Transcript for:
Mastering Texturing Techniques in Blender

in this video you'll learn the basics of texturing in blender the very same techniques that are used in AAA games and Hollywood movies you'll finish with a practical customized brick wall and a set of skills that can be used for virtually any 3D surface and best of all this tutorial requires no plugins and no paid products just a default blender 4.2 installation and two textures which are both free so if you're ready to level up your skills fire up blenda and let's begin so with a brand new scene opened up let's begin now if you have already seen my donot tutorial which I recommend if you haven't already um then you will know that a texture is part of your material and your material is found right down here in your material properties right and you've got some you know you can change the color of your material and if you want to see it in your viewport you have to go to your look Dev mode um and then you can adjust this here um but to do texturing seriously we can't use this because it's too simplified right we need to see the nodes the node layout so we need to go to our shading tab at the top there which is just the exact same values but it's in a node layout here um now I've never been a big fan of this on the left hand side so I'm going to right click join area and then just collapse it okay also I actually don't want to do it on a cube I don't want the light don't want this so I'm going to select everything with a delete it and I'm going to replace it with a plane and then I'm going to rotate this so r x and 90 just type in 90 um and it's now 90° flat on so that we can create a brick wall eventually all right new material and let's begin now before you can talk about textures you have to talk about the Shader because the Shader this thing right here is like the operating system for your material every single property every everything that goes on on the appearance of your object happens in here everything has to be plugged in through here okay so as I just said before right you can adjust these values here you can make it look like a a mirror you can make it look like uh chalk right by adjusting the roughness slider there you can make it look like metal um or non-metal Etc I'm sure you're already familiar with this right so what we're doing just turn all this junk off is we're defining a constant value across the entire surface for this roughness amount here right so from the very top of our mesh all the way to the bottom all the way across it it's getting a flat value of whatever we Define right here and importantly a texture is doing the exact same thing but on a pixel level all right let me show you you don't have to follow this I'm just going to show you as an example um I'm going to add in an image texture and rather than open something on my computer I'm going to create create a new image which you can do um and I'm going to give it a flat color of a gray at point2 okay like this hit new um and importantly I'm going to change my color space to non-color data which um it's just important so it doesn't apply like a gamma correction on top of it um so this is what we've got that's what the image is that I'm going to use it's a completely flat gray jpeg right let's say now if I with a roughness of two if I take my output of my image and I override my roughness so it's now going to be using my texture instead of this value can you guess what will happen nothing absolutely nothing as I flip between them there is no change because this is a 0 2 value and this roughness is a flat2 value it's just doing it on a pixel level per pixel level but importantly because this is a texture of course I can go into texture paint mode and I could do a bunch of fancy stuff in here right and what this is doing looking at our texture over here you can see it's adding in extra values so the white is like a value of one for our roughness so it becomes like chalk on that point a value of uh sorry a black value is like a value of zero so it becomes like a mirror on those values right so at a per pixel level it is changing those values and where it gets interesting is of course you can use that not just for one value you could take this and you know plug it into the base color right so it now becomes the actual color of your mesh um you could also uh add in a bump node like this take the color use it as height which is going to be fed into the Shader normal it's just like a it's like fake fake bump we'll get to it later um right and I could give this uh something like this disconnect this right so now I'm just adjusting the bump of this and I'm painting in what looks like uh height information into my mesh right that's the joy of texturing right and by the way don't worry about this stepping issue that's just it's because of uh it's an 8bit image right you can anyways we not we're not talking about that we we'll we'll get into bump later but this is the fundamental principle of texturing right it's converting these flat boring numerical values into varied values which are more complex and interesting just like the real world is and all of the properties in your Shader right your your scattering your you know all this stuff that's hidden that's like Advanced all of that can be driven by a texture and add to the complexity and the realism of a material all right now let's talk about the types of textures there are two types of textures there are image textures like this like using a JPEG or a PNG or something like that um and then there are procedural textures right these guys right here um some of these by the way I just used in like the world uh setting like the environment one IES is only used for lamps I don't know why but they're all here even though they couldn't be used for a mesh but anyways I'm talking about stuff like the noise texture okay if we uh control shift and left click on any node by the way that'll let you preview it on your mesh um we can see what it is generating here it is generating just like before just like on our thing here it's generating values from0 to one blacks are zero whites are one and it's doing it on like a like a noise base it's using math and it's being generated by blender um just for our Shader here so you get like some simple values here that you can play with um and very quickly um adjust the look of a texture and that can be used in a Shader just like anything else right use it across here and now we've got some interesting looking uh like a I don't know what it is it's it's just like a speckled like a dirty mirror I guess is what it looks like right now um or you could also use it to create for example um like a stacco right by adding it as a bump map and I'll just turn this like way down um why am I not seeing it oh there we go right something like that and then I turn that up I don't know maybe a little bit higher now right and that starts to look like a like stucco like plaster on an exterior of a building or something or even plaster on an interior yeah anyways it's a it's procedural textures are very simple they they're adding patterns and they're very good for adding yeah like subtle amounts of detail they're also good for blending with other textures um but generally speaking you're not using a procedural texture by itself to create a realistic looking surface now I've actually seen a lot of beginners get LED astray because they look on Art station or they look on forums and things and they see people do amazing realistic looking materials with like node layouts with hundreds of nodes and they're creating Through Math and combining this one with this one with this one with this one something that looks like a real complex material but in practice that is almost never done in production that's controversial it depends on the production if it's if it's a game and they need custom materials for part of a pipeline then yes they will but if you're working on like a VFX shot or an animation or something you're not spending days sometimes weeks creating one material for one surface it's just impractical so understanding procedural textures is definitely a valuable skill but I think there's really a limit I don't think people need to know that much about them I need to know how to combine them and the math behind them and things like that but most of the time you're going to going to be using an image texture for your base most of the detail is going to be in there and then you're using procedural on top of it so image textures let's talk about it let's say we want to make a brick wall and to make this interesting um and not just like a simple easy tutorial um let's make it realistic for what you probably need not a square wall which you never have in a scene um you want it to look like a maybe the side of a warehouse let's say so I'm going to select this edge here on the edge I'm going to hit e to extrude it and then X just for its x axis holding down control to snap it to uh 2 m right and then I'm just going to hit shift R which will repeat your last action that is shift R um to do it twice and then I'm going to select this Edge along the top here as well e z holding down control make it 2 m taller so now we should have when we hit n to bring this up an 8x4 m wall okay so want to look like brick Oh what do you do well what a lot of beginners do in their journey of 3D they go to Google and they go brick texture right and they go to the images and they go ooh what sort of brick do I want right and then they you know they find the texture that they want and they go perfect that's the brick I'll download it and by the way don't do this I'm just going to use this as an example um add an image texture set this to the one we just downloaded and I connect it to my base color right cuz that's where where the color is and okay this is not the fault of the texture um this is because we haven't UV unwrapped this so let's quickly do that I'm going to select my entire mesh select everything and then I'm going to hit U and then select unwrap by the way if you don't understand UV unwrapping it's not going to be part of this tutorial sorry to break the news to you uh it was going to be like 3 hours long if I was going to do like UV unwrapping as a proper topic um anyways going to go to the UV editing tab here basically this aligns with this so we just have to rotate this so that it matches is like the you know the it's in the correct direction right which you can tell cuz there's a little line there that's the edge right okay now this is a 8x4 M uh wall right so how big is that brick wall probably about 2 m right so I'm just going to scale that up like so and that's it so that's the all the UV on wrapping we're going to do for this tutorial um just to just to cover the bases all right so that doesn't look like brick that barely looks like brick um a number of problems the first as you can see is there's noticeable seams and that's because textures that you get online were not designed for 3D they're usually designed for websites or for throwing into the back of a Photoshop file or something right and what we've done is we've tiled it and it doesn't matter how perfectly they take the photograph if it's overcast and they even get the bricks to be perfectly aligned it will never work it'll just never work without some form of cleanup so you can take it into Photoshop you can do an offset and then you can use the Clone brush and you can try to blend it that way um it takes about an hour to 2 hours at least that's what our artists spend on at polygon um and it's it's time consuming it's it's not fun but even if you did that the other issue you would notice is that this looks like it was printed on cardboard it doesn't look like real brick because looking at our Shader of course it's it's just going straight into the base color and it's just using a flat continuous roughness value it doesn't have any bump information in its normal input and you could certainly try you could plug that into the roughness input and go oh well I've got some information there it's the wrong information um you could also plug it into a bump map right and it'll just like basically do a grayscale operation um to try to guess what that information um should be for the bump and it's definitely better than nothing but it's not the best you can see it's assuming because the mortar is lighter than the brick that that is sticking way further out than the brick when it's probably the opposite is true right so that's why most artists realize very quickly you don't usually use a texture that you get from Google what you need are seamless PBR textures PBR textures are simply textures that were designed for 3D usage and rather than downloading one image PBR textures are a set of images usually like 5 to 10 images that each do different things to the Shader and there are a number of places that you can get PBI textures from but I'm going to be biased and recommend polygon and I'm biased because it's my own website so over the last nine years my team and I have invested hundreds of thousands of dollars in perfecting the art of texture capture so we've created a set of hardware and pipeline solutions to accurately capture real surfaces in the real world which means we don't take a single photograph of pretty much anything we use specialized rigs with like a polarized ring flash so it doesn't have Reflections and we take hundreds of photographs of every surface then we use photogrametry software to rebuild the surface so you get all the accurate height information that's really there in the real world we bake that out into PBR Maps then we clean them up we standardize the values and it is the only way to accurately capture surfaces it is expensive it is time consuming and it is a very specialized skill that most artists should not waste their time doing honestly speaking from somebody who's tried it it's not really that useful for anything else besides building a texture Library as you can probably guess polygon