Blender – Metal Material Procedural Shader Method (Blender 2 8)


hey this is Kevin with blender binge
back with another tutorial for you this time is another request through my
comments section that somebody wanted to know how to make an ancient bronze
shader in blender and what’s really cool challenge for me so here is how I would
go about doing it and after watching this video you’ll be able to also ready
let’s go so to show you the setup really quickly
I quickly modeled the simple vase and I also have this kind of quasi fake
photographic draped backdrop and some lights around hitting this and an object
is dead center and the camera is just looking at the object dead center
alright very simple setup you can probably set this up too so when we go
ahead and create this shader the first thing I did was I looked at some
reference material and if we look at reference material for ancient bronze
man which is pretty much just a copper alloy you see that it’s in various
states of oxidation pretty rough and I’ve seen a lot of tutorials go into how
to create this by just creating you know a simple bronze color and then adding a
you know green over it and and that kind of works and some people you know like I
know Zack Reinhardt went in and did a really awesome tutorial on taking the
ambient occlusion shader and going in and doing stuff and that’s really really
cool and it works really really well but if I’m looking at this stuff and I’m
saying alright well this is really really rough and built up and even a few
other examples here like you can see that it’s pretty rough how would I go
ahead and create this well I could do it with just grabbing you know any any kind
of image map like something like this off the internet and laying it over and
playing with roughness and that’s a really quick way photographically great
way to do it yeah but I want to do this procedurally and it’s kind of a cool
challenge so I’m looking at this and I’m saying all right well this is layered
there’s a lot of little things happening in here so I can build a push Eider
Network that does this and then I can have ultimate control over how I want
to look for a number of different objects and a number of different scenes
and things that I would create right because if I did it with just a texture
map I’m kind of locked into that but if I do it procedurally I can kind of just
tweak it to my heart’s content that’s what we’re gonna do in this video so to
do that I’m gonna start building up my little shader Network so the first thing
I’ll do is figure out the base color so my base color here and for those who
wanna know I’m in Eevee base color is kind of in the copper realm so I’ll just
quickly give it a copper shader something that looks copperish all right
so I don’t know maybe a little more red but bronze is an alloy so I’ll just
leave it there and it’s metallic so I’ll whack the metallic all the way
up and roughness here you have really shiny highly polished or you have really
really really rough so this really doesn’t matter because we’re gonna
control all of this stuff with other things but that gives us a good start so
the first thing I’ll do is start building up the layers I’m gonna start
adding in different nodes so I can go to add or I can hit shift a and I’m gonna
start by adding in a ramp so I’m gonna go to converter
I’m gonna go color ramp and I’m gonna drag this color into my shader so I want
it to be both okay so you can just click and drag and that’s a cool shortcut and
what I’ll do is I’ll just take this and make it just a little bit darker and
maybe pull it more into just a little bit more reddish and now I have a ramp
going and I’ll plug that into base color here and now it’s kind of mixing the two
and I’m gonna control this okay this is gonna be our first splotchy pattern so
I’m gonna control that with a texture so I’m gonna go shift a and I’ll go in and
I’ll say texture and I’ll say Musgrave and I’ll plug factor in to factor and
you’ll see here that it’ll start giving me different shaders so if I take this
from linear and I put it on constant you could see that we’re starting to get
some breakup so if I start playing with this with the scale here it’s gonna
start giving me this nice kind of broken up path
and I can change FBM here to multifractal and it’ll kind of start
putting this everywhere so now break it up so scale here I’ll pull back down 14
detail leave it 16 and the magic here is this is lacquer narrating if I’m
pronouncing that right okay push that up and you start getting some break up push
it up a lot the happy spot here where you start getting quite a bit of a nice
break up so there’s cool dimension I’ll take down
and detail I’ll put up at 16 and it’s starting to really kind of look cool and
if I pull this back now you can start seeing we’re getting a nice break up
okay this is good for our first layer pretty good start so I’ll pull this away
and I’ll pull this away and I’m gonna add in another one because if we look
quite a bit going on here right so what I can do now is I can duplicate this by
hitting shift D pull it down okay and I’ll give a different shader here so
I’ll make this kind of more yellowish maybe a little lighter I can take this
maybe pull that a little darker and I’m gonna mix RGB so I can mix those two
together with another shader so again either add or shift a doesn’t matter and
I’m gonna go to color mix RGB drop that over here plug color to color and now
