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"text": " So now the next step we want to have with our forest is we have these rain drops falling, which is looking pretty good But you can see on the ground there's really nothing happening They're just kind of slipping through the world and just disappearing which looks a little bit odd So we want to move to the next step Which is creating some splashes that these rain drops can have and we also want to create some bigger splashes that when we have more concentrated streams of water coming down like for example when the water collects in tree branches gathers on rocks and falls down and more concentrated streams, you're going to get larger, bigger splashes of water. So we want to start going through the texture pipeline of what we can make as a texture that we can then plug into a particle and also attach to a mesh so we can get some splashes going on the ground here. So in order to create a splash texture, the best way to do this, I believe, is I just searched water splash on Google Image Search. And we're kind of taking a look at what a water splash looks like here. We're going to literally just kind of paint over this to help understand both the anatomy of what's going on with the water splash. I can kind of walk through the process of what's going on with these forces by drawing over it and looking at these contours of the shape. And we can also make sure that we are following the different patterns that we need when we want to create the timeline of what's going to be going on with a water splash in a single texture, which will be really nice once we plug it into the particle effect. So looking into this water splash here, it's kind of in the middle of the lifetime of what happens when an object falls into water. I'm going to refer back again to the Elemental Magic book. It goes through an amazing amount of detail of what happens during the lifetime of when an object hits the water. And also you need to keep in mind too the different sizes of things hitting the water. So this would be something like the size of kind of what we're going with the splashes we're going to be creating for our scene, like something about the size of a marble or something like that versus if you're going to make a splash of something like a boulder or a car going into water, it's obviously going to be a little bit bigger and follow some different elements of mass, physics, things like that. But looking into this here in the middle ground, what you've seen is that the object has hit the water. It's created in air pocket that is forcing this trajectory of the water surface out in this arc. So instead of just going straight up, it creates this angle that the water is going up. It's going straight up, but the gravity is eventually going to curve it around and it's going to fall back down. So if I just create a layer here to just demonstrate this. So you can see that this arc is very important for the splash that we're going to be demonstrating here because first it's going up and then the trajectory of it's being forced out because of the velocity in here and then gravity is eventually going to force it to come back down. Another factor here that we're looking at too with these shapes is the elements of the water droplets that are going on here. So you can see here that the water is still pretty connected as a singular shape around the base of this sort of arch shape, or I should say, sort of circular shape as it's leaving the main body of water. But up here, there's so much velocity sort of pulling it apart with the force that you start to have the water break up in these little smaller pieces here. And that is usually what we think about with water splashes is, hey, you have all these little droplets of water going everywhere. And so we have two main factors that we want to focus on here, which is the main arc of the body of water and the break up of the droplets that's going on here. So we're gonna draw two main layers with two different values, and I'll show this as I'm going, that we can plug into the power node in the particle effect, so that we can have the texture look one way during the particle's lifetime, and then it can look another way during the rest of the particle's life. So we'll have kind of this timeline that looks like a bit of an image sequence, and we're kind of cheating the system a little bit where we're having two phases or two different phases of the animation, so it looks like it's almost animating in a way. So really quick, I'm just going to resize this here. I'm gonna do a 1024 by 1024. And then I'm going to duplicate this layer. And just for the sake, so it's not too stretched out, I'm just going to bring this down just a little bit. And then I'm gonna keep the base near the bottom right here. So you wanna make sure that it's, where the base connects to the main body of water is at the bottom of the square here. So I'm just gonna create another layer really quick, and then I'm just gonna go in with a just simple white brush, and I'm literally going to just start kind of tracing over the elements of this shape. And another way that you can do this too is there's a series of meshes that you can obtain in ZBrush. So if you want to do this in ZBrush, you can do is if you go to badking.com there's a free brush set that's called the Splash Brushes set. And let me find it right really quick here for you. Yeah, it's the Splash Brushes from Badking.com or you can just type in Splash Brushes ZBrush on Google and you'll be able to find these, I believe. Last time I checked, which was about six months ago, I think they're still in the same spot in the same website. So what they've done, what Backing has done is they've taken snapshots of fluid simulations and turn them into these really wonderful 3D meshes. I mean, you can see right here, here's just a straight up 3D sculpted splash effect that we're painting in Photoshop. And this is a really great way to do it. If you just want to capture, frame it really quick and get a just general snapshot and then take it and use that as your as your texture that you can then import into you before. That's definitely a way to go about this too. But again, I want to cover both doing this in ZBrush and doing this in Photoshop. And you can, of course, also do it in Substance Designer if Substance Designer is where you're most comfortable. But looking at that and looking at this too, I'm gonna go back to Photoshop just after showing that option. I'm gonna keep kind of going through and with this, I'm not worrying too much about following the exact contour because this is going to be in effect that one is stylized and two happens at a very quick rate. And because the lifetime of this particle