Breakdown: Clay Bricks in Substance
Daniel Swing has presented his new Substance project and shared a couple of screenshots that give some production details on his brick materials.
Daniel Swing has presented his new Substance project and shared a couple of screenshots that give some production details on his brick materials.
100% made in Substance Designer and rendered in Marmoset Toolbag! Here you can find 16 alternate configurations of my VERY toggle-able brick material. Screen-shots included for a micro-tutorial!
This is my 7th and (so far) best attempt at a brick material. I don’t know why but I always go back to it and find new things to improve up on, every single time.
Please note: I will not show how to make a herringbone pattern, since I…”borrowed” Josh Lynch’s method. So I will refer you to his tutorial instead.
Also, I believe that some credit to Kyle Horwood is due, for his substance challenge over at polycount which kicked off with a brick material challenge and the very start to my substance journey!
Here goes the breakdown from Daniel:
This is how I generate the general shape and the start to my height-map.
The ‘blend’-node has exposed parameters for the ‘Cropping Area’ (Float4), so that I can mask out where I want which pattern.
I then plug the gray-scale pattern into an ‘Edge Detect’ node, to mask out the grout between the bricks – This allows for very precise control over the grout shape.
I also generate patterns for slopes and bulges, which I blend into the height-map.
These tile generators are exact copies of the first one and are connected to the same exposed parameters, so that I don’t have to toggle them individually.
I use the ‘Height Blend’-node to add in the actual grout details to the height-map, with the ‘height-offset’ exposed so that I can toggle the amount of grout. I use the height-mask as a secondary control to the height-intensity of the grout.
This is how I generate most noises that I use in this graph. The ‘radius’ parameter in the ‘Highpass’ node determines the island size of the noise while the Histogram determines amount and sharpness.
I credit Mark Foreman for giving me this idea!
And the last little bonus that I wanted to show. I multiply a ‘Vertical Noise’ into the gradient pattern and adjust it to create this kind of rain mask that I feather in to my Base Color and Roughness.
I credit Wes McDermott for giving me this idea!
The breakdown was originally posted here.
Published 28 September 2017