is a paid product we have a number of plans available you can also buy packs of uh downloads if you just want to download a few things um but for this tutorial we are going to be using a free Texture this guy right here so uh you need a a account at polygon just a free account and then you can download this and this is the only texture we are going to be using for this tutorial you do not need to buy anything from me in order to follow along but if at the end of this tutorial you want to start building a scene you want to really take texturing seriously you can come and subscribe and then download more textures okay so click the link in the description to get to this page and then what you're going to be downloading is your 8K resolution because we're going to need all that juicy detail because of the size of our wall um you can if you wanted to change your settings from JPEG to be PNG there's not really going to be much of a difference really it's a much more lightweight format jpeg the only one that really matters for is displacement to be Tiff which the default is already set at so just hit download and then you will get a zip file like this which you can then just extract and then you'll get a folder which inside of that folder you will see 8K and then here you have all of your PBR Maps um and we're going to use most of these the only one that we're not going to be using is om if you're curious what that map is you've never seen it before um it's occlusion roughness and metallic and it's only used for real time so it's this map this map and this map but it's stored in the RGB Channel which is just more lightweight for realtime engines like real engine and unity um but we are not going to be using it uh for blender we're also not going to be using the material xfile because you only use that if you know what you're doing which we don't need it so yeah okay so back at blender you don't need to have uh this you just need to have a Shader set up but you do need to have a plane which as I mentioned before needs to be 8x4 M so make sure you've done that all right so I'm going to show you how to set up a PBR material inside of blender um and I'm going to do it the slow way there is a plugin for polygon which does it in one click and I'm going to show you that at the end but I want this tutorial to be helpful for people who are using textures from anywhere because PBR Shad setup is really important to understand so there's a few ways to add an image texture one is to do the way that I've been doing it so far shift a texture and then go image texture and then click on open and this first one that we're going to be importing is the base color jpeg okay so make sure it's underscore ending in that and then hit open okay and I'm going to drag this as you you can probably guess into the base color input pretty self-explanatory all right now you probably won't see anything as good as this so far because your UV unwrapping is not potentially set up so uh just go to your UV editing tab at the top there um and we're going to on the mesh hit U and then click unwrap and as I mentioned this isn't a UV unwrapping tutorial but just you know basically getting it set up for a wall uh we need to rotate it right so that it's the correct orientation um and scale it up the other thing that uh blender doesn't really make it very easy to spot but uh you can get to a point where the up on your uh UV editor is not the up on your mesh and it's often not easy to tell which is which so if you click the little sync at the top there top leftand Corner that little icon that will mean that when you are selecting parts of your mesh you will see the uh selection over here on your UV image editor and you can see that I have rotated it the wrong way so I'm going to select everything rotate this in my editor and then holding down control so it snaps to 5° increments get it to minus 180° and now you can see as I click across it the correct verticy corresponding over there is selected all right the other thing I need to do is to scale this to a sensible uh amount now on polygon we publish the exact sizes of our textures and you can see the physical size 2.5x 2.5 M now I know because of we started with a plane that was 2x 2 m that's the default um I know that each of these squares here represents 2 m so if I want to get this like really bang on accurate what I would do is I would set it so that it's you know the size of a square roughly speaking and then because it actually needs to be 2.5 M I'm going to scale It Up by 1.25 okay 0.25 because it's half well it's 2 m you have to that that's the exact amount it's like 25% is what you have to scale it by I was going to try to explain and then I'm like ah can't explain it anyways but it's a small thing but it just means that now our texture matches the exact physical dimensions of the real texture in the real world and just yeah it just helps when you start adding other things to the scene quick interjection uh actually not quite um it's only if you scale this then in the 3D view so with the plane selected scale that by the exact same amount 1.25 which would mean that your plane would then be 10x 5 which uh is correct and then just make sure you apply the scale so that these values here um become one but then that is correct and it will be the physical correct uh dimensions for anything else you add to the scene all right back to my shading tab over here and I'm going to show you another way to add a texture here for the next map if you got Windows Explorer or whatever opened up um if you just go and click on the map you want to import and I'm going to be importing the roughness uncore roughness map next I'm going to click and then just holding it down just drag over and then alt tab to blender and then just release it inside of your Shader over here release it and it should appear all right and by the way something you'll probably notice is that when you click on another node there's like it stalls blender stalls for like 2 seconds you can see before it uh before it appears very annoying and it's doing that because we have on the left hand side our image viewer opened which is why I don't like the image view of being opened so I'm going to right click and then go join areas and then just drag it across so it's gone so now we don't have that delay when we click on something awesome okay so your roughness map can you guess which part of our Shader it goes into haha it goes into the roughness of course and excuse me now you can see um as we look at our men that there is some slight differences in the reflection right it looks a little bit more shiny here and less shiny there but actually this is not correct so uh the color space of your texture basically means blender is expecting it to be like a standard camera photo which is srgb 2.2 gamma without getting too much into the color science it means it's doing an operation on this map that shouldn't be there because a roughness map and actually every single PBR map except your base color will almost always not be in 2.2 gamma it will be in what is called raw or in blend's case a non-color space okay so we're just going to click it and then select our color space as non-color and now it's actually correct I know it looks worse it looks like all that detail is gone um but it's it's not about what looks better or what you can see it's what's actually correct and this is actually what's correct because this brick here is actually quite a porous brick and this mortar is also porous and there's not really much difference between the roughness and that's not the bit that matters what matters though is that the overall roughness value we don't have to guess what it is based on this here it's defined for us in our PBR map that's the bit that matters here all right let's do another texture um and I'm going to show you the third way I like to add image textures uh rather than doing this and then selecting it which isno I just hit shift d and just duplicate that node there and then just click open on that new node all right so this one I'm going to be importing the underscore ambient occlusion map this black and white um texture there okay if I control shift left click on this you'll see what it is mostly white but with very very small amounts of dark detail there and this is a cavity map um it's basically wherever there's like Deep Pockets inside of uh the the Brick it's creating Shadow there and why is it doing that well because when we photograph the textures we used a flash which is designed to flatten and remove all Shadows from it and then that can result in textures that feel a little bit like they're lacking something so the ambient occlusion map is adding in some of that detail and you actually don't always need it because if you're using physical displacements um it might not um be needed because there will be you know real uh shadows and and whatever and the cavities of your mesh but we're going to add it and I'll show you how to do it so I'm just going to uh drag this out a little bit so that we got more room um and also uh yeah it needs to be up here so actually I'm going to with the roughness and the ambient occlusion node there selected I'm going to rotate look at that you might not know that you can do that but like the hot keys of blender they work everywhere which is kind of crazy so I'm just rotating it up because what I'm going to do selecting our shade here again um I need to combine it to add into the color information that we've got here so I need this to be combined with this so when you're working and texturing when you're working with materials inside a blender the node that you use to combine thing combine things is shift a color mix color Okay so this you use all the time and in fact we're going to use it all the time in this tutorial so uh what I can do with this is now I can combine any two color inputs together so I'm going to take my color and put that into the bottom input and now this you can see it's now spitting them out into one single output combined together and this Factor amount controls whether I see all of the one on the right or all of the one on the left um but that's not what we want we don't want to see one or the other we want to see them combined and which way we combine it depends on the texture this is a mostly white texture the only information that we care about is the dark values so if we look at our mix Shader note here you've got a number of blending modes and and if you use Photoshop or other uh image editing softwares um You probably I just realized I got my webcam stuck up here don't need that it's blocking my view a little bit um but if you work at Photoshop or other Imaging a applications you know the blending modes already they work across all of them uh the one that we're looking for is multiply so multiply means it's just going to ignore all of the light values and it's going to only use the darker value so anything over a basically 255 completely white value is going to be um used there and now this Factor amount here um it can be all the way to one okay because that means that we're using 100% of that cavity like the the Shadows over the top of it if you wanted less you could have somewhere in between but crank it all the way up to one almost always the other thing that we need to um account for is again the color space should not be SB it should be non-color data because there's not a gamma correction there's nothing on it it's just linear information that is stored inside of that texture okay so very small like from here you can't tell the difference but sometimes you can and this tutorial is designed to help you with no matter what texture you're adding into blender and ambient occlusion that is how you combine them all right now the next texture I'm going to be adding shift d and then click on open you don't have to do this you can skip this part but I need to show you because other times it makes sense underscore metallic map and the reason you don't need to worry about this now is that I'm going to drag out and put this into the the metallic input and you will see absolutely nothing okay because there's no metal on our mesh at all obviously uh because it's a brick wall um but if it if it was a metallic map you would also want to set your color space to non-color data um but absolutely no difference whether it's there or not it's just going to be adding to our render if there's no information that's valuable so you can just delete it okay so far haven't really got realistic looking breaker looks much the same but it is physically accurate the next two maps are the ones that really matter and that is your Bump detail okay so I'm going to hit shift d duplicate this and then click on open so this purple looking image here is your underscore normal map let's hit open again make sure your color space because it is PBR map it needs to be set to non-colored data cuz it's not the base color okay so this is going to add bump and the where the place that it is used in your Shader is your normal input over here okay when we've done that it looks terrible and that is because blender needs another node in between there to there because you can see the color of this uh output here that's kind of a a clue in blender if you've connected something incorrectly um is when the color doesn't match where it's going in okay so yellow to purple not good so what we need to add in is a vector normal map node make sure it's not normal but normal map okay so click and drop that in and now you can see it is correct and it looks way more interesting than it did before strength of zero you can see how it looks and a strength of well should be strength of one right so that is your Bump detail very interesting all right now the next map is also some bump detail so I'm going to hit shift d duplicate that down and then I'm going to add in finally whoops which one is it underscore displac make sure it's the correct one cuz they look similar roughness ambient