So, we have now proven that Generated starts at the left bottom and then goes to the far top right! Then the result will look like this: What we see is that “position” works as the object using a reference. White equals full amount and Black.. Then it’s black… but all the way to that black you can see the type of color you are darkening. Ok, we start creating the grayscale by copy the brick texture and then slightly change the parameters. It works in the similar way regardless where you use it. All the internal textures like noise and voronoi, uses “Generated”. In “supported mode” of Blender it works a little like the “bump vector”. Now it doesn’t. I will go through that in the next chapter. You see something you want to change and enters the node tree again…and now you notice it…. From that I get the output “Position”. All cubes will use the same material. This allow the factor to get little higher value and by that more yellow will be visible. If we are talking about wear and tear, it’s often rust at the bottom of things (since the water stays on the bottom edges longer) and then it gets better and better higher up. Suzanne looks like this: She is now reflecting more natural than in our previous example. You can add as many point as you want to the curve and make it really complex. They don’t exists physically on your object. Heavily inspired by Side-FX Houdini, it presents a node editor with a variety of modular nodes to make the modelling workflow easier and fast. A single word to express this is “vector”. This is because that marker was too close to the end to be used. You should at least have got the basic knowledge by now on how to use the node groups. I will now use the five cubes I did in previous chapter. The result will be: The Fac magically knows that we are using the Z-axis, and changes the color accordingly. Check out this tutorial from Aleksi Tuomela, who shows us how to create a simple procedural motion graphics effect in Blender. Total setup will in the end look like this: We start from the bottom and goes up to the top, so the lowest values (around 400) give like a purple color and the highest values (around 700) give Suzanne a dark red color. If it is we get the bottom color since output will be true (1) and hence red continues. It’s only how bright it is. They are not that straight, have some wiggerly shape as well. In the “beginners phase”, you might not use this much… but when you grow in to using the nodes, creating materials and you want to get really close to how things actually look in the real life, you will use it almost constantly. Here I’ll just take the Z axis directly to the Fac and it works like wonder. These do not function in the Magic node. Anyway Color AND patterns from textures finds its ways to a shader through this yellow input dot. Here is the complete list where Value1 is the Top value and Value2 is the bottom value. She is a mix of Red and blue and amount is controlled by the noise texture. One is not to use the “principled”, since the old shaders handles this better, but I don’t think that is what you should do. What do you think are the top 6 material nodes? Vector input. That creates 0 x generated Z- axis value = 0. The material setup is almost the same as for the “old” displacement and looks like this: …In short no changes here (I increased the colorramp a bit to show the changes more clear) if comparing to the old setup (in the simple mode. As you can see in the top I can use X, Y or Z and it’s ok to change them all. These are the steps (know where you have your winter forest collection): Now click on that little dot on color and select “environment texture”, Perfect :)! If selecting a bad HDRI, this will be reflected on your material which makes it look wrong or unnatural. There are also a “Separate HSV” that you could use in the same way if you prefer to use the HSV format of color instead of RGB. Would be perfect if we had flexible amount of tiles… not just two in each direction. If using a “math” node there is a checkbox where it says “Clamp”. The reflection is too even. All those places we multiply with 2, we do it for the checker scale and for making this 2 x 2 tile version of a floor, but just by adding an input node “Value” where we can put in that number 2… or any number would make a great deal to the flexibility. Mixing a shader is almost like mixing a color. You will find it in the input node “Geometry”. Vector has with where to place something and scale is about how big something should be. Easier Procedural Wood. You can change the size of the frame, but if you press the “Shrink” option in the “Properties” (as default it’s already on) its automatically adjusted according to the size and placement of the nodes inside the frame. The Blend modes can be selected in the select menu. We only have “Mix Shader without options”. This is where generated starts. Always remember to add those tiny extra changes to get closer to a realistic end result. So, press “Tab” again, so you get in to the FloorPattern and change the “Voronoi”. Shaders is the final stop for a material before it leaves through the material output node. Yes, it’s the same :). Good to know if doing procedural math :). Another sought area is to catch dust particles or/and places that has been bleached by the sun. What it does is that it divides value1 with value2 and the result is the reminder of that. Tags: Animation Nodes, Blender, Eevee, procedural, tutorial. In the shader nodes, there is a node group called "DECWoodGrain." Material is for me the finished result of your composition of nodes. So, now the “wave” texture is completely changed from those straight lines in to perfect circles. Now I have explained about colors, shaders and vectors. We also have other output nodes as well to use when placing out texture. Thanks! I suggest that you also read the manual about the mix node. You have it in the input node for “Fresnel”, in the “Glass shader” as well as in the “Principled” shader. In short; those shaders that reflects a lot of light back are also more sensitive to roughness, but roughness counts… even if it is a less shiny structure on your material. I here also need to separate the RGB, so I do that and then I take the Green from the Magic texture in to the Combine RGB, which means that we now get the red (if it’s above 0.5) from the noise and the green from the magic texture.