Oh, right.
Welcome back again.
In this lesson, we will not be working directly in our scene simply because this is a technique that
you might not use in every scene.
But again, I thought I should show you that because it's really important.
Our topic today is texture painting.
Now this to my knowledge, I don't really I haven't really found the quick and dirty way.
So today's lesson might be a little longer.
What you start with today is that we will be the default cup with the light here.
We'll not be needing that.
I will expand the
viewport at the back the bottom here and switch it to Shader Editor.
I'll hide the side menu and then add a plain with it.
Selected out adding you shader.
I'll switch the TV here real quick again.
Let me quickly here show you the screen cast, guys.
With this principle Beiersdorf selected again controls 50.
I look at my texture.
So there are two things you might be mixing together.
You know, of course, you can mix with me with more than two materials in Blender.
But this is this is going to be really out of the scope of this course.
So what what you can usually do is that you might you might want to paint a certain texture here over
that texture.
And, of course, what we what we have done before is that we added in another texture.
So I'm going to do exactly that.
And I'll just add this sand texture that we have been using since the start of the course.
I will move that little bit further and delete that displacement node.
So this is the shader, the sand cheater.
And this is the ground shader.
Of course, for convenience, I will put the sent shader at the top.
It doesn't really matter.
You can switch between the both when mixing.
If you have any issues.
We've also discussed before that if we were to mix between these two since the displacement, since
we have the displacement information.
What we could do is we can add the color from the displacement of the rocks to the height, and we could
simply add it called ramp in the center here.
We've also discussed that we could make that call ramp.
Let me, Eddie.
So if he can see I'm holding shift and right click because they want to go in to make a reroute here.
You know why?
When texture, painting, things could get overwhelming.
So just make sure that you.
You organize your scene.
So as you can see now, we have this gradual sort of bleed into the the texture.
Now, of course, another thing we did was was actually mixing the displacement of both textures and
adding the color ramp before that and then leaving the factor as is.
Today, however, the factor is going to be, you know, a mask, which we certainly paint.
So let's see how this might work.
So, yeah, what we'll do, I'll beat that alley, that reroutes.
And then we'll just move move the search here a little bit down because I'm going to pull that displacement
to the top here.
So this is the displacement of the rock or ground.
This is the displacement of ground only which represents the sand.
What I'm going to do is hit control, shift right click and mix these two.
So let's bring this up a bit.
And this was the mixing factor before.
If you remember.
I believe we chose overlay or lighting maybe.
And then with the help of Echo ramp.
I was able to control.
Control.
There's this, you know, the texture, the the the center trim leading to the height by adding contrast
or essentially ringing, you know, controlling the whites and the blacks of the heimat or a displacement
map, which looks like that.
So by making the blacks more blacks decreasing.
You know, certainly as we remember, the white is at the top and the black is at the bottom.
So I'm now making everything a little bit lower.
Let's see how that looks like.
There we go.
So now the sand is filling up the integrity of the texture, and now it's doing the opposite.
So what we are going to do today is we are going to add a.
A map to this to this factory here.
Now, if we were to change here, you can see a slight change.
I believe this is going to be the best we can.
We could change here.
Let's.
Let's switch between these color modes here or blending modes should say and see what's what's the best
we can use here.
The default is mix.
Value was good.
Valley looked good.
I'm looking for something that would certainly give me the opportunity to change the, you know, as
much as possible with with the entire, like, texture.
And you will see what I mean in a moment.
Linear light.
With Lena in light, by the way, you might see you might face some yet contrast issues.
What is happening is that the the the contrast here is getting either less than zero or more than one.
And that's why you might get some higher contrast spots in your in your texture.
You can't solve that by simply checking that clamp.
If you hover over it, it says like it's it's going to a clamp.
The result of the note from from 1 to 0 or 0 to 1, I should say.
So.
If I were to bring this up.
I if I remember correctly, we didn't need to change anything with the.
The sand texture.
The displacement of the sand texture.
But let's see if we can actually do anything like that.
Quick.
You should know all of these are set ups by now, since we've already.
Been through that.
So this is the full set texture.
Let's leave it as that.
Okay.
Let's actually leave everything at the default for now.
This is all point five.
It should not change that at all.
Maybe it would.
Um, yeah.