occlusion it's underscore displacement. Tiff and just like before it needs to be set to you guessed it non-color data so uh to use the displacement um it needs to actually go not in our Shades the only one that actually exists outside the Shader it goes directly into the displacement input of our material output node there um it's all the way down there let's just move it up all the way over here just so it's closer so I'm going to take that and put that into the displacement input just to show you that that's the wrong way to do it um uh it's yellow to purple which means there needs to be another node in between it um so it's Vector displacement that is the node that drops in here um and make sure this goes into your height input okay and then this scale slider here will Define the strength uh of of this displacement basically okay now here is something that I have just learned recently and it's something that I think almost every single artist is getting wrong um because even the node Wrangler that comes with blender gets this wrong um so the normal map and the displacement map should not be used together you should be using one or the other okay and the reason for that is that assuming they are authored correctly um and they are the same then it is doubling the information because the normal map if we have a look at that it is bump information and if we look at our displacement map oh we actually can't look at it through that point um but it is the exact same information but it's just represented in a grayscale form so if you use them both together you are just doubling the intensity of the bump when it's usually not authored in that way it's not designed to be used in that way um the other reason to not use it like this um is because displacement can be used to physically displace a m which is what we're actually going to do in a second um and when you do that it actually a normal map on top of that kind of breaks it um and I noticed this issue and so I I emailed bre who is the lead developer of cycles and I said look I think I found maybe a bug or something with this and he said like no when you have physical displacement which we're going to set up in a second um you shouldn't be using a normal on top of it because it's just going to wreck it and I was like what that's crazy like the node Wrangler does this uh Mega scans input rep does this is everybody doing it wrong and he said well we could add an extra option so apparently they're going to add in some support so that you could potentially use both a normal map and a displacement but you still shouldn't because if they're the same information there's no point in using both of them together so what that means is we have imported the normal map here cuz I wanted to show you what it is for but in most cases I actually no longer recommend using it because as I said they're the same information and the displacement map is act a much more versatile map of the two um because you can do true displacement all right so this as you can see looking at it right we've got some bump right okay but you'll see that if you look at it flat on like hey our wall is paper thin there okay so it's not physically displacing we're not actually getting any real brick and that's part of the reason why this kind of looks pretty bad it doesn't look like a nice brick wall yet um so the way you change this is down here I'll have to move my head out the way but uh underneath your material settings you'll see displacement and the option is Bump only or displacement only or displacement and bump okay so let's use displacement just to show you what happens nothing absolutely nothing happens um and by the way I have to assume this is a little bug here 4.2 only just came out today um and it says unsupported displacement method but it is displacing it so I have to assume that is a bug it only appears appears when you're in E mode anyway but anyways ignore that if you see it um it is actually working the reason that this is not seemingly doing anything is because what this is looking for is to physically displace the geometry and the geometry is this so each of these little points is getting altered ever so slightly in relation to the grayscale information that it's being fed um in this map here and because of that it's basically like it's working with how many pixels is that 1 2 3 4 15 pixels right 15 little tiny pieces to move so we need to add a lot more um detail basically so your add modify go to your modify snack sorry yeah click the wrench modify generate subdivision surface um and you'll see by the way when you do this you get these rounded Corners which are very ugly so change it to simple and then it won't round the corners for you and then we're going to change uh if you crank it all the way up to six it will be better but it still won't be visible so let's crank it to eight and then you will finally start to see something and this by the way is just a new feature of Eevee um it's the first e like because of Eevee next it's the new version of Eevee it's actually got true displacement for the first ever release so pretty excited that we can do this now um it used to just be a Cycles only feature anyways so with this look have a look right physically displacing our mesh right so each of those bricks because that height information was recorded and it was done correctly with photogrametry software not using some cheap process like substance sampler to just guess it these are the real brick Heights that are being um yeah basically used on our on our mesh here um and the value that polygon authors to uh for new textures is.2 for the scale anyways so what's the difference between uh bump so bump you know obviously is not displacing the mesh at all okay so should you use then displacement or displacement and displacement bump you should be using both okay and the reason for this it's all that that little message disappears because it's it was doing displacement and now displacement bump anyway um but it's uh this is the fake bump so it's just applying this to the normals of it right which is just the same as using a normal map um so it's without getting too technical it's a Shader fake operation to pretend like the light is creating Shadows where there isn't any that's what bump only is displacement is the true bump but unless you've got like an ultra high res mesh to like like Atomic level or whatever or like the number of pixels you've got in it you will always be missing information which is why you need displacement and bump and then you're getting the Best of Both Worlds um it just might not be visible uh when you're looking at uh like from from this level basically it might be a little bit invisible um yeah in fact if anything I think that's the one that's unsupported maybe maybe they got the error messages messed up I think they did I think it looks like for Ev uh displacement and bump doesn't actually work together but anyways for the rest of this tutorial we're going to be using Cycles regardless so we're going to swap to cycles and then if you're in look Dev mode it's always going to be using EV so to see Cycles you have to go to your rendered View mode at the top right hand corner there and then wait for it and you will see black because there's nothing in our scene except a plane so we're going to go to the world settings now and then change the color the this little yellow dot here going to click it and then I'm going to say sky texture all right so this is that fake you know just a fake World thing with a little Sun anyway so I'm going to rotate it uh around sorry adjust the rotation here just so that I've got it sort of like coming from that kind of angle like that um it's always way too hot um so I'm going to adjust the strength here to be .15 like so and now look at that look at how glorious wall in all of its detail beautiful um all right now the other thing I'm going to do is I'm going to right click because you'll see you get these like little lumps here right and what it's doing there is um uh it's doing flat shading right cuz we started with a plane right so it's just treating this like it is a flat shade and if you follow the uh donut tutorial you know there's such a thing as smooth and hard uh sorry smooth and flat shading so what we need to do is swap it to smooth shading because it's now creating all this extra geometry we need to add it so let's add that and you'll see it looks a lot better A lot cleaner and a lot nicer and now you should be able to see if we go back here I'll swap to displacement only right that's just the geometry by itself right crazy so now we switch to displacement and bump and it looks marvelous really marvelous the only thing by the way and some people will probably call this out in the comments if they haven't watched this far they've already written the comment um there is one advantage to normal maps and it's also part of the reason that they are used in games is that a normal map you can get away with an 8bit image and it can still look quite clean um and what I mean by that is it doesn't have any stepping issues so a displacement map because it is grayscale Data it's not angling it at a I actually asked this question on Twitter and somebody answered with a very great visual that shows the difference between but uh a an a 16bit tiff is is needed um because it's using gray it's like binary steps of height and what it means is is that you can see very if you zoomed right in there you can see like slight stepping it's actually really not that apparent here but you can see like tiny little squares here they're basically invisible well actually there is something you can even do to uh prevent that and that's to switch to cubic in interpolation which actually the blender documentation uh suggests and you can see it's slightly um less visible there the stepping is actually oddly enough it was most visible um we were when we were looking uh in the uh EV look Dev mode so see these little yeah see these little like like looks like topology like little mountains or whatever that's what that is um and oddly enough it kind of looks more obvious in cubic mode inside of EV I don't know but it is the correct setting supposed to be uh cubic anyways jumping around here but I just want to uh explain it so when you're using a displacement set it to cubic um and it's great and that's it so you should have for your Shader displacement and bump a scale of 02 this should be non-colored data this should be going into your displacement input um and I will put it up on the screen here uh this is a PBR Shader that is correctly set up and you will see we are not using the normal map it is there it's always downloaded with uh with files because some people want might want it for real time and also if you were never going to use this displacement you weren't even going to be combining it with other textures which is the other reason for using uh displacement it makes it very easy to combine stuff is what we're going to use later on then a normal map could be useful when not going to be using it for the rest of this tutorial we're just going to be using Basse color ambient occlusion roughness and displacement okay so this is the manual way to set up a texture um and it's important to know this because you need to understand how things will go together but I want you to also know that this is not normal you don't when you're building a scene manually drag in four five six Maps just to create one material that's just a waste of everyone's time um so I want to show you that although it's not required for this tutorial you can just watch this next part most artists when they're building a scene uh they aren't manually building it they are using uh plugins to automate it so there are two which I'll show you right now you just uh watch this next part basically okay so the first way to do it uh by the way we we'll keep this right we'll keep this up here and we'll call this brick all right and then I'm going to click this little Shield icon to create a fake user which by the way is how you save something so that if you then delete this material right and then add a new one um it's still there right it's not going to disappear CU it's got a little F which means fake user they should have it's one criticism that a lot of people have a blender that's not very clear it's a very annoying thing you save a file and it's disappeared but anyways so I'll show you it this way okay so one way to automate this process that we've just done is to use edit preferences go to your add-ons and enable the node Wrangler okay um it's underneath add-ons node Wrangler it should come with blender automatically you just have to enable it and then when you select your Shader you have to have it selected you hit n in your properties and then underneath uh down here on the tabs you've got node Wrangler and then you should see a button you won't see it if it's not selected but you have to have the shade is Select it and you'll see add principled setup then you just select the files that you want to add and then hit principled texture setup and then you just have to wait like you know 2 seconds and then it will have done most of the dirty work for you now as I mentioned it has got something wrong which is that it's using the displacement map and the normal map together and as I mentioned you should only be using one or the other but that's pretty simple just holding down control and then right click dragging across will disconnect um that setup for you okay so now it's using that um you will have to then uh change it to whatever bump you want uh displacement and bump in this case the scale is automatically set at one which it almost never needs to be um so uh set it to 0 2 if it's a polygon texture um but otherwise just adjust it to suit um you will also they've also got the setting wrong it shouldn't be linear it should be cubic okay um but that is roughly the setup that we just created it's added in some maps that we