is so fast, your brain only has so much time to capture the information of the shape and what's going on. So that's an important thing to keep in mind. So the faster the effect is, the more you want to really pay attention to the overall primary shape and it getting the point across. You want the shape of the effect, if it's happening very fast, kind of work like a icon that you'd use like in a safety sign or some something like that something used in signage where you'd be like hey this needs to be communicated very fast and really get its point across so when it comes to effects you really want to keep that in mind. So just kind of finding the simple contours here of what the splash is I'm making it asymmetrical you can make the symmetrical if you want that particular style to show through, meaning like it has kind of the same amount of mass over here as over here. And I'm going to test this too when I bring this into UE4. And if the asymmetry is sticking out just a little bit too much. And now that I'm saying this right now, it might actually be the case where unfortunately, every time we spawn a particle, we're going to notice this long peninsula kind of coming out of the splash here. So I'm actually going to bring that down a little bit and just kind to bring in this contour like so for the splash effect, the main body of the splash here. And then I'm just going to simply fill this in. And then I can take a large eraser brush and just sort of cut out these large, very clean circular shapes by just sort of tapping the area here to get a more clean contour going around the top. Then I can make it very large. Or I could just do a select marquee for the ellipse to do this. to get something that looks really nice like that. So that now is the main body of what this splash is going to be. Now I want to do another layer and start drawing some of the smaller droplets of water up here. So I'm just going to kind of go off of the reference. And again, I'm not following just shape by shape or trying to follow it as closely as I can. I'm just trying to kind of get the elements of what you see where you have these singular drops that kind of have this nice bean shape to them. You have some shapes that are more elongated or bean-like. You have drops that are a lot more circular that you should keep in mind. And some of these connect too. So the way water separates is if you look at the vacuum of space, water wants to form in a perfect sphere. And what brings it together is there's this almost attraction where the molecule sort of of a track together and you get this almost sort of like figure 8 shape where if I zoom in really quick here I can show more of an example of this. So you have this very small sort of like bridge shape that kind of creates this hourglass shape here and then a larger shape sort of links them together like so. I'm just going to create this right here. And so the closer this would get, it would start to create that little bridge shape. And then you get that hourglass sort of bezier curve effect as they connect together. And as I go back in here, I'm just going to take the eraser brush so I can just sort of clean this up a little bit. Take away some of the lumpiness. And I'm just gonna go through here and just start painting in these individual water droplet shapes. So another thing to keep in mind too is that we're spawning these particles many, many times. So you don't want to have splash shapes that are too unique, meaning you kind of want to keep it, this is probably as unique as I'm going to get. You want all your pieces to be a little bit not so special and unique and not standing out so much. And the reason for that is the more we spawn these particles, the more that's going to show up in the effect. It's kind of like to use an analogy, using a tiling texture for if you're working environment game art, obviously, if you're looking at textures that you use for groundwork, the more unique features that you have in a tiling texture, the more it's going to stand out when it tiles. And you kind of need to think of it in the same way when you're creating these textures that are going to be used again and again and again when each time a particle is spawned. So just something to keep in mind there. And so yeah, another thing is the position of these, of course. You want to have about the same principle of making sure that they don't stand out where you see a repetition of pattern. You want to make sure you have about the same amount of water particles on this side as you have on this side here. I'm just going to create a quick layer under this and I'm going to just fill it with black. Then you can see here we kind of have the beginnings of this water splash effect. The other thing I can do here too is I can just sort of go back into these water droplets and connect them really quick, just around some of these areas here. And just for the sake of the demo, I'm going pretty quickly with this, and you can see there's some sloppy elements to my dexterity of putting these marks down, but you can obviously take as much time as you need to make this as polished as you'd want to make it. And so one other thing I'm going to do now is that I'm going to select this layer, the one that had the main body of the splash on it. And I'm gonna set the value at 50 in the HSB. So I'm gonna do a 50% gray here. And I'm going to paint bucket this in. So the main body of the splash is going to have this gray feature to it. And one other thing I'm going to do too is I'm going to create one more layer. I'm gonna go back to the white value here. And I'm going to paint a secondary splash. Now what a secondary splash is, is once the lifetime of this splash, so there's actually two splashes when you throw an object into a body of water. There's this one that you see here when the water is disrupted and the water's thrown out and then it comes back down. There's another splash that occurs when a vacuum is formed when the object hits the water and goes under. And then when that vacuum is filled, it creates a amount of energy that shoots up one more splash that goes straight up. It's very fountain like, and that's called the secondary splash. And that comes after this one has occurred. So really quick, I'm just going to create a simple contour in the center of this splash here that indicates a sense of a secondary splash. So it's usually a fountain with a large one at the top here. I might go in with the eraser and get that cleaned up a little bit. And so yeah, the smaller secondary splash as the vacuum is filled once the object is in the water and then it shoots up and then comes right back down. And the other thing I'm gonna do on this layer too, or I'm actually gonna go on the layer with all