1:56 Happy to see that. Whoever came up with 'metalness maps are either black and white' didn't know what he was talking about anyways, because that's not how metals work in real life, since they're not 100% pure, perfect and in a vacuum. Great job!
I noticed that using opacity, together with the 'Subtract' blending mode for the roughness map, resulted in the ornament weave showing through the gems and sequins. I was able to prevent this by adding a new 'Blend' node set to 'Min (Darken)', an opacity of 1, and with 'ornament_weave_mask' and 'trim_and_ornaments' as the two inputs. This creates a mask out of the intersection between those two masks. The output of this intersection mask is then put into the 'Foreground' of a new 'Blend' node set to 'Add (Linear Dodge)'. The 'Background' is taken from the output of the 'Blend' node used to subtract 'ornament_weave_mask' from the 'Histogram Range' output. The opacity of the 'Add (Linear Dodge)' node is set equal to the opacity chosen for this 'Subtract' node, which should counteract only the part of the ornament weave that overlaps the trim. From here, everything continues as in the tutorial again. The output of the 'Add (Linear Dodge)' goes into the 'Background' of the next 'Blend' that subtracts the 'trim_and_ornaments' mask, and then the 'gemstones_mask'. Initially, I placed the 'Add (Linear Dodge)' node after the subtraction blend, as I was trying to correct those values that had been over-darkened by the ornament weave. However, some pixels had already been clipped trying to go below 0, resulting in artifacts when lightening them back up again, so it is safer to do the lightening before subtracting in this instance. I understand that the difference is not very visible in this case (although it was a bit more noticeable with the flower pattern I ended up with in my texture), but perhaps this method will come in handy for someone in a future situation where it makes a more noticeable impact. I will also take this opportunity to say thank you very much for the really thoughtful and clear tutorials. They have been really effective in helping me get to grips with the software and setting me up with the know-how to experiment with it afterwards. You and your work are very much appreciated!
Hey Joseph! Congrats on finding this mistake, I left it as a little challenge/exercise in the project graph - the fact that you found your own solution shows that you now master the logic of Designer!
Can you cover anisotropy in great detail? I have yet to see anyone make a chatoyant wood material using anisotropy, such an overlooked channel in 3d rendering! Yet so useful!
It seems like the roughness of all the materials are connected and hence when I change the values of the Histogram Range, to adjust for the weave roughness, the trim and gemstones will also be affected down the line.
indeed, probably not the best setup if you want to handle the roughness of each part separately! But super easy to fix: simply use blends in copy mode with a uniform greyscale hue in the foreground, and a mask for each part in the opacity slot. This way you can control the roughness of each element without affecting the rest 👍
Try to tone down the folds and to "flatten" the weave a little by reducing its range with a histogram, then it's all about playing with the different parameters, roughness, metalness etc..
Learn more about Adobe Substance 3D: adobe.ly/3xS9Sp
My life without portal node...😥😥
1:56 Happy to see that.
Whoever came up with 'metalness maps are either black and white' didn't know what he was talking about anyways, because that's not how metals work in real life, since they're not 100% pure, perfect and in a vacuum.
Great job!
I noticed that using opacity, together with the 'Subtract' blending mode for the roughness map, resulted in the ornament weave showing through the gems and sequins.
I was able to prevent this by adding a new 'Blend' node set to 'Min (Darken)', an opacity of 1, and with 'ornament_weave_mask' and 'trim_and_ornaments' as the two inputs. This creates a mask out of the intersection between those two masks.
The output of this intersection mask is then put into the 'Foreground' of a new 'Blend' node set to 'Add (Linear Dodge)'.
The 'Background' is taken from the output of the 'Blend' node used to subtract 'ornament_weave_mask' from the 'Histogram Range' output.
The opacity of the 'Add (Linear Dodge)' node is set equal to the opacity chosen for this 'Subtract' node, which should counteract only the part of the ornament weave that overlaps the trim.
From here, everything continues as in the tutorial again. The output of the 'Add (Linear Dodge)' goes into the 'Background' of the next 'Blend' that subtracts the 'trim_and_ornaments' mask, and then the 'gemstones_mask'.
Initially, I placed the 'Add (Linear Dodge)' node after the subtraction blend, as I was trying to correct those values that had been over-darkened by the ornament weave. However, some pixels had already been clipped trying to go below 0, resulting in artifacts when lightening them back up again, so it is safer to do the lightening before subtracting in this instance.
I understand that the difference is not very visible in this case (although it was a bit more noticeable with the flower pattern I ended up with in my texture), but perhaps this method will come in handy for someone in a future situation where it makes a more noticeable impact.
I will also take this opportunity to say thank you very much for the really thoughtful and clear tutorials. They have been really effective in helping me get to grips with the software and setting me up with the know-how to experiment with it afterwards. You and your work are very much appreciated!
Hey Joseph! Congrats on finding this mistake, I left it as a little challenge/exercise in the project graph - the fact that you found your own solution shows that you now master the logic of Designer!
Can you cover anisotropy in great detail? I have yet to see anyone make a chatoyant wood material using anisotropy, such an overlooked channel in 3d rendering! Yet so useful!
I would like to see a tutorial which covers anisotropy as well! it would be nice!
Noted :)
It seems like the roughness of all the materials are connected and hence when I change the values of the Histogram Range, to adjust for the weave roughness, the trim and gemstones will also be affected down the line.
indeed, probably not the best setup if you want to handle the roughness of each part separately! But super easy to fix: simply use blends in copy mode with a uniform greyscale hue in the foreground, and a mask for each part in the opacity slot. This way you can control the roughness of each element without affecting the rest 👍
my material looks like tarp lol
Try to tone down the folds and to "flatten" the weave a little by reducing its range with a histogram, then it's all about playing with the different parameters, roughness, metalness etc..
@louisemelin1129 yeah sorry, I spoke too soon right when I sent the comment you started covering the histogram node lol.