Welcome back.
In this lesson, we're going to learn how to create this brush and metal shader that's on these panels
here, you can see it in the reference.
You know, this is a very subtle kind of streaking texture here.
And so let's jump in and start to create it.
All right.
Click on the object.
And actually, before we do that, let's just delete the history so we can access the tabs a little
easier here, as we've done before.
Let's right click go to assign the material and go to the Arnold shaders and choose a standard surface
as we've done before.
Let's rename this this time so it's easier to apply to the other surfaces later.
Going to call this brush metal.
And hit enter to make sure that is applied, let's scroll to the top here and let's turn on the Arnold
reinterviews so we can see the changes we're making.
We know that this I'm going to screen play here.
We know that this object is metal so we can at least increase the metal to start.
And there's a new concept we need to cover, which is called Anisotropy.
And if you look at reference of anacetrapib reflections, they are basically saying all reflections
are happening in one direction.
And it's kind of like this streaky pattern in metals that happen.
So that's why it's its own little, you know, control here is because that's a very specific type of
metal and type of reflection that occurs.
And that's that looks like what's happening here in this Ghostbuster trap.
That's an anisotropy reflection.
So let's increase Anisotropy.
And let's increase the rotation just a little bit so we can control actually how the rotation, the
rotation of the reflections.
So depending on where you want that kind of highlight to occur, you can control with rotation.
I'm just going to get it somewhere or you can kind of see it on a three quarter angle and.
So the other thing we need to cover is these kind of bumps here, there's a long streak, bumps now.
We can control that by a bump map and a bump map is exactly like what it sounds like.
It is a a map or texture.
Anytime you hear the word map, that means a texture, basically.
Usually a bump map is basically saying take the color values from zero to one black, the black and
white values, and say that zero goes in on the surface and black goes out or some other way around.
Always forget.
But basically it's just using that value information of black to white to say this goes in or out.
And it doesn't really matter as much usually because bump maps are only on very subtle things, because
bump maps do not actually deform geometry, displaced displacement maps to.
And that's a different topic for another time.
But but maps are only used on very small, detailed things that aren't going to change the silhouette
of an object.
So if we added a bump map to this and we looked at the silhouette, basically this line back here,
you know, it could maybe that the bump basically fakes this effect and makes it look like new.
There's these deep cuts.
There are streaks in this thing.
And but then when you get to the silhouette, it just still is a flat object.
There's not the streaks and all go all the way to the edge.
So anyway, but maps are just kind of subtle stuff.
And I think that's perfect for what we're going for.
So let's create about MAP by going down to geometry and clicking on the checker box here next to about
mapping.
And let's create a fractal.
And when we first created the default, values are pretty aggressive.
The bump depth is at one and that controls, you know, based on these zero to one values that we're
getting from the bump value, which you can see there's something piped in here and that's going to
be the fractal that we selected.
Right.
Click that we can see.
It just looks like a normal fractal.
It's not streaky like we need it, so we need to adjust that.
But the amount that's being bumped here, you know, the surface looks very, very rough.
But if we look at the silhouette, the silhouette is the same.
You know, if we're looking down here, it's just a straight line.
So that's why I'm saying the bump map is for very subtle effects.
So I'm typically only using, like, point one or point zero one or something like that.
So you can also see it increases render time.
There's a lot more things that's having to calculate light bouncing around.
So the more subtle the effect, the quicker it can go.
Usually I'm just going to increase that so we can actually see the effect while we're working on it.
The other thing we can do is, of course, isolate this using the isolate button here and or we can
select it from the hyper sheild just to choose the fractal itself.
So let's go to with the object selected here, we can click this button to graph everything out, then
we can select the fractal and now we can see the fractal.
So we need to figure this out somehow.
And one way to kind of cheat it and hack of the nodes that we have here is by increasing the UVs in
one direction.
So you can see when I click that everything went dark because it's isolating something that's really
not visible.
This is just a node with information about the UVs for this texture, how it's going to be placed on
the object.
So we need to select the fractal and choose that place texture node from this tab, actually.
So now it'll keep this in the Arnold render view.
So if we go down here, we can see repeat UV and if we hold down command on our keyboard on a Mac and
middle mouse drag on this value, we can increase or decrease that and.
We can basically create these streaks ourselves with adjusting and distorting the moves for this texture.
So the other thing we need to affect is the fact that, you know, these lines aren't super solid.
They kind of go dark and bright.
So we need to adjust the fractal and we can do that in amplitude.
Even though this goes just to one.
You can see the amplitude kind of controls the contrast here, even though this goes to one, you can
type in new values here.
So I'm going to type in like a five something big.
So now you can see this definitely has a stronger effect and we can decrease the ratio as well, which
is basically like how detailed this thing is.
And just go way down with that, and we can also do that for the frequency.
So what kind of smooth out those as well?
So now we can kind of get an idea of how aggressive.
You know, maybe we increase the amplitude even more.
Let's just see, you know, it's, uh, who knows what the best thing to do here as.
It's all just kind of experimenting, and that's what's the beauty of Arnold rendered interview and
isolating these things is seeing this in real time.
So I think we need a little more distortion here.
So let's increase this to get some more lines going down this thing.
And that looks about like the density we saw in the reference and now let's turn off the isolate and
we can see we have these streaks now and we used procedural texture that we can change in real time
inside of Maya, and that's super useful.
This was a photographic texture we're using for a bump.
It'd be really time consuming to go back and forth between Photoshop.
So let's go to the bump and decrease this back down now that we can kind of see the effect it has on
you, like a point one.
And that looks pretty good, actually.
I'm going to zoom out and.
Going to apply this to the other objects, so when I click these shifts like the other one and I'm going
to right.
Click and go to.
The assign existing material because we named it, we can easily identify it so we can see that maybe
for this angle it's way too strong.
This you know, this one looks right, but that one doesn't.
So it could be a lot.
I think it's a lighting issue.
And depending on the angle of the object to light, it might affect it.
Let's say that we like this for this one, for these two panels, but we don't want to change all of
them together.
Let's create a new shader for that front panel there.
So in the shade, we can go down and see the airbrushed or sorry, the airbrushed, the brush metal
and we can go to edit.
Duplicate the shading network, so basically make a copy with all of the inputs and it'll create a new
fractal and all that.
And just so you know as well, it's keeping track of all these things you're making in each one of these
tabs.
So you can see fractal one, two, three, blah, blah, blah.
And so you can get back to those there as well and reuse them even.
You know, if you wanted to use the same fractal over and over, you could do that.
But they don't cost anything.
And I encourage you to, you know, use as many as you need.
Now, we just need to apply this duplicated material to this one.
So I'm going to middle mouse, drag it over the object and let go.
So nothing change because it's the same duplicated shader.
But with this object selected, I'm going to graph just that one out.
And let's go to the bump and maybe reduce that down to point zero zero one and that kind of fixed it.
So that was quick and easy.
So that actually worked better than I thought it would.
Um, so, yeah, that's how we created kind of a brush metal effect.
Again, we could go in and add a fractal to the roughness.
Um, I think that's definitely worth looking at or just increasing the roughness just a little bit.
Let's see what that does.
So you kind of see it quick and quickly get out of hand as it's trying to, Rufus's kind of spreading
out the reflection.
So depending on how you want to you, you know, want this to look, you can continue to adjust those
settings from the attribute editor and with the hyper shade.
So in this lesson, we learned a lot.
We learned about bump maps mostly and how to control an isotropic reflections.
And in the next lesson, we're going to continue creating the shaders for this object.
And I look forward to seeing there.
Thanks a lot.