Let's, let's add a and image texture because what we want to paint is, is, you know, we want, we
want actually like a special image to to paint over.
Now that that could be.
Done by simply I will quickly switch to image editor here.
If I were to click on on any of these notes is going to show the image or the note I'm previewing.
So what I can do is two things.
One is the bad thing, but I'm going to show you it just so you can see what issues you might face.
So I'll hit Control C and Control V and it's now pasted over the older one.
I'll move it to the side now.
Of course, you could have done search for an image texture.
But I believe if you were to make a new.
One.
No, it's it's good.
So, yeah, you can, you can actually duplicate the this one and just make sure that it's generated
and not single image.
You could you should also make sure that it's non color or linear all depends or on on on if you have
an issue.
If you're facing an issue with the with the.
Whether with the painting or not.
And I'm going to add.
No, I would not really add a.
You know, a couple ramp here.
We can do that later on.
It doesn't really matter for now.
So what do we do now?
Is I hit control tap and this is going to bring me a pie menu quickly here.
If you don't find it, just make sure that under preferences you have the interface 3D viewport pie
menus checked so control tab and quickly switch to tetra paint.
Now what I'll be doing here see if it's probably visible for you should be is that I'm painting in white
and if I hold control I'm painting in black and certainly, you know, controlling the zero.
And one factor here, let's quickly switch back to color Dutch or was it.
Yeah, let's see.
Let's see that first.
I don't believe it's going to be the best.
But let's see.
So because every every each of the both kg is the default.
Now, if I were to change that a bit, I am now controlling.
How.
That painting, you know, like.
By default.
Let's mute that really quick.
But I believe if we if we mutate, it's going to be zero.
No, it's going to be 4.5.
I want to show you the differences here.
As you can see, nothing has been so difficult for for us so far.
We only added an image structure.
And what we did was we we, you know, certainly click new.
Let's quickly do that again.
So image, texture, you left it at blank one k.
We can increase the two K if you want, but that's really unnecessary.
And make sure that the color is black.
So we.
This is what what we've done so far.
Um, yeah.
So, yeah, let me quickly, uh, crank these up a bit.
I just want to see what I'm doing.
So this is how it looks.
This is the sand detector.
And this is this this is how with the the the untitled, you know, if you can send maybe you can type
mask so you can know what you're dealing with here.
So this is mask or connect mask to here.
And now things changed up a bit.
I want to show it real quick here.
There we go.
So you can see the differences between, you know, after and before the mask.
Sometimes you just you're not satisfied with how.
You know, the sand is gradually moving through the the the texture here.
And you just want to have your own, you know, pattern of, of, uh, you know, the sand, the sand
going through your, your environment.
If you face this issue of like, not having anything happen and this might be because you are in a certain
range, of course I have it here.
So what we all do is that, as you can see here, if I would paint here and why it's not doing anything.
Just make sure that, you know, you you sort of play around with with the.
With the cholera here.
So you're not necessarily interacting with one and zero in the range in between of these like colors.
So by default, it's white which draws in your mask.
So before.
Sorry.
Yeah.
Before or after.
Now, you know, this could be achievable by by playing around a bit, but then again, it will not
be as as as customisable as you wanted.
So you're just playing around.
If you were to paint like that, let's actually create a mask as here.
If it paints over what you're doing, just change the mix to subtract.
There you go.
And that should, like, should not really add what you've previously done, like, paint over what
you've previously painted.
Again.
Let's play around with these.
Trackers here.
So yeah, there is always there is there's always going to be some range here that you play with maybe
after you've you've added your, your mask.
So you're, you have the cool ramp of the ground texture, sorry, the, the sand texture, which is
this you have the mask for the, the like sand texture.
Yeah.
And then the ground texture.
This is the rocky texture.
Rocks ground.
And this is the sand.
And since I'm controlling a fat one gate through.
This display teacher.
I should probably increase this up a bit.
I'll just.
I'm holding control and just painting over that.
Let me select that first.
Now it's subtracting mix.
I go?
Now we get to have this.
You know, a little bit of playing around with the color here.
That's.
That seems to be.
I'll just hold alt x to dissolve it.
Sorry.
Control X.
This seems to be like controlling the gradual bleed of the sand texture into the rock texture.
This could stay.
Ashley.