the droplets And I'm going to kind of fill in this part right here. Some of the areas around the base of the splash or the rim of the main water splash here. Just so there's a little bit of connection still with the water droplets up here. But they're fitting inside the main body here of the main water splash. So what's going on here is that I'm going to just really quickly put a levels above this layer here. And I'm going to crank this to... So what we're going to do is at the beginning of the particle's life, we're going to set the values to this. So it's going to... When the particle first generates, it's going to create this splash shape. And then over the course of the particle's life, which is only about one second, it's going to slowly take away those white values. So everything with this gray is going to fade. So at the end of the particle's life, it's going to look more like this. So we're going to go from a main body splash to just the water droplets and the secondary splash at the end of the particle's life. So we're going to get a little bit more kind of bang for our buck as far as what's going on with the texture here. One last thing I'm going to do is I'm just going to erase a little bit. So this is kind of at a 45 degree angle, which is a little bit strange. So I'm just going to create the, just select a warp really quick and just kind of bring this down a little bit. That's a little more even. Yeah, something like that. I do the same thing for these water droplets here. So it's a little more inlined. I'm gonna get rid of this levels here. And then one last thing I'm gonna do, just so we can have that same kind of nice for Nell effect on the bodies of water here. I'm going to just double click and create some Fresnel effects around the contour of the shape so we can have that kind of translucent or transparent feature that we were having on the water drop earlier. So I'm gonna do a Inner Glow. Going to go from the center. I'm gonna set this to Normal. Gonna do a value that's a little bit darker than the 50% gray. Increase the size. So we can have a little bit more transparent or a little less transparency in the center there. Gonna set the opacity to 100. Gonna have kind of a nice fall off. So the choke, I'm gonna put it at pretty low value there. Then I can work with the range a little bit. This is just something to get a little bit more complexity in here, which is kind of nice. And I'm gonna do the same thing, of course, for these as well. these water and secondary splash droplets. And for this, I'm gonna do a value kind of in between the 50% and the pure white that we have. So something like that. But you can see that these values are still lighter than these values. sure and you can always get out the eyedropper to test this. So you can make sure that the edge here, which is a 50%, this right here is at 72%, so we're still in the clear there. And then for the secondary splash, I'm just going to do the last effect there as well. Set this to Normal, do Center instead of Edge, and then set this to a bit of a lighter value there or darker value there. Then I can just set that a little bit in the center there. Set the Opacity to 100, and then we should be good to go. I'm going to save this as a target for the splash effect that we're going to see in the particle effect we're going to create. and save it as a 24-bit target.",
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"text": " So now the next step we want to have with our forest is we have these rain drops falling, which is looking pretty good But you can see on the ground there's really nothing happening They're just kind of slipping through the world and just disappearing which looks a little bit odd So we want to move to the next step Which is creating some splashes that these rain drops can have and we also want to create some bigger splashes that when we have more concentrated streams of water coming down like for example when the water collects in tree branches gathers on rocks and falls down and more concentrated streams, you're going to get larger, bigger splashes of water. So we want to start going through the texture pipeline of what we can make as a texture that we can then plug into a particle and also attach to a mesh so we can get some splashes going on the ground here. So in order to create a splash texture, the best way to do this, I believe, is I just searched water splash on Google Image Search. And we're kind of taking a look at what a water splash looks like here. We're going to literally just kind of paint over this to help understand both the anatomy of what's going on with the water splash. I can kind of walk through the process of what's going on with these forces by drawing over it and looking at these contours of the shape. And we can also make sure that we are following the different patterns that we need when we want to create the timeline of what's going to be going on with a water splash in a single texture, which will be really nice once we plug it into the particle effect. So looking into this water splash here, it's kind of in the middle of the lifetime of what happens when an object falls into water. I'm going to refer back again to the Elemental Magic book. It goes through an amazing amount of detail of what happens during the lifetime of when an object hits the water. And also you need to keep in mind too the different sizes of things hitting the water. So this would be something like the size of kind of what we're going with the splashes we're going to be creating for our scene, like something about the size of a marble or something like that versus if you're going to make a splash of something like a boulder or a car going into water, it's obviously going to be a little bit bigger and follow some different elements of mass, physics, things like that. But looking into this here in the middle ground, what you've seen is that the object has hit the water. It's created in air pocket that is forcing this trajectory of the water surface out in this arc. So instead of just going straight up, it creates this angle that the water is going up. It's going straight up, but the gravity is eventually going to curve it around and it's going to fall back down. So if I just create a layer here to just demonstrate this. So you can see that this arc is very important for the splash that we're going to be demonstrating here because first it's going up and then the trajectory of it's being forced out because of the velocity in here and then gravity is eventually going to force it to come back down. Another factor here that we're looking at too with these shapes is the elements of the water droplets that are going on here. So you can see here that the water is still pretty connected as