don't need we don't need the metallic map it also hasn't done the ambient occlusion for us so it's it did like half of it right there's still a lot of like fiddling around um but uh you know pretty good and that is a method that works for all texture types one major downside to this method that I don't like is that you still need to use your browser you have to go to Google type in textures find the textures download a zip file then unzip the zip file and then bring it in so the second method that I'm going to show you is the polygon add-on which obviously only works for polygon assets um but does it all inside of blender um so you can browse search download and oneclick import and setup um without needing to go to any other software so first click the link in the description and then download this uh ZIP file very small size don't unzip it instead go to edit preferences add-ons and then click a little uh it's not clear in 4.2 but there's a little drop down arrow in the top right um and then in there you'll see install from dis then just locate that zip file and hit install from disk give it a second and then it will appear right here for this I am using version 1.7 yours might look different if you're watching this later on but anyways once it is installed um you don't need to have your Shader opened at all um just hit n in your properties um and you'll see a little polygon tab it'll first time you use it ask you to log in via the browser so you click that it'll open up this and then that's it so now the way it works is if I've got credits if I've got a subscription then basically I can just uh buy directly from here um and it'll then just download everything you need and then once that's finished you just click apply then if I go to my uh go to my render viw mode you can see that it's just applied it one click super easy the other thing is you don't even have to have credits um but you can preview material so this little ey droper sorry not ey dropper I icon there will let you uh just download a quick preview of it it's got watermarking but um yeah you can see you can get an idea of what the texture is going to look like to make sure that it's going to be a fit for your scene um before you download it um so yeah the reason I like it I mean obviously I'm biased but it means I don't have to open up the browser uh download a zip file and then unzip it um because that does take a lot of time when you're building a whole scene of things but anyways that's there if you want it we're not going to use it for the rest of this tutorial so I'm going to go back to the one that we just created the one called brick bring this up and here we are again okay we have 45 minutes into this video and we haven't even got to the fun stuff yet we've really just talked about shaders we've talked about PBR textures and some of you watching this were like when are we going to actually make this thing look cool that is right now okay so we can finally now talk about manipulation manipulating a texture to work for us to work for our scene because um not only is that like just super important to make the scene actually feel real like so where you've got you know a wall and another wall meeting you've got like black mold that builds up there like how it does in Real World um but it's also solving another problem for us right breaking up repetition because even though this is a seamless texture there is a limit to how many times you can tile something before your eye will be able to spot repeating elements right you can see you've got three rows of these bricks that are different and therefore your eye is spotting it um so there's always a limit to yeah a seamless texture and um you can spot that pretty quickly right so um tweaking a texture does that but it's also just super fun this is what being an artist is about is being able to control it and be creative and like you know really have fun so this is the bit that I enjoy the most and you probably will as well all right so let's talk about the basics basic manipulation of a texture um and the simplest thing that a lot of people want to do is they want to alter the color of a texture right like maybe you're working with like wood and like it's just it's a great grain of wood but it's the wrong shade you want something darker or lighter like being able to manipulate the color is uh super important right so to do that you know you could take your Basse color into an image editor like Photoshop and then do some operations there but that would be silly because that would be destructive you'd have to be saving files and then you know transporting it back and forth um because you can do that inside a blender and it would be non-destructive so you can tweak it later on so that's what we're going to do but you don't do it on this node here you do it in your node setup this node tree that we've got here you place in extra nodes to manipulate things between there and our Shader so let's make some space so I'm going to uh just drag over this and hit G to just move it across like that and the place that we're going to put if we want to manipulate our texture is basically between here and where the Shader starts and you know you could really do it if you wanted to on just this row here but yeah the ambient occlusion is just adding in Shadows you might as well just do it uh after our multiply so between here and here okay so the node to do a really simple basic operation to the color is shift a and you're looking underneath color the Hue saturation value node I love this node because super simple and you can do a lot with it um so you can see by default the values 0.511 and one um they have no effect um and we can see that by disabling our node which you can do with a node selected if you hit M uh M for mute it will mute the node and you can see as I flip back and forth there is no change okay so saturation of one is just as it is so if I increase this I'm obviously making it more saturated and if I go the other way it's hey more desaturated right um the value is just like almost like brightness right like how kind of luminant pixels are right um I think you can actually go above the uh the value there of two if you just like click it and then type in another value you can go even brighter if you really want to break things um but you can do a lot with just just these three vowes here so the top one is Hue and that's for really like so that's Shifting the Hue okay and you can see if you just play with it you can quickly make this look uh very funky normally what you want to do is just change it ever so slightly so if I was to um actually let's just increase the brightness just so we can see it a little bit better um if I just shift the Hue holding down shift Shifting the here with shift uh that'll enable me to just move it left and right with subtler values holding down shift and as I go to the right you can see it becomes a little bit yellow um if you go too far it starts to look green but you can get just a little bit of a yellow tint to it just by moving it to like a you know4 values that way um and then if I went the other way obviously it starts to look a little bit more like a richer red color almost getting into like a pinky purple um so this is something I do a lot so if I go like this and then I desaturate it a little bit and then I bring down the uh so the value of one is where we started right if I go like that that has completely changed the appearance of the brick with just some very slight changes so if I hit M that's going to mute it so this is how it looked originally and then this is how it looks with some uh saturation maybe that doesn't look like a lot to you but to me that that's a fairly big change all right all right but let's say also with this that um maybe I didn't want this this color shift this color change to happen to the entire um brick that I've got going on here and actually let's just make it a little bit brighter so let's say instead of it being a like a darker uh change it's now just make it a little bit brighter um and let's go yeah something like yeah something like that right that's yeah that that's a pretty that's transformative enough that we or I can kind of Spot the Difference there so let's say yeah I want to make it to just certain parts of I want to make this look almost like a like there's patches to it where maybe the sun has hit different parts of it and it's just faded in those patches so this is where we talk about masking so a mask is just a general term for whenever we want to have um certain effects in just certain areas okay and the way we would do this is by using another texture and then putting that into this node and the place that you would want to put that in is down here where it says fact it's not clear I don't why they went with fact I guess it's short for Factor but it's not obvious that that's what that does but it's it's a Val it's a numerical value for now um and it's going from 0 to one so a a value of one just means it's a all of this right 100% if I go all the way to zero it's now none of this so if I hit M to mute it there's no difference between before and after because this is having Zero Effect so I could if I wanted to let's say I like the look of this but I just went tooo far and I wanted to quickly change it I could do that but because this has an input I can put anything into that any black and white texture will now control where this kicks in okay so as you remember from the start we created a noise texture and that was black and white so let's do that let's use a noise texture to control this so I'm going to hit shift a texture and go noise texture the most versatile of all procedural textures that artists use a lot I know I do um okay so if I take a factor of this and put that into my factor of my uh Hue saturation value node Watch What Happens doesn't seem like a lot but this is the original texture and this is it now and you can see there's a little bit kind of patchiness but it's subtle so let's control shift left click on the noise texture and this is showing us how our noise texture looks now you might notice that it looks kind of stretched and this is because we are now working with a um a surface which is not 1 by one by one and it's without getting too technical on uh coordinates by default it's using a generated coordinate system which is just looking for objects that are one by one by one and if they're not you have to do an operation in there to like make it so that it's that but in our case we've actually got UV coordinates that make sense for this so we we can actually just use that so this Vector if I drag out from here and then I just click on texture coordinate which is uh one of the suggested ones there um I can click that and you can see it's texture coordinate plugged into the UV and it's now fixed that problem the other way to bring that in if you didn't see it in your popup shift a and then go to input don't know why it's in input doesn't make sense but texture coordinate is in there and then you could just drag it in um like that okay so it's now using that so that means that now the scale is a bit wrong but let's say yeah I want some big you know black and white patches across it all right so I've changed the scale of it so now if I look at it I should see hopefully some little patches the reason I can't though is that this is it UI is able to spot these value differences the zeros here to the uh to the ones but it's it's mostly if you could see the values on I wish there was a way to actually see like the like the numerical values of areas but it's like it's very it's all areas of gray there might not actually be one section in here which is pure one or pure zero like pure um white or pure black it's all just shades of it across it and it's very subtle so what you often want to do is to increase the contrast and uh one node that a lot of artists love for this purpose is shift a converter color ramp okay so let's just drop this in and I'm going to drop it in between our noise texture and our Hue saturation okay so this is our mask right and then this is our uh operation okay I'm going to control shift left click on the color just to see what we're looking at so if I drag in these handles here what you'll notice as I drag in the white the white handle you can see that it's like it starts to like almost clip the white values it's very subtle so let's drag in the uh the black handle all the way to the middle there right and this is like it's it's it starts to like clamp like where does the um yeah like where does the true black values start in our texture there so we're now just increasing it to like the middle points so those areas that were around yeah 04 in value are now getting a a value of pure black and this value here the values that were around 0.5 Beyond as well are now being clipped in at one so it's just a very easy way to control how harsh this this mask is so now when we look at our Shader you should be able to spot now those differences and actually let's just increase it so you can see it right so it's now a lot more obvious um wear those those values in so it's really just a matter of like like now these handles become like the feather of my mask as I drag out right and you sort of maybe want it to be like I don't know maybe let's go here and then for my noise texture because by default this is very looks kind of low res very kind of mushy but if I increase the detail to four I get like more detail on these edges here and then I can increase the roughness which just kind of like see I don't really know what the roughness does I should probably uh look that up yeah okay that's not helpful blend between smoother noise pattern and rougher with sharper Peaks yeah I mean it just feels sharper a little bit that's kind of it I mean it doesn't really you don't have to understand it um but that's the explanation we've got um but yeah it you know just adds makes it look a little bit sharper um but yeah you can play with