you’re getting a mix and this is mixing here with this factor so we need to
break that up and control that with another musgrave texture so I’m gonna
grab that hit shift D duplicate pull that guy up put factor to factor and now
just change these numbers so I’ll push the scale up 20 detail leave it 16 lock
you now ready here I can play with and kind of push way up or leave it as is
and then change multifractal because that’s just kind of repeating this
pattern so you like FBM and it gives me a different a different look and we’re
starting to really break this up and you can see that we’re starting to get some
really nice kind of disturbing patterns in this
here in this metal so let’s go ahead and add in a color ramp here and that’ll
kind of neutralize this push so watch this shift a converter color ramp throw
that in there and we can start kind of neutralizing that that extreme push and
lastly we can go ahead and change these areas here so the more we change this
the more kind of an organic push we start getting and there you see we have
a nice break up and this this is a little too saturated for my liking so
I’ll pull that back and there we go next let’s start adding in the oxidation so
to do that I want a completely different shader I don’t want to use this shader
tree I want complete control over that so I want this to have a different
shininess then then the other than the green oxidation so what I’ll do is I’ll
add in a node here it’ll mix shader’ right here and then we can pull out and
do a completely different shader on here and mix it together
so I’ll go to shader mix shader’ push that in and I’ll just borrow from this
guy so shift D change this guy to a kind of a bluish green color
I’ll pull these over so we have more space and I’m gonna plug him up to this
shader and you’ll see now it’s gonna mix it in with green make this a little bit
lighter there we go so now we need to break this up too so to do that we’re
gonna control it just like we’ve been doing all right and I’ll use a Musgrave
I kind of like that texture hopefully I’m pronouncing that right and I’ll use
that as a factor here to throw in and break this up so I can borrow a Musgrave
texture from here or I can just hit shift a go to texture hit Musgrave pull
it up so it’s not gonna wire itself up factor to factor and here we start
having this now what’s happening here in the mix shader is like before except
even more you see it’s really pushing this into red here so this even though
it’s factor it’s still really pushing this Sacher
raishin so here’s where we really want to put that color ramp in so again we
can just steal the color ramp here just hit shift day it doesn’t matter go to
car go to converter color ramp throw that in and wash now it neutralizes it
all right so that that brings it back home and now we can play with where we
want to put this guy so I can up the scale I can up the detail alright and
this like unlike rust this oxidation seems to happen a little more gradually
so we can we don’t have to push the detail all the way up so it’s not like a
harsh line you can if you want but in all the references I’ve seen it’s more
of a kind of a it’s more of a gradient push right take the dimension down
doesn’t matter and lock you’re now ready here we can we can use to break it up
since we started to break it up and throw it over and it starts to look kind
of kind of natural and then we can control we can also use this to control
just how much or how little we have of that shader so we have two controls here
the scale and we have this and now we can work on the shader so if you looked
at a lot of the examples in the beginning here it’s kind of rough all
right kind of like there’s there’s almost like a bumpy texture on this
oxidation that you can see here it’s pretty rough in here right so let’s go
ahead and add that so I can do that with a bump map so for this shader here I’ll
throw in a bump to do that just hit shift a go to vector bump okay normal to
normal and then over here alright so we’re in the shader I’ll add in a noise
texture noise seems to be pretty good for this sort of thing so hit shift a
texture noise now we take the factor and we put it into height alright by default
it’ll throw it into normal put it into height and if i zoom in closer
evie taking a little while to catch up here you can see it starts bumping this
out so if I throw this scale way up and I’m leaving a strength at one here so
you could see the effect okay you take a detail push that up you start getting
some really nice bump now this works really well for rust
not so much for the oxidation so you want to kind of take that down and kind
of just have it have a kind of subtle and that’s looking decent
so what else we can do here is we can play with the look so it’s not so
uniform is I can just add a color in here so I can add a ramp just to the
base color shift day I can go converter color ramp again I can click on the
white I can take this color click and drag throw it in here to drop the color
put the color in here and now you’ll see it kind of breaks this up here so it’s
not so uniform and if I wanted to show you how much of that is happening here
you could see I could take like this is just for illustration purposes here
right we’re going from red to green let’s pull that back and we can control
it with a factor so I’ll throw it and I’ll throw in a Musgrave in here as well
so shift a again texture Musgrave throw that guy in here factor to factor and