a singular shape around the base of this sort of arch shape, or I should say, sort of circular shape as it's leaving the main body of water. But up here, there's so much velocity sort of pulling it apart with the force that you start to have the water break up in these little smaller pieces here. And that is usually what we think about with water splashes is, hey, you have all these little droplets of water going everywhere. And so we have two main factors that we want to focus on here, which is the main arc of the body of water and the break up of the droplets that's going on here. So we're gonna draw two main layers with two different values, and I'll show this as I'm going, that we can plug into the power node in the particle effect, so that we can have the texture look one way during the particle's lifetime, and then it can look another way during the rest of the particle's life. So we'll have kind of this timeline that looks like a bit of an image sequence, and we're kind of cheating the system a little bit where we're having two phases or two different phases of the animation, so it looks like it's almost animating in a way. So really quick, I'm just going to resize this here. I'm gonna do a 1024 by 1024. And then I'm going to duplicate this layer. And just for the sake, so it's not too stretched out, I'm just going to bring this down just a little bit. And then I'm gonna keep the base near the bottom right here. So you wanna make sure that it's, where the base connects to the main body of water is at the bottom of the square here. So I'm just gonna create another layer really quick, and then I'm just gonna go in with a just simple white brush, and I'm literally going to just start kind of tracing over the elements of this shape. And another way that you can do this too is there's a series of meshes that you can obtain in ZBrush. So if you want to do this in ZBrush, you can do is if you go to badking.com there's a free brush set that's called the Splash Brushes set. And let me find it right really quick here for you. Yeah, it's the Splash Brushes from Badking.com or you can just type in Splash Brushes ZBrush on Google and you'll be able to find these, I believe. Last time I checked, which was about six months ago, I think they're still in the same spot in the same website. So what they've done, what Backing has done is they've taken snapshots of fluid simulations and turn them into these really wonderful 3D meshes. I mean, you can see right here, here's just a straight up 3D sculpted splash effect that we're painting in Photoshop. And this is a really great way to do it. If you just want to capture, frame it really quick and get a just general snapshot and then take it and use that as your as your texture that you can then import into you before. That's definitely a way to go about this too. But again, I want to cover both doing this in ZBrush and doing this in Photoshop. And you can, of course, also do it in Substance Designer if Substance Designer is where you're most comfortable. But looking at that and looking at this too, I'm gonna go back to Photoshop just after showing that option. I'm gonna keep kind of going through and with this, I'm not worrying too much about following the exact contour because this is going to be in effect that one is stylized and two happens at a very quick rate. And because the lifetime of this particle is so fast, your brain only has so much time to capture the information of the shape and what's going on. So that's an important thing to keep in mind. So the faster the effect is, the more you want to really pay attention to the overall primary shape and it getting the point across. You want the shape of the effect, if it's happening very fast, kind of work like a icon that you'd use like in a safety sign or some something like that something used in signage where you'd be like hey this needs to be communicated very fast and really get its point across so when it comes to effects you really want to keep that in mind. So just kind of finding the simple contours here of what the splash is I'm making it asymmetrical you can make the symmetrical if you want that particular style to show through, meaning like it has kind of the same amount of mass over here as over here. And I'm going to test this too when I bring this into UE4. And if the asymmetry is sticking out just a little bit too much. And now that I'm saying this right now, it might actually be the case where unfortunately, every time we spawn a particle, we're going to notice this long peninsula kind of coming out of the splash here. So I'm actually going to bring that down a little bit and just kind to bring in this contour like so for the splash effect, the main body of the splash here. And then I'm just going to simply fill this in. And then I can take a large eraser brush and just sort of cut out these large, very clean circular shapes by just sort of tapping the area here to get a more clean contour going around the top. Then I can make it very large. Or I could just do a select marquee for the ellipse to do this. to get something that looks really nice like that. So that now is the main body of what this splash is going to be. Now I want to do another layer and start drawing some of the smaller droplets of water up here. So I'm just going to kind of go off of the reference. And again, I'm not following just shape by shape or trying to follow it as closely as I can. I'm just trying to kind of get the elements of what you see where you have these singular drops that kind of have this nice bean shape to them. You have some shapes that are more elongated or bean-like. You have drops that are a lot more circular that you should keep in mind. And some of these connect too. So the way water separates is if you look at the vacuum of space, water wants to form in a perfect sphere. And what brings it together is there's this almost attraction where the molecule sort of of a track together and you get this almost sort of like figure 8 shape where if I zoom in really quick here I can show more of an example of this. So you have this very small sort of like bridge shape that kind of creates this hourglass shape here and then a larger shape sort of links them together like so. I'm just going to create this right here. And so the closer this would get, it would start to create that little bridge shape. And then you get that hourglass sort of bezier curve effect as they connect together. And as I go back in here, I'm just going to take the eraser brush so I can just sort of clean this up a little bit. Take away some of the lumpiness. And I'm just gonna go through here and just start painting in these individual water droplet shapes. So another thing to keep in mind too is that we're spawning