that and you can get some more interesting patterns there one thing I'd caution by the way is a lot of people just go like really Ham on this detail amount here right um because it feels like oh yeah like more more detail is better but something I learned from uh a course uh that actually the blender Institute put out um is that this drastically increases shaded computation time like a value of uh I think it's it's on like logarithmic so a value of two sorry three I think is like twice as computationally expensive and a value of four is twice more than three was so basically if you're using like six it's something like what is that from what two was it's like twice four like 16 times as computationally expensive as what two I could be wrong on that but anyways the point is is I wouldn't go over like five or six in your detail because you can very quickly blow out your Shader computation time when you hit render anyways just want to caution that cuz I have seen a lot of artists just go like yeah more detail not realizing as I didn't that that is drastically increasing uh stuff anyways all right so that's you know that's okay it's all right it looks a little bit too harsh there but yeah that that's we've got some like Apaches I mean I would almost call this just like breaking up repetition um but yeah that's it's it's a it's an okay effect so what I will do and this is something that I would definitely suggest to people because a lot of people find nodes overwhelming and it's because they they build this and then they go oh now I want to add some black mold and then they do more and then they do more and then they they zoom out and they go oh my gosh I can't understand this there's so much going on so you have to label what you're building as you build it okay so if I select these four here if I hit shift p which you can do if you've got the node Wrangler um add-on installed right make sure you just uh enable that and you will see it um you hit shift p and then you will everything selected gets a frame you can also just go group and then go oh sorry layout and then say frame and then put your nodes inside that frame anyways uh I'm going to hit n to bring up the properties on this Frame that is selected and then for the label I'm going to type in Sun fade right just so that I know what it is okay great our first manipulation baby's first manipulation by Fisher P anyways um let's now add another effect which is uh black mold okay and actually it might help at this point uh to bring in some image reference I'll put a link to this um but it's a reference that I've found this guy right here okay um and you can see this is this is what real Brook brick looks like on the side of a building that's obviously uh seen some better days um but you can see as we zoom in here we've got like some just black patches right that kind of build up on some of the brick we've also got some white patches that's uh kind of like e floresent is what they call it kind of like where like the minerals from water the water disappears and it leaves minerals behind that's my understanding uh and then we've also got like desaturated brick in here right so those three elements black mold desaturated elements and efflorescence that can really help uh make this look like an interesting texture okay um but let's say I don't want to do like just a simple value adjustment and make the brick look darker I want to actually make like act feel like elements on top of it that are just like purely black on those parts so for that I'm going to make some space here and again between here my last operation and here I can add in another operation okay now if I want to introduce another color um the way I would do that is by using shift a the node that we used before to blend in our um ambient sorry yes ambient occlusion is the uh mix color node okay super common node as I mentioned before um that is very versatile and it's used a lot for masking it's actually really just convenient that we've got this Factor input here for this Hue saturation because most nodes don't have that right if you use like the uh brightness and contrast and you wanted to do a factor operation you couldn't you have to use it through one of these nodes so a mix Shader is what you often use when you want to like combine two things um together because it has two inputs and it has a factor here right so that's where your mass goes and then you've got two uh effects here your original and then your affected thing that's generally the the setup there okay so what I'm going to do is I'm going to take my output from my sunfade and I'm going to put that into the top input okay and let's have a look at this okay so what this is enabling us to do the factor is as I mentioned before a a value of zero is just using 100% of the texture without any influence of the bottom and then as I drag this up it's more and more and more until it's 100% of the bottom influence okay so I want this to look like yeah like let's say some black mold that's kind of building up on our brick there so I'm going to go with a solid black texture but you know you could put Green in there make it look like sludge or slime or whatever that's kind of built up but I'm just going with a solid black okay and now I'm going to connect this with my Shader over here right and this is uh what we've got so far basically this is also how you would make painted uh brick that's literally it this color now becomes whatever color you want your brick to be um cuz we've just overridden what we have as the base color I in fact actually if you just had solid brick like that you just get rid of the color input and then just use this as your color of your brick exact same thing as what we've got going on here um anyways so this this is going to be black and then this is going to be what wherever we want this black mold to appear now we could use a noise texture right we could take you know the output of this color ramp if we were really lazy just put in the exact same spot as where we've got this right and that would give us this kind of look but you know assuming we're working on a seam with like a building and maybe we've just got a flat wall we've also o got windows on the wall right and wherever there's a window right there's maybe more moisture build up in the corners uh wherever there's a door there might be another type right um there's going to be wider fluorescent and different parts these kind of things you have to choose where that goes so you need to actually have an option to paint to actually choose I want this part of the mesh to have this thing and for that you need to do painting okay now there are two types of painting um and one of them I'm very new at but I love it um the first type is the one that I've I've used for years and years and it's yeah it's it's very common and it's very useful um and it's just called image painting so you go shift a and then you go texture image texture right and then just like before at the start when I created a new texture you go new texture and by the way don't do this cuz we're actually going to use the second method in a second um but I want to show you this as a viable way to paint um but why I don't actually recommend it for a lot of environment textures because it's um it's really only useful for like if you're taking a model and then you're going to be using it externally like in a real-time engine or something you might do your texturing this way um because then you've got the image texture um but anyways so I'm going to hit new um I would have to make it non-color data because I'm going to be using it as a mask and then I would take this and I put this into my Factor input over here and now because this is a black image we are now seeing 100% of this over here original texture T so now I could go to texture paint control Tab and then uh go to texture paint over here and I could paint but what you would notice straight away is that uh it's not painting where you would expect it to paint but it's not a bug it's not something wrong it's because it's using our UV coordinates which we configured not for painting but for um uh tiling a brick so that's why we've got a tiling effect on our texture cuz it's putting it that brush stroke on like all of these coordinates at the same time because it's tiled right so this is the first issue that I don't like is you now have to make a separate UV map and I will call this one uh Mosk right and then I have to create another input uh UV map actually and then Define which UV map use this instead of that and then I will uh create you unwrap uh oh I have to go the UV image editor not the image editor UV image editor and then like this oh sorry no actually no it was correct the first time yeah I'm not I'm not tiling it okay um and now that I've done that let's go back to texture paint mode and fill it with the color black right cuz that's what I'm painting into right and now I can paint where that goes right but something that you will notice with this is uh one that was very fiddly number two it's only using half of our image here and this is the big issue with this is that you've often got something that is long like a long road a long wall or a model that's right like got UVS in different different place and it has to fill has to abide by UV coordinates and as I mentioned this isn't a UV on wrapping tutorial but you can see that it's it's using half of our space here the other big issue is is that if I did all my painting exactly how I wanted it and then let's say I'm working with a client and the client says Hey move that door that is modeled here and move it to the the left or the right or maybe extend the building right well now this UV map doesn't work anymore and I have to repaint it have to delete everything re UV unwrap it and then repaint it and that is very annoying and fiddly and we're only using half the space and it's just it's it's a waste it's not the most ideal uh way to do this so I'm going to delete my UV map here so we've just got the original and I'm going to delete this and I'm going to delete my image because we are going to be using vertex painting so contrl tab hold that down and you should see vertex painting at the top um now in order to paint into it cuz we're looking at the Shader mode look Dev mode it's not referenced in here yet so let's just go to the uh what is that what's that Mode called it's just called solid View mode right I always forget I know the icon anyways um so this is vertex paint mode um but by default there's not really anything to paint into so at the top here you've got attribute so just click down I'm not sure this face Corner thing it just see a I don't know defaults as that so I'm going to delete that um and instead create a new vertex uh sorry color attribute I just think of it as a Vertex paint layer really um and let's just give it a name let's call it uh I'm going to call it black because we're going to be painting into some black areas we're going to create black mold using this I'm just going to call it black all right um so with this I can with a brush added with a white uh paint selected I can paint onto my mesh now it's not working as you would hope uh and the reason for this is that vertex paint uses your vertices okay so just like an image has pixels right you let's say you've got 1,24 by 1024 those are pixels in this case it we've got vertices and although we have a subsurf modifier here um it's not using that it's using the actual mesh that we've got here so we it's like we're working with an image that has what is that 5x3 so we've got 15 pixels to work with so we don't have enough resolution to to paint into um so we're going to subdivide this mesh here but before we do that because we've got a subdivision enabl over here if we were to subdivide it we might accidentally crash blender so uh first of all because we're going to be subdividing it we don't need this higher res eventually so let's just set this to four and four um and then I'm actually just going to turn it off from my viewport for now because we won't need it until we start to uh get to the pretty render stage all right so now with this selecting everything I'm going to right click and say subdivide then in this little um what do you even call it the last last step tool um I'm going to increase this it maxes out at 10 but if you type in 20 you can type in any number over the top to over write it so I'm going to go with uh 20 so that sounds like a lot but remember this is like pixels that we're working with um and blender's actually gotten really good um like I think when I started like 20 years ago like blender like really struggled with Resolute like mesh uh density and this would like really throw render times nowadays this is like it almost adds nothing to the render time it's that it's that lightweight so that's good so now that we've got that now when we go back into vertex paint mode uh and we're in solid vew mode provided this is selected at the top that we should see us being able to paint onto our mesh um and that's great now you can actually use colors you know it's it's just it's almost like uh you know an image that has an RB Channel or whatever so you can if you wanted to paint colors and then actually reference that in your base color over there if you wanted to do some painting like that but in our case of course we are um we're just creating uh a mask so let me just turn the saturation off okay so um I also want to now just clear it cuz I've done a bunch of stuff so if you go paint and then say uh set vertex colors that's going to fill it with your foreground so I don't want that so I'm going to do it again uh flipping it contr X by the way so I'm uh hitting X to flip between those two um like that so that's a very important one to remember all right okay so let's just do um yeah I don't know let's just do some quick little painting just pretend there's like some mold at the top we'll we'll make it look pretty in a sec uh first I want