you’ll see that we’re getting green and red here I’m not obviously not gonna
leave red because that’s not right and we break it up scale it add some
detail lock entirety we can break it up and now I can change that back into this
area here control it more and really start getting a nice kind of break up
and you can add more in here to this too you can go ahead and add add different
colors in here if you want maybe add a little bit of yellow and just start
really roughing it up and and the whole point is that you want to go in and just
break it up you don’t want it to look so uniform okay because if you looked at
the references it’s not all uniform and that starts getting it really really
rough and looking pretty good right off the bat so what’s left is we have too
much of a shine here now if you polished it yeah sure but if it’s ancient this
roughness on the metal here all right so here’s the roughness on our
on our shader so let’s push this roughness all the way up because the
oxidation it’s not it’s not shiny okay this this stuff is not shiny it’s pretty
matte so we pushed that roughness all the way up and that gives it a nice flat
look but for our alloy okay for our copper we don’t want it to be so
uniformly shiny so here you can see it’s uniformly shiny right where the copper
is we don’t want that so you can control it and you can really kind of make it
rough if it’s really ancient and worn or we can go ahead and just add in another
shader here to control that so we can go by where patina is happening by
borrowing from here so we could just take this mix node and pull it in or
just for the sake of this video I can just add a roughness here and it’s not
gonna make too much of a difference I can steal one of these Musgrave textures
shift D pull it in here take the color plug it in to roughness and I’ll pull
him out and I’ll add in a ramp in here so shift a see that’s way too crazy
crate shift a converter color ramp throw that guy in there and now we can have
from shiny to completely matte if we want or I can take this pull it up a
little bit and just have more control and this will give you a lot more
control and a lot more break up and this starts looking pretty pretty crazy now
lastly for this shader is our saturation values okay our saturation values here
are probably a little much if we’re going for that kind of ancient really
ancient bronze where we want kind of more of the oxidation and unless less
color left okay so if you look at this it’s not much of that bronze real bronze
shininess left and it’s pretty unda saturated so for that you can just
control that by simply going and throwing in a brightness and contrast
node a hue and saturation node right here where the color is plugged into the
color of this so to do that we just add one last control in here shift a color
hue and saturation we throw that in and now I can control the saturation you can
see the more you add to this the longer it takes you to catch up right so my
saturation here I can really control my saturation and really play with these
numbers and control just how crazy this gets all right and how much the factor
is so no factor factor saturation and that’s one last control you can you can
use on here and then you also still have your control over here your scale and
you have ultimate control of how much of this oxidation is covering your object
so you have quite a bit of control so if you want it to be more green you just go
in here where it’s black push that up and now you’re getting way more green
way more oxidation happening and so on and so forth so this shader when you
build it up yourself you’ll you’ll get the idea of what’s happening where and
then you can go and control all of these different things and you can go from
complete bronze to complete ancient destruction in one shader and the cool
thing is we didn’t use any UVs we didn’t use anything this is just applying
itself projected onto it onto a texture so you can go ahead and add in whatever
you want you can go ahead and add in like if you want to do an input and you
want texture coordinate and you want to add an object or UVs to any one of these
you can go ahead and wire this all up and have it completely conformed to that
object or you could say object and leave it off but the cool thing is and like if
I were to add in alright so I have this right now this material I hit this
little button so I can apply it to anything and it’s there even if I delete
this this stays right so I can hit add and I can add in like Suzanne right
where is she monkey Suzanne okay scale down Suzanne and I can go ahead here
drop this on to Suzanne and boom alright and check that out so
now you can see Suzanne has this nice weathered bronzed look as well and it
gives you complete control and you can add it to any object so so we do this in
evey and you can see here we do the same thing if we check the sound in cycles
you see it matches up pretty well so it’s a good all-around shader that’ll
work in both and it should work for you with that I’m gonna close out this video
so it’s not super long if you got something out of this video hit like
subscribe share it hit that little Bell notification so you you’re the first
person that sees when I make a new one and drop it and go on and create and hit
me up in the comments if you have questions and I’ll do my best to help
you out be civil and yeah I’ll see you in the next video thanks 5