these particles many, many times. So you don't want to have splash shapes that are too unique, meaning you kind of want to keep it, this is probably as unique as I'm going to get. You want all your pieces to be a little bit not so special and unique and not standing out so much. And the reason for that is the more we spawn these particles, the more that's going to show up in the effect. It's kind of like to use an analogy, using a tiling texture for if you're working environment game art, obviously, if you're looking at textures that you use for groundwork, the more unique features that you have in a tiling texture, the more it's going to stand out when it tiles. And you kind of need to think of it in the same way when you're creating these textures that are going to be used again and again and again when each time a particle is spawned. So just something to keep in mind there. And so yeah, another thing is the position of these, of course. You want to have about the same principle of making sure that they don't stand out where you see a repetition of pattern. You want to make sure you have about the same amount of water particles on this side as you have on this side here. I'm just going to create a quick layer under this and I'm going to just fill it with black. Then you can see here we kind of have the beginnings of this water splash effect. The other thing I can do here too is I can just sort of go back into these water droplets and connect them really quick, just around some of these areas here. And just for the sake of the demo, I'm going pretty quickly with this, and you can see there's some sloppy elements to my dexterity of putting these marks down, but you can obviously take as much time as you need to make this as polished as you'd want to make it. And so one other thing I'm going to do now is that I'm going to select this layer, the one that had the main body of the splash on it. And I'm gonna set the value at 50 in the HSB. So I'm gonna do a 50% gray here. And I'm going to paint bucket this in. So the main body of the splash is going to have this gray feature to it. And one other thing I'm going to do too is I'm going to create one more layer. I'm gonna go back to the white value here. And I'm going to paint a secondary splash. Now what a secondary splash is, is once the lifetime of this splash, so there's actually two splashes when you throw an object into a body of water. There's this one that you see here when the water is disrupted and the water's thrown out and then it comes back down. There's another splash that occurs when a vacuum is formed when the object hits the water and goes under. And then when that vacuum is filled, it creates a amount of energy that shoots up one more splash that goes straight up. It's very fountain like, and that's called the secondary splash. And that comes after this one has occurred. So really quick, I'm just going to create a simple contour in the center of this splash here that indicates a sense of a secondary splash. So it's usually a fountain with a large one at the top here. I might go in with the eraser and get that cleaned up a little bit. And so yeah, the smaller secondary splash as the vacuum is filled once the object is in the water and then it shoots up and then comes right back down. And the other thing I'm gonna do on this layer too, or I'm actually gonna go on the layer with all the droplets And I'm going to kind of fill in this part right here. Some of the areas around the base of the splash or the rim of the main water splash here. Just so there's a little bit of connection still with the water droplets up here. But they're fitting inside the main body here of the main water splash. So what's going on here is that I'm going to just really quickly put a levels above this layer here. And I'm going to crank this to... So what we're going to do is at the beginning of the particle's life, we're going to set the values to this. So it's going to... When the particle first generates, it's going to create this splash shape. And then over the course of the particle's life, which is only about one second, it's going to slowly take away those white values. So everything with this gray is going to fade. So at the end of the particle's life, it's going to look more like this. So we're going to go from a main body splash to just the water droplets and the secondary splash at the end of the particle's life. So we're going to get a little bit more kind of bang for our buck as far as what's going on with the texture here. One last thing I'm going to do is I'm just going to erase a little bit. So this is kind of at a 45 degree angle, which is a little bit strange. So I'm just going to create the, just select a warp really quick and just kind of bring this down a little bit. That's a little more even. Yeah, something like that. I do the same thing for these water droplets here. So it's a little more inlined. I'm gonna get rid of this levels here. And then one last thing I'm gonna do, just so we can have that same kind of nice for Nell effect on the bodies of water here. I'm going to just double click and create some Fresnel effects around the contour of the shape so we can have that kind of translucent or transparent feature that we were having on the water drop earlier. So I'm gonna do a Inner Glow. Going to go from the center. I'm gonna set this to Normal. Gonna do a value that's a little bit darker than the 50% gray. Increase the size. So we can have a little bit more transparent or a little less transparency in the center there. Gonna set the opacity to 100. Gonna have kind of a nice fall off. So the choke, I'm gonna put it at pretty low value there. Then I can work with the range a little bit. This is just something to get a little bit more complexity in here, which is kind of nice. And I'm gonna do the same thing, of course, for these as well. these water and secondary splash droplets. And for this, I'm gonna do a value kind of in between the 50% and the pure white that we have. So something like that. But you can see that these values are still lighter than these values. sure and you can always get out the eyedropper to test this. So you can make sure that the edge here, which is a 50%, this right here is at 72%, so we're still in the clear there. And then for the secondary splash, I'm just going to do the last effect there as well. Set this to Normal, do Center instead of Edge, and then set this to a bit of a lighter value there or darker value there. Then I can just set that a little bit in the center there. Set the Opacity to 100, and then we should be good to go. I'm going to save this as a target for the splash effect that we're going to see in the particle effect we're going to create. and save it as a 24-bit target."