to reference it in my Shader over here so we don't have like an image to bring in or anything to load instead we go shift a and then go input and then at the very top if you don't see it there uh attributes you should see it referenced there as uh the one that we created okay if you don't you can also just add in an attribute node and then just type it in but yeah say attributes black and it should appear right there and now if we go to look Dev mode what I'm going to do is control shift and left click on this um it's going to default to the color input but we're going to look at just the factor input by the way if you see color and Factor together you'll notice they're like the same but color will show you like in case of an image like the rg&b together and then a factor is just going to be like a gray scale version so we're just using gray scale so that's what we're looking at okay so that's it so then basically if I want to reference that on my uh mask I'm just just like before with my image I'm dragging into the factor input and look at that so now in vertex paint mode I can just paint like this and it's really cool I've also got like a smear brush right if I wanted to create like a leaking kind of uh pattern I could kind of create some I don't know why it does like a pretty severe like it almost adds opacity to it when you smear down with like too strong of a strength it's very very weird but anyways like a low strength you could make like some pretty simple like smudges you know that kind of look to it um and that's pretty good but you'll note looking at this that it's still low res right it's kind of soft right and that's because you know we're work it's really just referencing the brush right which has you know a standard fall off you could I mean when I first tried to like when I was getting used to texture painting I'm like it's all about the fall off I got to make an interesting stroken and interesting texture I got to put in my brush but remember we're we're limited to the resolution that we've got of our uh mesh there we don't want to go too high too crazy um but you you think it's probably what you need to do if you need if you want to create like uh interesting um you know like a black mold that appears in like the crevices like in our reference photo the keeps disappearing this guy here we go and I'll put a little thing on and I'll pin it so it doesn't disappear um if you want to create something like this where you can see it kind of like builds up on the individual bricks um if you want to create that well then you might think yeah I need that resolution but actually you don't you just need to understand uh shaders and and math really so I discovered this by accident during um uh my tutorial that I made on the Last of Us abandoned style house um I had this exact problem and I was just fooling around and I stumbled on it so okay to add detail to this essentially what we want to do is between here and here we're going to add basically like another mask so it's going to be a mask on top of a mask so this is our original mask going into here where it's doing the black effect but then between here and here I'm going to add in another color mix color node like this drop it in and then here I can reference another texture to do some sort of operation I could subtract multiply do whatever and I can reference something down there um and originally I was like blending it with a noise text it's like you know just add some kind of random Edge to it um and it definitely looks better but I started to realize looking at more more reference that you know the text is influenced like by the texture the brick right it builds up on individual bricks it gets into the crevices of the brick that's really what you need to do and we have our texture here why not reference it um and we also because we've got a PBR texture we don't just have like the color information of the brick we've got the actual geometry of our brick using the displacement map okay so this guy here right just to have a look at that for a brief second it's mostly middle gray value um but I can grab that and I can put this into my bottom input um over here all right so let's just have a look at this this is you know it's just using a mix at the moment um the first thing I want to do actually you know let's just yeah talk about this so with with a mix blending mode that's not what we need um you could do like a multiply and use the dark values to subtract from it right and that would be better you can see some of the bricks starting to show in our mask there that's good um but the thing that I stumbled on accidentally was color burn okay when you do this look what happens it's it's almost like it's doing that that multiply thing but it's doing something else with it um and it's quite uh it's hard to understand so I've actually got a demonstration here okay so this is just to show you what color bur does so I've got a painted mask here with a solid black a middle gray and then a pure white on the right hand side here so three kind of paint colors and then I've got a noise texture which is going to be uh Blended using a color burn operation okay so that's what it's doing there okay um so it's it's you could see the edge of this Pure White value there it's now taking in some of the detail of the noise texture and it's feeding it um it's it's just sort of adding detail to that edge there so even though this is like a pretty low res um looking mesh we've got added detail in this Edge there um and what it's doing according to the manual is it's first inverting the noise texture so it's taking a noise texture like that it's inverting it it's then dividing it by the top input and then it's inverting it back again which gives you this Edge there I don't know if that helps you understand it it didn't really help me but frankly you don't really need to know know you don't really need to understand exactly how it's working you just the more you play with it that's how you're going to uh really get to come to grips with it but anyways the first thing we need to do is because we've got some influence there but but it's not quite enough and the reason for that is that this displacement value it's mostly in the middle Grays and the reason for that is that the uh displacement map is not normalized so it's not zero to one which is what you expect from most grayscale it's using a 20 cm and I know this cuz polygon is my company and that's how we author it so it's assuming that there's a maximum amount of displacement of 20 cm for all types of textures and because brick is a very small amount of displacement we're using mostly middle grade values but then if you're using like uh like Cliffs or rocks or something then you would be getting that full range there but what it means is that it's there's not really enough detail in there for it to get the full effect of the color burn so what we need to do is add in a color ramp node to bring those values closer together so looking at this I'm going to bring this in to get it basically just more contrasted than it is currently so just drag this in something like this right so I've got like a lot of like gray values in there okay and then now if we look at this look at that effect now and look if I do uh some painting effects now look what happens like we we're using a pretty low resolution right that many pixels to paint in into but we've got all the detail from the brick coming through in our mask Isn't that cool and then looking at it through the eyes of our proper Shader with the with the black effect there you can see we're now able to paint onto the individual bricks but in my case I actually wanted to paint um although this reference photo does kind of look like this I want to paint into the crevices and kind of invert it so that's quite easy to do by just taking this color ramp here and just inverting it dragging it to the left and then dragging this one out and now I am able to paint primarily into the crevices into the uh the grout of my brick there and so this is how you get interesting Textures in blender it's really you know this tutorial is called texturing as you can probably tell it's mostly understanding shaders um because if you're using something like substance painter right you're painting into images which are then you know it's an interoperable format an image and so it's designed to be used an external uh software packages so it's you know it's putting all this data into images um but it you know for something this size if you wanted to bake that into an image it would be ginormous image it just wouldn't make sense so for games and most cases VFX everything like that you do your detail um by by understanding a Shader right so this kind of effect happens all inside of your Shader here like this um but there you go that's kind of uh the gist of it and if the black value is a little bit too strong you can set this to multiply right which won't change anything it looks exactly the same as it did uh with mix but now this black value here if uh because multiply will only take a darker it'll only take the dark value and it will ignore the lighter value now this black value here almost becomes the strength of my mask um which would be the same by the way as adding in another mix node um color mix node with like two black and white colors and then like just using the factor as the opacity but it just saves us this node because we can now take this and now if I increase this you can see if I go all the way to one side it's disappeared entirely and now this yeah it just becomes the opacity of this uh this darkening effect there so that's basically it um and if you want more or less of this you can play around with these sliders as well you you know um but yeah that's kind of the gist of it um and if you want to see that's the mass that we've got that's what we're painting into and you can see like there's not a lot of detail in there the color bur effect really works in low strengths like very subtle like again going back to the example it's these middle values here that's where all the detail needs to go in there um so just keep that in mind if you're using like a strength of one um you will find that this doesn't really have much of an effect like the m just comes in super strong it's those small subtle strength values um that that it really starts to shine um but really at this stage this to get a good effect you're going to have to look at reference understand reference we're using just a wall at the moment but understand and see how it builds up and how it you know you get little patches of things um and you get like yeah like chunks missing and you got big shapes and small shapes and medium shapes and that's really it it that's what really good texturing is about is understanding uh design um but yeah also understanding reference and how to make it uh work for your scene all right I think I've made that worse anyways let me pause just while I clean this up anyways there you go um but you can see my uh my mistake was trying to paint into the mask uh without seeing the effect that it's having on it so it definitely helps to look at the Shader whilst you're painting so that you can truly understand how it's going to be uh affecting it um there we go all right so now all we need to do is label it so just like before I'm going to drag this out I'm going to select the uh the nodes which are relating to this effect I'm going to hit shift p which you can do when you've got the node Wrangler installed click on the frame Hit N and then I'm going to give it a name and I'm going to call this black mold all right now let me full screen this so that you can get a gander of uh where we're up to we've created a sunf fade um we've done a simple black mold operation and and uh now the final really common thing that you need to learn is how to compile one image on top of another that has Alpha okay so what we're going to do is we're going to add some graffiti to our wall so I've included a link in the description where you can download this tag that was made by someone um that we are going to use to put on our wall so it is a PNG and it's just simple black on top of transparent background so super common thing that you might need to do so we need to add it to our node setup first of all so we're going to hit shift a then go texture image texture and we're just going to click open here is our PNG I'm going to hit open and uh now we need to find a way to add it so essentially it's going into our base color right that's the color that is uh I mean yeah graffiti is color right so it's wouldn't wouldn't add anything else um so uh yeah how would we how would we do that uh we do it with a mix color Noe so again as I've said before super common color mix color pretty much whenever you're thinking like I got to combine something it's mixed color it's always mixed color so you just drop it in here and there we go now you would think like okay I put this into the bottom input right okay you do that and then you go oh this this didn't work what's happened right so you have to think about it right so what we are taking is something that is on a transparent background okay so we need to use the transparency of it and if we have a look at this image here we can see that it's it doesn't have like the color information is Just Pure Color it's just black essentially it's pure I mean there's like a I don't know a faint outline or something but it's pure black but underneath that there is an alpha output so if we control shift left click again it'll then just show that and now we can see we have got black and white okay and what do you know about black and white it can be used as a mask Okay so going back to here what we want to do is actually just sever this so I'm going to control and then right click drag over that to just knife it away knife it away um and then instead of taking the color output I'm going to take the alpha and then you would think oh yeah put that