34 thoughts on “Blender – Metal Material Procedural Shader Method (Blender 2 8)

  • …can you make it look any easier?… I am not worthy…wow
    ps. — cool they changed pref. location and add color to tools!

  • This was very good explanation of procedural shader. Understood the basics. Hard to find videos like these

  • Kev, yet another awesome tutorial! You make working with nodes less scary for sure. When I get a notification that you have a new video out I know it's time to eat dinner in front of the computer and sit back and relax while learning. Thank you for creating such great tutorials, and thank you for taking requests from your subscribers. It shows you care and are working hard to make your excellent channel grow.

    As long as you're taking requests, I'm going to dump a ton on you at once. 🙂
    1. I would love to see a variation of this shader with AO or cavity map applied to it. Sometimes a metalic object will be oxidized in the crevices but worn shinny where people touch it frequently. I know you mentioned this briefly a the beginning of the video but it would be cool to see it in action with Blender.
    2. Flamed copper. I've tried to duplicate this in 3dsMax and Modo with limited success. Here's an example. Notice the "++" at the beginning of the URL so youtube doesn't strip the link out. h++ps://static1.squarespace.com/static/541a15d4e4b0ea4658869a9d/t/559ede7ee4b06d2db8913a11/1436475045589/?format=500w
    3. When you first create a project in 3dsMax and Modo it creates a folder structure for you and makes relative paths to all the assets you use in your scene file. Does Blender do the same thing? Does it need the same thing? How does it know where to look for the images you use and where should you put them?
    4. Is there a way to make some kind of library that you can keep commonly used assets like models and shaders? Something similar to Modo's presets?

    Thank you for considering any of these. For some of the above questions there is little to no answers out there, that I can find anyway. Maybe I'm not looking in the right places. However it would awesome to see you address some of these in the manner you have a making things so easy to understand. Keep up the good work Kev!

  • Curious as to why the ColorRamp neutralizes the red color, and why it was there to start – that part totally went over my head. thanks for any thoughts.

  • hey man thank u for this and i have a question plz…when i hit F3 to search something i want to search for ( copy constraints to selected bones ) its doesnt exist there is only ( copy constraints to selected objects ) the old blender versions they appear but in 2.8 there is only copy constraints to selected objects im wondering if they removed it and change it to something els

  • Great, if I didn't know it was Blender you would have fooled me to buy the vase. Did't know one can drag and drop the color, thanks! Too bad that Bump and Displacement node do not really work in Eevee, one actually have to alter geometry.

  • its ok man my mistake i have to be in pose mode first then when i search in the bar then it will appears thankx for the replay did u reconize that the x-ray bone is not there any more i believe they change the name to something els if u have any idea about it..its really getting annoying every 2.8 beta is changing something in previews version example x-mirror has been changed from top corner to another place its still there but u gotta find a needle in straw

  • I have some brass knuckles I modeled a couple of months ago and watched a shader tutorial by Chris Penninger. It was super technical, but I think i can the look I want if I try your technique. Thanks😀

  • Yeah, Blender nodes have a problem at this point. Having to neutralize the musgrave (which can output all over the place) when used to drive the fac of a mix shader does not make sense. The fac input cannot be driven with a value node of plus or minus a gazillion, but if it comes from somewhere else it is allowed. In this case a musgrave, but I've seen it also with contrast/brightness node.

    If you want to see what is actually happening in a musgrave, you need to use it as a bump as color can clip. Or make yourself a rescale/normalize value node group to ensure it doesn't clip. If you don't, at least clamp the output to clip at 1 instead of risking feeding 14000 or something crazy into base color.

  • Thank you very very much sharing this.
    Really want another tutorial about how to set up light and stage in this demo.

  • Hi. Material color looks cool. But! Bump is too simple! The is no story on this material(roughness). No scratches, grunge, dust. It's like the rest of the blender procedural materials is too simple. Anyway, color looks very cool! Think about to enhance it.

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