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"text": " So looking now the next step we want to do is looking at some of these vertical surfaces here It'd be really nice if we had the effect of rain running down in rivets on these vertical rock walls and maybe even these tree trunks something like that and if this was a Potentially a scene where it's buildings in a man-made area like downtown or something. We definitely want that where we have these Sort of rivets of rain running down these vertical surfaces. In order to get that effect, we're going to step away a bit from particles and we're going to move on to a decal effect that we can put on to some of these vertical surfaces here. So what we're going to do is jump into ZBrush to start making some textures that we can then hook up into a decal material that we can then project onto our scene there. So I'm here in ZBrush. I'm just going to create a plane out of the primitives. Let's make Polymesh 3D. I'm going to turn off smoothing and just hit divide a couple of times so we get a decent resolution, like about a million polygons, something like that. And then under here, I'm going to go to the Brush Palette. And then under this, I'm going to do Rat Mode. I'm going to increase this to 1. Now what Rat Mode does is it will create a tiling effect that will come back around on the plane. So essentially, with the Rat Mode set to 1, what you can do is you can essentially sculpt on this plane and it'll come back through and tile perfectly, which is a really really cool feature that we can have when we're sculpting here in ZBrush. So I'm gonna actually undo that there. And all I'm going to do is I want to create a mask that can simulate the rain drip patterns that goes down a vertical surface. So obviously for looking at the reference of that you can do something like look at the windows of a car or just a window during your rainy day, something like that. And so I'm I'm just going to start drawing some vertical lines here going down. And then just have them kind of connect and have that nice kind of like a tiling vein pattern that goes from top to bottom and just have them connect like so. So something like this. I'm just going to do one more like that. This is going to go to Masking, Mask by Smoothness. Actually, let me do Mask by Peaks and Valleys. Actually, I'm just going to do this. I'm just going to click and drag just the outside areas there, and that isn't really working too well either. So let me see here. Let me do mask by smoothness again. Let me grow mask. Let me blur mask. That might actually work. The mask by smoothness, I'm just trying to essentially isolate these areas in between where I drew these vertical lines here. So I'm just going to fill object with white and then go to black. Fill that in. Now you can do this in Photoshop, there's really no problem. I'm just trying to draw some vertical lines in a tiling pattern here. That can help simulate rain drips so we can create our mask that we're then going to use for our material. So I'm going to redraw the document here, 1024 by 1024. Hit resize. Going to hit control and declare the canvas. I'm going to zoom this out a bit so we can see the whole canvas. I'm just going to frame this real quick. It's going to pick flat color. Then I'm just going to export this. to clean up this kind of weird artifacting stuff going on, I'm just going to select the areas in between here. Then Control-Shift-I. I'm just going to paint white here so I can get rid of these weird kind of rivet looking artifacts here. And then you can see it's a bit of a hard line there, so I'm going to just go to Blur, Gaussian Blur. I'm just going to blur out these edges a little bit just so it's not such a hard fall off. And I might just go in just here in Photoshop, and I could just done this from Photoshop and just sort of paint some of this out as well just to get these a little bit more confined and not so fat. Or make the lines a little less thick more. Send them out just a little bit. Then to do the test to make sure that it tiles, I'm going to go to Offset. I'm going to do the horizontal at zero. I'm just going to do the vertical at 512. And it's not too bad. There's a little bit of artifacting that we'll need to clean up. So there's this kind of big bulgy shape there that I'm going to paint out. And one thing to make sure is that these are all connecting. So what I just did there, you don't want any patterns here that just stop and don't start again in the middle there. You kind of want them to all connect like so. So this, I believe, is going to work and we'll polish it along the way if we need to correct any of the shapes here. So this is going to work a little bit longer and then do one final test to make sure it tiles vertically. I'm going to go ahead and save this as the Raindrip Mask. So Raindrip Mask O1. And then I'm going to create one other texture for this. And what I'm going to do is go back into ZBrush. I'm going to select a new plane, or actually I'm going to select a sphere. I'm going to go back to Basic Material here, then go back to a brighter color so I can see the mesh. Then I'm going to select the Move Brush, and then I'm going to go under Transform, activate Symmetry, Radial, then Z. So I want, actually, going to do Y. So I have this Radial Symmetry here up here. Then I'm going to create a raindrop shape. So I'm just going to really quick just pull from the top and then slowly taper off and just create this raindrop shape You need to be careful around the point here or you could crash ZBrush because when you modify all of this Sculpting power on one single point it kind of could freak out ZBrush and crash. I've had that happen a couple times So just want to watch after that Just going to pull a little from the bottom here. And so something like that, sort of a very simple, just falling raindrop shape. I'm going to click Create Insert Mesh, then we're going to create a Nano Mesh brush. I'm going to go back to another plane. Hit PolyMesh 3D. I'm going to hit Polyframe here so I can see, then reconstruct subdivisions a little bit so I can see the individual faces here. this Nanomesh brush selected. I'm just going to do all polygons, insert Nanomesh. And you can see there I've just drawn wherever there's a polygon I've drawn that raindrop shape that I've made. So now I'm going to go to the Nanomesh tab and these are all going every kind of which way and we want them to all go downwards. So I'm going to go to alignment and do align to normal, which will bring them all down in the same direction, which is what we need. And then I'm going to increase this random distribution to scatter them across the plane here. So something kind of like