going to be this one that's going to be our y value and then we're going to snap that i feel like this is oddly like small increments on there so this is going to be one and that should be that should be two oh we're multiplying there not the multiply is the add i want that's my mistake that's because we're using sine so that multiplies just to like normalize that sign basically just to make it easier for us to like think about using even though it maybe just confused me for a long time um so now in theory this should be correct for this one oh right but it's also it's basically it needs translating slightly so i'm just going to add to the y 0.5 and let's just move that down so now if i change this invert you can see that it's staying on that shape which is good we don't want it to like break out of its tile um however if we were to put this onto the other one this is why we need two sets basically because uh they basically kind of they go outside the limits of their tile um so we need two pairs uh so i'm going to take this and i'm going to do ctrl shift d and i'm basically going to take the instead of just coming from the y i'm going to come from the sorry instead of coming from the x i'm going to come from the y down into the y here and then instead of coming from this top row add i'm going to come from the bottom row add into this add i'm going to use this for the x and then we don't need that white noise going to come this greater than is going to be our factor our mix factor and this is going to be between these two these two things maybe um let's put a white noise afterwards just so we can start to see things so hmm it was so close we were so close to making it work what's going on now uh mix or multiply oh my god okay definitely makes um and then i want to put the yeah the multiply can go afterwards just so that we can test this on the the shape so the goal is basically just to have it not uh to not see any of the edges this one oh right yeah this one actually needs to subtract 0.5 because we one of these is the one that we invert is that right yeah so that's subtract 0.5 and that's cleaned that one up [Music] there we go and that one's at 0.5 there we go we got there in the end you had snap 211 thank you so much you are on fire you like my debugger okay i can try um so basically we're taking the original x or the y um [Music] so each one of these snaps needs to line up with the texture that we've got right so if we've got let's make this a little bit smaller so we can see here um basically this one i need to have like a tile like this and then the next one up here and so on um and every other row we also need to be offset right and these tiles are each two by one so that's why i did two by one on the snapping over here and you can see for these vertical ones we are snapping up one horizontally and two in the y which is this snap value here and you can imagine for the like the 90 degree flipped ones they're going to be snapped at two horizontally and one vertically which is why we're using a different snap value on there and this basically just affords the change from a one by one to a two by one sort of like a two by zero all right so that range always fits within one tile um [Music] and then for us to get this like horizontally this is quite simple because it's just x right so it's just snapping like zero one bar and so on but because we've got this offsetting so this one's like starting at 0.5 and this one's starting at one ish close to anyway um we've got the same like the offset y coordinate that we have on here right so this is how a y comes through and gets added to this modulo right so it's this one where it starts at zero and then starts at one starts at zero starts at one starts at zero and so on right that becomes our snap value i've had to add 0.5 to it i don't actually know why but that seems to work we add it to one and we subtract it from the other and that seems to make an allowance for where the sine value has like it's been shifted um and there will be a sensible mathematical explanation for that but i don't question things that work um we're just masking it basically on this uh on this which is the basically greater than zero of our horizontal strokes so this basically says wherever there is a horizontal stroke then we need the vector for the second for the horizontal tiles here oh you're trying to make a hatched ink texture only using yes that looks so good is that spark as well and i love it i love this kind of like toon shading stuff yeah live long and prosper i love how you've got like the um varied stroke width like the the line weight varies i think that's really nice have you got additional highlights that you've been putting on or is it just like where it's above a certain above a certain uh brightness you've sort of overridden it looks great oh it's a good job on sculpting the ears they're always so hard to do now see you later chibis thanks for coming man i hope your headache goes away as well yeah have fun man um right so that's kind of the general explanation for these tiles we're basically just trying to match the snapped tiles to where the thread is um so if you go through logically it does kind of make sense um but sometimes you just just have to like sit back and think about what you're actually doing which i always just tend to run into things um but yeah you do get there eventually um when you have a scaled up vector like this right you can see that our snap values get really really bright up at one end and if you have an image texture an image always maps from zero to one in the y direction and zero to one in the x direction which are actually your u and v axes um so that's really important that we like take our overall scale here back down to a scale of zero to one and the easy way for us to do that if we take a value here at the beginning if we say that this is 50 and then our snap values over here right if we take a vector math node our legend no worries i hope you uh hope you had a fun evening congratulations again um so i'm going to take the value that we're putting in the beginning this is like multiplying our space here on the scale and we're going to be dividing by the same amount at the end and what this is going to do if i now add an image texture node and if i just put on the image that we found earlier and this is on this is from unsplash really cute doggo gonna just grab a mapping node here and a uv map real quick just so that we can find out how big this is maybe somewhere around there like a glitch shader yeah well you can basically pixelate stuff down to like any amount um i don't know if anybody saw the i did some like audio glitch audio driven glitch shaders before um [Music] so i'm saying this to extend something i found out the other day you know evie does this horrible interpolation with uh images which oh wait i'm not an eevee you get this horrible like you get a line around everything it's not good but if you change the interpolation from linear to literally anything else it goes away so if you're finding that you've got like weird lines around stuff when you're using eevee manipulating photos um and like basically everything i do with procedural textures is just like handling pbr textures i'm not actually really doing procedure regeneration a lot i'm just doing like procedurally managing textures yeah yes yeah if i add a camera and then we just hit render on that you can see that this has come through like just full of these horrible lines um basically yeah no it took me ages to find out why it was doing it as well um but it's actually quite simple so basically when you've got linear interpolation on a space right and