into the uh you know the base at the bottom there but then this is again is not what we need to do you can probably guess what we're going to do it's not put into the B input we're going to put it into the factor input like so and that is how we're able to get that um that look there now if you were working with a graffiti tag or some sort of alpha that had an actual color information you would then take the color of this and then put this into the B input so it's then taking the color and then it's using that with the alpha that it uh yeah that we've used as the factor but in our case doesn't matter it's just pure black so actually we could get rid of that and we can then make this color here be whatever color we want our graffiti to be um because really the although it is black and white um we're really just using the alpha and information that's really where the key information is um and because uh we're using it you know in this way we can choose and make this color whatever we want make it a hot pink right whatever we whatever we want um but now let's fix the the next problem right like why is it tiling like this well it's tiling because the default way that we do uh texture coordinates is using our UV um edit sorry the the UV map right and the UV map was set up for tiling of our brick now you could create a separate UV map just for this but actually we don't need to do that okay we can keep our existing UV map we just need to manipulate the coordinates that we've got currently um first though we can fix the repeating issue here um not by doing any sort of like extra node setups that used to be the way you had to do it in blender add like a whole thing and set it to clip and all this stuff now on your image texture node there is an option here for repeat so we just need to change that from repeat to clip and that's it so we've now got just one instance of it which is the instance that was used I'll unpin this wherever I can't even see it there's so many vertices basically yeah wherever the actual UV grid floor is it will appear there cuz it's basically like yeah it's like having the tag right there on that that square so yeah anyways you you get the idea man that's really hard to see okay anyways it's it's it's appearing right there but let's say this is too big right it's uh it's too big in fact actually I was going to mention this as well it can help to texture things and when you're building a scene to actually use some sort of scale reference so I have this uh cc0 man which I've added into my asset browser um and then saved it as part of my blender install so um I'll include a link to this as well but it's just a scale reference that is uh can be helpful to understand what what scale we're actually working with here okay um why is that he's still so far away let's put him over here and then let's move this wall up okay there we go all right so this the that's a pretty big tag pretty big tag all right so let's say we want to uh change the scale of that and maybe the position as well so what we need to do is first of all bring in the texture coordinates and set this to UV which will change nothing should change absolutely nothing um because that's what it's using by default already but then between here and here we need to manipulate that and we do that by adding in a vector mapping note and by the way don't feel bad if you're like how would I know that that's like you just learn it from watching tutorials like this and then next time you're thinking of doing something like that you're like yeah that's how I do it I whoops I do a uh a mapping operation okay so I can change the scale of this by dragging down on all these inputs here and then I can just drag left or right it's too far so I'm going to hold down shift to make it smaller and then I'm just going to increase it so as I increase it it's like it's increasing the times that it's uh titling of the UV coordinates right that's the easiest way to imagine it so increasing the scale makes it appear smaller um and then the location here changes the position on the wall right so I can change this oh no that was too quick but uh you get the idea right oh maybe it's a little bit too low now let's make it a little bit higher so it's like the height that somebody might you know tag something and yeah wherever you want to put it wherever you want to put it um and also the order in which you want to put it if you wanted this to look like old graffiti that had been there a while very decrepit thing and then the black mold appear on top of it then you would put this over here before um the black mold operation but in our case I think it makes sense for it to be uh after it all right before we move on what's the one thing we need to do always label our work right so we've got four nodes here that just directly relate to the graffiti so I'm going to hit shift p on those then select the frame Hit N and I'm going to type in graffiti and that simple little thing will just make life a bit easier when you're zooming out and reading um everything okay well so far what we've been focusing on is adding into our color map here but it's also very common to want to add and change uh a roughness map which is as you might remember a completely well in our case it's almost completely white looking map but it's it's a gray scale right so black values is shiny and then white values is dull and often you've got a scene maybe it's a rainy scene right everything's just wet and it's like this wall here it needs to be more wet um right and if you look at this you go down to your you know you got your map over here and you look over it and you go Ah that's annoying right my slider is gone and this was what I used to do when I started I'm like ah I need to change it well I'll just remove it and then I've got my slider here right and this does you know it solves the problem but the detail that you have in that map is now lost now oh granted in our case there probably not going to be that much of a difference because there's not a lot of detail in there there is some but uh it's it's important to understand how can you do that how can you retain the detail in a map but still be able to change it um and really it's just a simple image operation to make that grayscale image here that we've got make it look darker or make it look lighter um so really what you need to do between here and there is to just add in another node and there's a number of nodes that could do it you could do a brightness and contrast you could do an RGB curves you could even do like a color ramp operation if you wanted to but the simplest I found um that I would recommend for most people is just the Hue saturation value note um so drop it in there obviously you don't need to touch Hue or saturation that's not going to do anything with the grayscale image but the value node there so if you keep it at one that's going to be obviously unchanged but if you wanted to make it shinier you just change the value and you reduce that if you wanted to make it uh look more dull than what you've got then you just increase it like that and so this value here just becomes almost like you know having a slider over here but because we figured out how to do it smartly um we are not just deleting all the data that we can have in this cuz this little these little details that come in these PBR Maps it helps it adds complexity to a material um that can just it it'll help the material feel more realistic if you can retain that that data so that is how to do that very simple um operation now in our case actually I don't think this um I don't think we actually want to adjust it so I'm actually going to delete that I'm going to hit control X which is how you delete something but retain its connection but what I do want to do is I want to do something that will really help this wall um look nice and that is to have the black mold that we've got here influence our roughness map okay so rather than do a you know broad Strokes change to the roughness for the whole thing I want it to just appear where we've got our um uh grunge our black uh thing so basically wherever I've got this control shift left click on that that's my mask I want to influence my roughness map so have a think think about that first how would you do that how could you have that mask influence our grayscale map here um and the answer is shift a mix color the most overused um not overused the most used it's it's not overused because it's so versatile and it's used for so many things but yeah basically you want to alter something bring it in your handy trusty mixed color note so uh I'm taking my roughness I'm putting it into my top input and then I'm going to take my output let's just move this over and I'll yeah what the hell I'll close that I don't think I need that now um and I'm going to take my output from my mask and I'm going to put that into my Factor on my mix Noe down here okay so it's going from there all the way down to the mix Noe all right and now what is that doing that means that wherever there is uh the white values in that mask there it's going to use the B whatever is in our B input and wherever there is the black values it's going to use the initial uh roughness map so if we have a look at our Shader you can see and now this here becomes what roughness do you want that leaky pattern to leave behind isn't that really cool right so you can make it look more dull like more diffus than the rest of the wall by making it uh basically yeah like it seems like around 7 is where the initial um uh roughness map exists so if I wanted to yeah make it look more dull I could have that effect or I could make it look more wet than the rest of the wall but really any change whatsoever is going to make this material just feel more realistic these little details like this um they really do add visual interest to the material and it's how you get um awesome looking materials that actually work for a scene um and just just feel real like when you play a game the reason these these environments just feel like amazing is because they got stuff like this everywhere every material has the different properties driven by different parts um and different textures and things and by the way this process here using a mix node with a roughness map and then having something Drive um an extra roughness uh alteration here that's exactly how you use uh surface imperfection Maps so polygon has some but other sides do as well but essentially it's just masks it's just masks essentially they're designed to be used um on top of another Shader so it's probably not actually going to be useful um for our uh Shader here but you can imagine like if I took this uh stains liquid generic um and then I downloaded this inside of that download I'd get a map that looks basically like this black and white right so how would you use that right you drag it down here and then instead of it being you know if I wanted to just have broad Strokes over the cross the whole surface you'd take that and use that like a mask over the the whole surface and now I got a to set that to non-colored data by the way I'm just showing you this this is not something that's part of the tutorial you have to download but it's just an example um you can see that now we've got this like liquid uh yeah this kind of pattern over the entire wall and that is one effect right it's probably not the best case I think uh you know for our Scene It makes more sense to have the actual uh leaky pattern effect it but that's you get the idea right it these just become masks which can be used across um a material all right but I'm going to set this to be an almost almost the same as the rest of the wall but just a very slight amount there awesome okay so this is where we're at this is the current node layout that I've got for my end if you want to check yours with it um but now I want to give you a challenge I want you to try to add two more effects to your material okay so having a look at some uh reference image you can see that we we've done the black m but what about this white uh effect this white sort of buildup um it actually has a name it's called efflorescence right and it's where uh the salt inside bricks is drawn to the surface through moisture and the moisture of apparat then you just get this salt buildup on the bricks um so how could you how could you have that effect in our setup over here um the other effect I want you to try to add is uh D yeah uh vertex painted desaturation okay so you can see here we've got look at these bricks right these kind of yellowy pale looking bricks look totally different to the red bricks around it right so have a think about how you could add those two effects okay have a think about it have a think about it how would you do that so pause it now I want to give you the challenge to because this is how you learn things if you follow a tutorial you can end up with almost like false confidence that you're understanding things and then the tutorial stops and then you go ah I don't know how to do it my myself so have a try now at trying to do those two things pause the video and then I'm going to show you the answer that I come up with um and then you can just compare it and see how you go so pause it now and then I will see you once you've given it a try all right hopefully you took a shot at it now I'll show you the answer that I would come up with essentially to create the efflorescence and the desaturation I would duplicate this little group of four nodes that we've got there and just duplicate it twice um and paint in and create separate vertex colors for those things so I would uh duplicate this um the graffiti I'm still going to have the graffiti happen after it so I'm actually just going to disconnect that and I'll put that over there then um I would call this white F floresent which I'm sure is the wrong spelling doesn't matter though then I need to create another uh separate vertex color so I'm going to call this uh I'll just