that. And then under the width, length, and height, I'm just going to just draw these sliders and turn them up so we can get a little bit of variety in the size of the raindrops here. I might turn the random distribution down just a little bit so we don't have as many overlapping each other. And then that's really the only modification we want to do. So I'm going to go down to Inventory and do 1 to Mesh. And then I'm going to go to Polygroups and do a AutoGroup. So what's that going to do? What that's going to do is separate them all so I can go to some of the ones that are kind of overlapping or intersecting with each each other, I'm going to go ahead and separate them really quick. So something like that. I'm just going to separate the mesh, or the nano mesh I just drew from the plane. So I'm just going to do a split hidden. And because I'm doing that, I can then select the plane and I can hit the frame key and that'll bring it where this This is perfectly snapped to the grid or snapped to the document size of 124 by 124. You can see there's going to be a little bit of clipping, but we can fix that no problem. I'm going to hide the plane. You can see there's all these raindrops now. I'm just going to move this guy really quick. Move this guy up here since he's about the same size. Then I'm going to select the normal map material. go under the Render tab, going to turn off shadows, and then hit PBR. And again, if you're more comfortable creating this in Substance Designer or anything like that, you can totally go for that. I'm just going to render one more time, and then going to select the shaded. Let's do PBR render. And then I'm going to select the depth pass. And then I'm going to select the mask too, just so that because there's that nice sort of opaque cut out. So I'll go ahead and save the mask as well. So with that, I'm going to open these up in Photoshop. Now on this one here, I'm just going to go ahead and do Select Color Range Round and use the magic wand. I'm going to just do a Select by Color Range that will pull out all the black. Select a new layer and do the blank normal value of 128, 128, 255. I'm really I'm going to duplicate this layer. I'm going to offset it. And then I'm going to find any clipping issues here that I can see. So, see a couple here. So, I'm just going to go ahead and paint those out. And then just offset one more time. And it looks like everything is good there. So I'm also going to select this one and do the same thing. So I'm going to, for exporting masks out of ZBrush one thing to keep in mind is first you have to, so they're a grayscale, non-RGB, and it's a strange kind of image. So you need to select it under mode, grayscale. and then RGB color. And then you can duplicate these layers and save them as target files. It's gonna do the same thing here to the mask and just get rid of any artifacts that you're seeing here. So wherever you see any half-range drops or anything like that, go ahead and paint them out. Then I might blur this a little bit. Something like that. Then we're going to go ahead and start saving these as the other textures that we'll bring into the decal material. I'm calling this range rips 01. Then this one I'm going to call. randrips01 underscore NM.",
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"segments": [
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{
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"text": " So looking now the next step we want to do is looking at some of these vertical surfaces here It'd be really nice if we had the effect of rain running down in rivets on these vertical rock walls and maybe even these tree trunks something like that and if this was a Potentially a scene where it's buildings in a man-made area like downtown or something. We definitely want that where we have these Sort of rivets of rain running down these vertical surfaces. In order to get that effect, we're going to step away a bit from particles and we're going to move on to a decal effect that we can put on to some of these vertical surfaces here. So what we're going to do is jump into ZBrush to start making some textures that we can then hook up into a decal material that we can then project onto our scene there. So I'm here in ZBrush. I'm just going to create a plane out of the primitives. Let's make Polymesh 3D. I'm going to turn off smoothing and just hit divide a couple of times so we get a decent resolution, like about a million polygons, something like that. And then under here, I'm going to go to the Brush Palette. And then under this, I'm going to do Rat Mode. I'm going to increase this to 1. Now what Rat Mode does is it will create a tiling effect that will come back around on the plane. So essentially, with the Rat Mode set to 1, what you can do is you can essentially sculpt on this plane and it'll come back through and tile perfectly, which is a really really cool feature that we can have when we're sculpting here in ZBrush. So I'm gonna actually undo that there. And all I'm going to do is I want to create a mask that can simulate the rain drip patterns that goes down a vertical surface. So obviously for looking at the reference of that you can do something like look at the windows of a car or just a window during your rainy day, something like that. And so I'm I'm just going to start drawing some vertical lines here going down. And then just have them kind of connect and have that nice kind of like a tiling vein pattern that goes from top to bottom and just have them connect like so. So something like this. I'm just going to do one more like that. This is going to go to Masking, Mask by Smoothness. Actually, let me do Mask by Peaks and Valleys. Actually, I'm just going to do this. I'm just going to click and drag just the outside areas there, and that isn't really working too well either. So let me see here. Let me do mask by smoothness again. Let me grow mask. Let me blur mask. That might actually work. The mask by smoothness, I'm just trying to essentially isolate these areas in between where I drew these vertical lines here. So I'm just going to fill object with white and then go to black. Fill that in. Now you can do this in Photoshop, there's really no problem. I'm just trying to draw some vertical lines in a tiling pattern here. That can help simulate rain drips so we can create our mask that we're then going to use for our material. So I'm going to redraw the document here, 1024 by 1024. Hit resize. Going to hit control and declare the canvas. I'm going to zoom this out a bit so we can see the whole canvas. I'm just going to frame this real quick. It's going to pick flat color. Then I'm just going to export this. to clean up this kind of weird artifacting