you've got um a part of your coordinate space here which is from like 0.8 to we've got to cut right to 0.9 right so you've got like the 10 on the right hand side like the penultimate 10 um of this picture right so the overall picture it's like up here if the one next to this is at like has a value of 0.2 to 0.3 or 0.3 then linear interpolation is basically saying right on this one pixel here we need to get from 0.9 to 0.2 and it's gonna try and like fit all of this space into one single pixel if you're doing linear interpolation whereas if you do closest cubic or smart i don't know which one is lightest i would imagine closest is like computationally lighter but i also think it's less accurate you can see that some of the colors that have changed um so i always go with cubic but that will just get rid of any of those annoying like basically where it messes up um it's a real issue if you're using the basher node that i made a while ago um so if i plug this in with this set to linear well that's really weird is now um like around the sides of everything and we've ended up with all of these airways because we've got displacement on there um oh yeah around the side of all of these like supposedly seamless sections it's got this white line whereas if you just set that to like anything else then it's going to make them completely flush so that's yeah just like a really useful thing if you ever find you're getting weird artifacts in eevee change your image interpolation um so yeah it's kind of janky as well like why is it just trying to join them up and even though they're completely on the opposite sides it's like properly trying to interplay the space i guess it's just like the algorithm that it's using yeah everything works fine with cycles that's why i always use it because it like is completely predictable um whereas i find sometimes with eevee it's like oh you wanted to do this thing that's really simple no i'm gonna break so yeah um so with this you can see that basically our we have one here and we have one here and these are different but then these horizontals are next to them they're identical um and something that you can do is basically add half of your snapping value to one of these so i'm going to say that the horizontal ones should be like plus 0.5 1 in terms of our factor right because we're snapping at 1 2 so half of that 0.51 um if we just see which one is our horizontal so these are our verticals these are our horizontal so i'm just going to add a vector add here set to 1 and 0.5 so it's not going to move them at all it's just going to change the actual value of it right so this tile here it's in the same place it's just brighter um but it's not as bright as like the next snap value if that makes sense so like this is now just a slightly more like consistent gradient um but that's really useful if you have image mapping because it's basically going to say that over here or where you have more details let's try and increase this resolution so this 50 if i put this up to 100 or like 300 just so that we have like a lot more resolution you can see that we're no longer getting like repeated pixels um we're getting actual separate colored bits of fiber um it's kind of weird how her head just stretches off there um so yeah this value at the beginning this is like the resolution of your texture and then we can change the uh this invert here so we can make this like a much closer weave or we can make it much more open [Music] and if we're in if we have it all plugged into our principal shader as well let's just plug our color information in now that we've got it um i'm going to reduce the specular and it's going to bring back a lot of the color i'm going to increase the roughness i'm going to add a little bit of sheen and then also going to go to a slightly darker one of these so you can see that um this is much too high you could probably just get away with bump to be honest with this i'm just going to add a bump node instead just because it's like such a small detail i'm going to connect this up height into the height and then connect that into the bump there so there we go so this is giving us like a a nice open weave if we had something behind that then you'll be able to see that that's like casting a shadow through so if you do want to have like um like a patterned curtains oh sam no worries man have a good night if you're still here um see you later oh sorry this stream has ended up being quite long i wasn't expecting to be like two hours oh thanks everybody for staying we're basically at the end now so no worries um so yeah this is just a really like a nice way i'm going to share this file i'll drop in resources afterwards um but yeah so if you're making renders make sure that you've got shadows coming in um and if you need to see your like material and whatnot then it's quite nice to do something like this yeah nice gabe's gonna start streaming his gpu creation um i'm basically wrapped up now so it's quite a neat little node setup this so this is just the i didn't do it we don't need linear light and everything do you want me to put some linear light in let's do it okay okay um so for anybody who doesn't doesn't know uh i always use linear light in things so mix rgb linear light and then you take noise uh texture it's not an error in string without it's not it's not okay so you take the same input vector as you had before but we're just doing linear light on it um and this is also going to be controlling the image texture i was kind of expecting that to mess the image texture up a bit more um oh maybe it's like such a big texture so you definitely want it to be after your um initial like scale here because that's gonna increase the scale of your noise otherwise you're going to get like well it depends what you're using it for i guess if you just want it to be like general surface noise um like as if the surface is wrinkled then you could put it before because that's not going to be like affected by your scale of things um but yeah you can see that that's beautiful so the good thing about linear light is i'm trying to remember what the formula for it is i think it's like a minus 2b um so is that right is something like that basically if you have an input of 0.5 it does nothing if you have below 0.5 it will do it'll essentially subtract and if you have above 0.5 it will increase um so it is it's a good way like you can see that as i increase this vector there's like this everything's moving but there's no sort of net movement um everything's kind of shifting in place as it were so i know a lot of people like they get noise and then they subtract 0.5 from it to like normalize the range and then they add it to the vector just use linear light and you'll be fine um it's kind of trippy cool i'm gonna leave it like this um thanks everybody for coming and uh yeah have a great week until i see you come by tomorrow because sharon has his math notes stream and it's going to be kind of like entry-level maths so definitely come and check that out no worries thank you for staying around

Channel: Erindale

Views: 4,156

Keywords: blender, shader nodes, shading, beginner, procedural, material, nodes, shader editor, introduction, tutorial, eevee displacement map, eevee displacement node, blender pbr tutorial, blender pbr textures, blender pbr textures free, pbr textures in blender 2.9, vfx school online, blender tutorial, blender eevee, blender enviornment, blender easy, blender easy tutorial, blender cycles, intro to blender, blender 3d, b3d, learn, free, concept art, parametric, computational, design, fabric, weave

Id: XtDQ5lUl_DM

Length: 99min 12sec (5952 seconds)

Published: Sun Sep 06 2020