So you can play with multiple, multiple things here.
You can play with the strength like points.
This to be more obvious.
Or freeze restraints back.
Oh.
Believe lenient light was a better option.
Let's see.
So Carla Dodge.
Linear life.
And this is a better option.
So again, I'm just painting around.
Whenever I feel like the sand is just too much, I get to play around with the.
With how much it bleeds into the texture again to showcase it better.
What's controlling Miami here is that again, whatever is why is at top.
Whatever is black is at the bottom.
And again, if I were to, you know, run the viewer a radical rant to the viewer, you can see that
I'm exaggerating these up a little bit just so that, you know, when bringing the sand a little higher,
sorry, it rocks a little higher.
I get to, like, submerge that sand at the bottom and this is what I essentially do.
So I'm creasing, increasing the whites and the sand gets submerged.
But it's still I'm still left with with with that mask, you know.
Oh, make sure.
Always make sure that you're painting on your texture.
As you can see here, I made the great mistake of painting over the displacement.
I believe it's the displacement.
Now, complete control Z, select this again.
You know, make sure that we are in mess.
And that's why you have if you work, by the way, like because you might make that mistake very easily
and you will you will be like suffering from what is happening and you might never know why, simply
because it's it's like you don't see the texture in front of you.
So this is a big issue.
I'm not sure if this is flipped.
I believe not.
That should stay like that.
Maybe I'll just.
Paint from the start again and we need it to be contrasty a little bit in, you know, like here.
And then I can paint, I can paint all we want, you know, just to make it a little bit more different
than how you would have it without the mask like again.
I'll show you here in a bit.
What?
I mean, so I can make it a little bit more gradual.
By pulling this up a part.
You know holding control to paint him black and then just right mouse button.
So control click.
Two black.
Just a click to white.
And that's essentially creating that, you know, effect of mixing between these two.
And now this is with the mask, like the custom custom painted mask.
I m to mute this displacement to show you before and after.
Yeah.
So as you can see, it's it's quite obvious that that the changes are subtle.
But, you know, sometimes you're like maybe or zoom into like something like up close, like, like
a wall or or maybe a door or something.
And that you need that extra detail that these these cold rooms by night might not give you, you know.
So maybe it's a little bit difficult to adjust such things in like Photoshop or something.
So doing them in here would make sense.
So yeah.
So this is one thing.
Maybe after you finish, you can add this color ramp here to control the contrast of this mess, essentially.
But yeah.
So let's try that.
As you can see, the change is very subtle simply because, you know, it's a mask.
It's it doesn't really have any information more than what you paint here.
So this isn't the default of it.
One spot that is obvious here.
So I'm just, you know, adjusting how this mask fades, fades away.
I'll hit control X to see without the mask.
The the edge here isn't really harsh anyway.
So that's that's something good.
Like, you might not need the mask, maybe.
So yeah, I'm essentially painting and behind the mask of the height of these two textures.
I believe we can discuss the, you know, normal painting.
Yeah, let's let's do that.
I believe we have time.
So what I'll do is I'll hit control tap to go outside the object mode.
I don't want to miss anything out by mistake.
Um.
I will.
Let's duplicate that.
Actually, so shifty, and I'll put it at the side here.
I'll duplicate the material or.
Sorry.
Make it unique.
I don't want any of the previous settings to be changed.
Or I should say, you know, migrate it into that new material.
And now don't have a mask.
Just a factor that is being like, you know, connecting between these two.
Now, what what could happen here is that you could actually plug these to into one shader.
That, of course, is going to be a difficult update, but it's achievable.
Actually, let's let's do that in the in the next lesson.
So.
So that it's going to be like a lot of notes.
So we'll have to organize up a bit.
So later, we will learn how to mix between between a multitude of these nodes, but not just mixing
them because we already know that while but also actually painting over some like maybe, you know,
water or texture.
Just so we understand that, you know, how, how like painting actually works.
This was just a simple example for you to understand.
You know, essentially when you're, when you're painting, uh, when you texture painting, it's an
option that, that, that what you're painting is a mask.
But of course, it can be a texture.
Like this can be an image.
And you can paint that image.
And but of course, it's not going to be a factor of a mix note.
It can't just it's going to be like directly into like a shader like this.
So yeah.
See you next time.