call it white and then go go into vertex paint mode add a new vertex color and call it white um and when you're typing in the names by yourself just remember it's it has to be exact if this is if there's a space in there if it's the wrong caps as well if you've got a capital letter and you don't have it up there it's not going to find it so just keep that in mind um and then I also need to make sure I connect my displacement just like I have over there so that it's being used um across it uh and the graffiti I'll just keep that over here and then I'll take this put this down here and now we should be able to paint into whoops over here um and let's just have a look make sure this is coming through yep excellent all right so this can be our e florescence um but what I want to do is actually make it not appear in the uh crevices of the material because if we look at reference photos it kind of builds up on the front of the brick right it does sometimes go into the crevices but it's mostly on the front and it'll just be nice to have two things in our material one building in the crevices the black and then one building on the top which would be the white um so I'm just going to flip those around like that and that's how you invert it you don't have to add an invert node or anything like that you just flip it around inside your uh color ramp over there okay and now this value here it's set to multiply so we won't see it unless we set it to screen and now screen is like the invert of multiply similar to add by the way but add can give you values over one which we don't want um but yeah so now if you set this to Black it's basically nothing because there's no light values in there that are going to show through so then this just becomes how yeah how extreme do you want that air fluorescence um effect there and then I would just paint in here wherever I want that effect to uh to appear right how do you want it to look now yeah you could go super Advanced with that but you get the idea so that's the E florescence and then I would just do the exact same thing again um but for my desaturation right we've already got the sunfade effect you remember we did that from the start but this is going to be a more yeah it's going to be painted in essentially and we're going to tell it where do we want um where do we want that effect and actually we don't need this screen node so all right just do it one by one so I'm going to call this desat desaturation and then I'll call my attribute deset and then I will add another vertex group and I'll call this datat exact same spelling no spaces nothing else and then I'll just do yeah I'll just do like a simple quick little thing here so I'm not using my screen node I am using a hue saturation value node instead and I'm going to take the output of the the color burn that's going to be the mask right so this is going to go into my Factor input CU this is a black and white mask and by the way I know I'm going a little bit fast here um but I'm hoping hoping you can I'm going to show you the final load setup at the end um but I'm hoping you can follow it this needs to go into the color yep which we've already got and then this goes into our base color whoops down here it's very hard to uh to put this in a tutorial format but I'm hoping hoping it's followable if that is a word all right so there's that oh yes okay so in order to see it we have to have something that is changed right so I want it to look like a kind of yellowed yellow yeah like super yellow let's go like five and then not too desaturated but a little bit maybe even more oh now it's too green all right let's go 0.5 and we want it to be brighter yes we do let's go a little bit brighter something like that maybe one more desaturation level like so um and then for this it's not being power because it's not plugged into our displacement map down there so that's important that we get that right now we should see there we go now we're able to paint wherever we want this little desaturation pass and this is you know this tutorial is mostly technical but you'll find that the how you do texturing depends on the scene now we've got a wall so there's no relation of where this stuff goes but if you've got a scene you've got trees you've got doorways you've got Windows you've got all this stuff which will influence where your texture goes because you look at reference and you go like hey around a window there's black mold and then hey in the corners or up this the middle of the buildings right we've got this white e florescence in our case I'm just making it up um but I'm just trying to create the appearance of something like maybe this I can see there's this whole section here where there was like blank uh like there was a building here and now it's been removed so maybe there's like a whole Square section on this thing anyway I'm not trying to create a pretty image cuz it's a simple wall but I'm trying to create some of it I can see there's like rows of bricks which get desaturated um and it's something that you notice good art has big medium and small shapes noticeable patterns um but little things like just trying to capture some of that chaos that we've got in our texture there and painting it in all right and then the final thing we got to have our graffiti back right so I'm going to take my output my final output there drag that into my mix and then take that and put that into the base color and we should see our graffiti back on the wall okay so this is our node setup and we're coming to the end um but I want to show you one final trick one final technique that you can really use to uh make something look good because so far all the stuff that we've done all these extra textures you know we made a sunfade black mold a lot of that's just going into the color right the base color here and then the other one that we did was we influenced the roughness map by making that uh you know that water leak kind of thing so that's going in there the Third Way um the third really the big influence for this type of texture is have something influence the bump the height of our texture right so I want to show you that quickly before I do though I want to call out uh I'm working on a blender for beginners course so um it's currently in progress if you want to join the weit list for that course click the link in the description ENT your email here and then I'll notify you once it's ready and it's just going to be for beginners um if if you enjoy this style of teaching where it's like long explanations for how to you know really fully understand something and you want to do that for modeling lighting all that stuff um that's what this course is going to be about so if you want to be notified click the link in the description and then just join this list so looking at reference of the brick again the one way that we could really use um bump height information in our texture is uh you can see up here we've got some of the brick is missing this is known as spoiling Okay so some of the bricks kind of like break off and then it's just kind of like held together by Broken brick and mortar or whatever right and so some of this desaturation look that we've put in there is actually bricks that are missing from the wall they've snapped off or they've broken off whatever and so it's it's very hard to see cuz it's blurry but those bricks would be sunken in basically right so what we're going to do is I know this node setup is getting crazy but with our desaturation mask there control shift left clicking on that we're going to use that so wherever there is this desaturation we're going to make that look like spoiling in fact before I forget we might as well just rename this little group here and I'm going to call this spoiling okay um because it's already working pretty well like we've got like some light pattern that's appearing there let's just use that to influence the displacement so come down to our displacement down here and just as a recap right the displacement is being driven by a displacement PBR map okay and it is grayscale okay so when you're thinking of combining something together and having an an impact you first of all need to understand how is that existing like in this Shader how is it using it and the key piece of information is that lighter values are higher in height and darker values are lower in height they're indented uh cavities which is why in this brick here you I mean it's very very subtle um but the cavities are darker right so if we want to make this this part of our mesh whoops control shift left click on that if you want to make that look indented then we have to combine it with our displacement map down here and how do we combine something our trusty node shift a color mix color node the most versatile of all nodes so we're going to drop it in here before it goes into our displacement input okay so the top input is going to be the PBR map that's fine and then I'm going to take my output let's just make this bigger so we can really see it the output from my color bur right there I'm going to drag that all the way down to the bottom there and put that into my bottom input down there there okay all right now let's just control shift left click on that mixed color node just to see what we've got okay so on the left hand side that is 100% of the PB map and then this is our mask okay so the key then if we want to make them influence each other this has to be something that will uh take the light values and use that as a subtraction on uh this value here and previously I I did it like complicated way I'm like okay so you can only take the dark value so you have to like first of all invert it and then use a multiply thing and that would do it but there is an easier way and that's just to set this to where is it subtract okay so subtract unlike a multiply node that only takes the dark values subtract will take the light values and it will then subtract the luminance from this one the top input so basically now this Factor amount here you can see has done that so it's basically it's like it's inverted and made it multiply but so the light values in the bottom input are now being used just like a mathematical calculation it's saying subtract the luminance um in those areas okay so now this becomes uh it's impacting the height and this Factor becomes yeah like how how deep do you want those crevices so going back to our Shader and by the way you might want to uh enable uh the subsurface so that you can see it a little bit better let's just zoom in here like that so obviously we don't want to go too deep but so with a value of zero right it's just using it's doing nothing no subtraction whatsoever and then as you slowly increase it it is subtracting in just those areas which is super cool and you can see it's it's a it's a simple effect like it's not it's not complicated right but it just means those little tiny bricks that we've painted in there are now going to be subtracted um and if you want to make it look even more like spoiling you'd go up to here where we've got our Hue saturation value and we can say let's make it brighter so that it looks like like concrete underneath like bright Concrete in just those areas right where it's the it's broken away and we've got like gray and and it's probably newer right CU it's maybe happen later on so all the grunge that's on the top here um hasn't fallen yet into these parts right so you can do a pretty simple effect like that and then the one other thing you might want to impact is which parts of this does it impact right like how sharp is those areas right because this is uh sorry going back to here this is the areas so I can just like tweak that and say more or less you know you get the idea right um let's just go back to here oh yeah that actually looks way worse let's drag that over it's just a fine balance but really it's just it's controlling just controlling which parts come into it anyways you get the idea you can play around with it have some fun you can increase the amount of height right of this part um you can actually help if you uh shift p on just a single node just to help you understand in the future what it's for so you could say spoiling height subtraction you call it dip crevice height I don't know something like that but that's that's basically it so that's we we've done a bunch we've influenced the color we've influenced the leaks the roughness and now we've influenced the height information and that's really it so I'll show you one final thing cuz when you get to this stage it's like ah too much going on and with this like the cables they can kind of like overlap each other and it's hard to see like where is that connecting and you can kind of get lost in here so what a lot of artists do is they use um what's called rerouting so if you hold down shift and then is it right yeah right click hold down shift and right Mouse drag across uh one of these lines and that will put a little point there and then you can just hit G to move that point and you can just reshape it a little bit so now it's easier to see that black mole goes down it goes over here um and then you can just like clean it up essentially you can have that go down there some people do stuff like this right um spoiling going straight down I guess I mean I don't know if you can really clean that up any better um maybe this pull that over to there so it's easier to see what's going on you get the idea you can clean it up as uh as much as you want but just really the important thing is to shift p and just label these um leak leak uh wetness right so that I know that this is going to be influencing the leak pattern and where that is uh making it look wet um but there you go so that is it guys I hope that you found this tutorial useful if you did hit like And subscribe cribe and if you want to uh join the wait list for that blender course click the link in the description as well hope to see you there thank you for watching I'll see you next time