stuff going on, I'm just going to select the areas in between here. Then Control-Shift-I. I'm just going to paint white here so I can get rid of these weird kind of rivet looking artifacts here. And then you can see it's a bit of a hard line there, so I'm going to just go to Blur, Gaussian Blur. I'm just going to blur out these edges a little bit just so it's not such a hard fall off. And I might just go in just here in Photoshop, and I could just done this from Photoshop and just sort of paint some of this out as well just to get these a little bit more confined and not so fat. Or make the lines a little less thick more. Send them out just a little bit. Then to do the test to make sure that it tiles, I'm going to go to Offset. I'm going to do the horizontal at zero. I'm just going to do the vertical at 512. And it's not too bad. There's a little bit of artifacting that we'll need to clean up. So there's this kind of big bulgy shape there that I'm going to paint out. And one thing to make sure is that these are all connecting. So what I just did there, you don't want any patterns here that just stop and don't start again in the middle there. You kind of want them to all connect like so. So this, I believe, is going to work and we'll polish it along the way if we need to correct any of the shapes here. So this is going to work a little bit longer and then do one final test to make sure it tiles vertically. I'm going to go ahead and save this as the Raindrip Mask. So Raindrip Mask O1. And then I'm going to create one other texture for this. And what I'm going to do is go back into ZBrush. I'm going to select a new plane, or actually I'm going to select a sphere. I'm going to go back to Basic Material here, then go back to a brighter color so I can see the mesh. Then I'm going to select the Move Brush, and then I'm going to go under Transform, activate Symmetry, Radial, then Z. So I want, actually, going to do Y. So I have this Radial Symmetry here up here. Then I'm going to create a raindrop shape. So I'm just going to really quick just pull from the top and then slowly taper off and just create this raindrop shape You need to be careful around the point here or you could crash ZBrush because when you modify all of this Sculpting power on one single point it kind of could freak out ZBrush and crash. I've had that happen a couple times So just want to watch after that Just going to pull a little from the bottom here. And so something like that, sort of a very simple, just falling raindrop shape. I'm going to click Create Insert Mesh, then we're going to create a Nano Mesh brush. I'm going to go back to another plane. Hit PolyMesh 3D. I'm going to hit Polyframe here so I can see, then reconstruct subdivisions a little bit so I can see the individual faces here. this Nanomesh brush selected. I'm just going to do all polygons, insert Nanomesh. And you can see there I've just drawn wherever there's a polygon I've drawn that raindrop shape that I've made. So now I'm going to go to the Nanomesh tab and these are all going every kind of which way and we want them to all go downwards. So I'm going to go to alignment and do align to normal, which will bring them all down in the same direction, which is what we need. And then I'm going to increase this random distribution to scatter them across the plane here. So something kind of like that. And then under the width, length, and height, I'm just going to just draw these sliders and turn them up so we can get a little bit of variety in the size of the raindrops here. I might turn the random distribution down just a little bit so we don't have as many overlapping each other. And then that's really the only modification we want to do. So I'm going to go down to Inventory and do 1 to Mesh. And then I'm going to go to Polygroups and do a AutoGroup. So what's that going to do? What that's going to do is separate them all so I can go to some of the ones that are kind of overlapping or intersecting with each each other, I'm going to go ahead and separate them really quick. So something like that. I'm just going to separate the mesh, or the nano mesh I just drew from the plane. So I'm just going to do a split hidden. And because I'm doing that, I can then select the plane and I can hit the frame key and that'll bring it where this This is perfectly snapped to the grid or snapped to the document size of 124 by 124. You can see there's going to be a little bit of clipping, but we can fix that no problem. I'm going to hide the plane. You can see there's all these raindrops now. I'm just going to move this guy really quick. Move this guy up here since he's about the same size. Then I'm going to select the normal map material. go under the Render tab, going to turn off shadows, and then hit PBR. And again, if you're more comfortable creating this in Substance Designer or anything like that, you can totally go for that. I'm just going to render one more time, and then going to select the shaded. Let's do PBR render. And then I'm going to select the depth pass. And then I'm going to select the mask too, just so that because there's that nice sort of opaque cut out. So I'll go ahead and save the mask as well. So with that, I'm going to open these up in Photoshop. Now on this one here, I'm just going to go ahead and do Select Color Range Round and use the magic wand. I'm going to just do a Select by Color Range that will pull out all the black. Select a new layer and do the blank normal value of 128, 128, 255. I'm really I'm going to duplicate this layer. I'm going to offset it. And then I'm going to find any clipping issues here that I can see. So, see a couple here. So, I'm just going to go ahead and paint those out. And then just offset one more time. And it looks like everything is good there. So I'm also going to select this one and do the same thing. So I'm going to, for exporting masks out of ZBrush one thing to keep in mind is first you have to, so they're a grayscale, non-RGB, and it's a strange kind of image. So you need to select it under mode, grayscale. and then RGB color. And then you can duplicate these layers and save them as target files. It's gonna do the same thing here to the mask and just get rid of any artifacts that you're seeing here. So wherever you see any half-range drops or anything like that, go ahead and paint them out. Then I might blur this a little bit. Something like that. Then we're going to go ahead and start saving these as the other textures that we'll bring into the decal material. I'm calling this range rips 01. Then this one I'm going to call. randrips01 underscore NM."
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}
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