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Welcome back, everyone, to 3-D modeling The Hobbit Dossena with Lenno two point nine and Adobe Photoshop.

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So this is where we left off and you can see at the moment the standard material that comes in is called

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a principled B, C, D, E, F.

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So every time you bring the material in this is what Blando will try and bring it.

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And this basically is a super node.

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That's what I classify as anything else.

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While a lot of people call it because basically you've got so many plug ins to this, you can change

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the metalic, the roughness.

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Everything is within this actual material node.

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So that is why it brings in a standard and that is why it's so useful.

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So now what we need to do is we need to move this material out just a little bit over here.

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So let's pull it over here like so with electric and drag.

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Now, the other thing that you really want to do, just to make things a little bit easier, is to bring

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in the actual node ringlet.

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It's another item within Blender and I'll put it down the bomb run side here.

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It's only a little bit while that's about not to bring that and we're going to go back to any preferences.

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Ledlow Dot com to Adam's click the X and let's bring node and a node wrangler on click refresh to close

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it down.

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Now let's bring in our first node and that's going to be a column.

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So if I press a search and I'm going to bring collar so Sheol and you'll see one that's called Kalorama,

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let's bring that now.

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Let's plug this column into metalic.

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So I'm going to plug this into the metalic, which is here.

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So I'm going to pull this off a little bit just so you can see a little bit more what I'm doing.

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And I'm also going to put this onto eBay, render it.

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Which should be this one here.

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Let's just make sure it is on TV.

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I'm just making sure I'm going to double the just to get that off so I can see what I'm doing.

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And yeah, the actual song I can see is Shine on here.

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I've got some shading on here.

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And the other thing I want to do is I just want to make sure ambient occlusion is also on.

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And you can see when I take on it really emphasizes the actual shadows.

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So it makes a little bit easier to actually see what we're actually doing.

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OK, so now that Solt said, let's zoom in a little bit more and then what we've got here is the metallic

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plugged in at the moment.

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Let's actually change the bass color.

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So if I change this, for instance, pull this down, you can see it goes much darker.

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So this is actually the bass color of this and this metallic.

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We're going to change in a minute just to make it a little bit more shiny because it's a little bit

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too old for actual mouth.

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OK, so now let's work on the roughness.

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So we've done the color, which is the bass color.

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We've done the metallic what we've plugged into a node ready to actually sell.

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So now let's work on the roughness we're going to bring in is a noise texture.

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So and I and you'll see one that's called noise texture.

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Let's put that in there and we're going to plug the color into all roughness.

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Now, what this does is it basically creates a lot of noise within this actual texture.

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So if I go in now and I put this on something like two hundred and seventy five, for instance, you

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can see now that we've got a lot of noise on there, really giving us a lot of kind of dirt and things

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like that.

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And this because it is the roughness actually interacts with the actual light.

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So as I turn around, you can see some are in a bit darker and lighter and it's a bit like glass.

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When you look at glass, it's not actually perfectly See-Through.

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You love smearing on, you love little bits of you, maybe have some scratches, things like that.

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And that's exactly what we're trying to do here.

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OK, so let's now put the detail up to something like 14.

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Let's try that.

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Let's make it a little bit less emphasis on that.

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We don't want to do dark after all.

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And then let's turn this up to something like nought point six five.

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Something like that should be absolutely fine.

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All right.

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So now let's work on our normal map just to bring this out a little bit.

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So I'm going to do is I'm going to come over to this point here.

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I want to press a.

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I'm going to press T X and I want to bring in a texture Cordner, and this is basically how you can

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apply our first procedural material based on the movie.

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So we don't want them all and now we want to base it on the movie.

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In other words, tell Blendr where to actually apply this procedural material.

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So we need something else as well and we need to make it.

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So let's bring in that shift a bringing a map in.

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So about that, and then what we need to do is need to connect the vector, because the vector is basically

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where the position is.

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So we grab the Jouvet, plug it into the vector, and that's got to go.

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Now, let's bring in another texture, noise, texture, and we'll bring in a verrone.

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So we'll click here, shift a search the oh Verrone texture.

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Let's bring that in.

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And then again, we're going to plug the vector into the vector of the verrone and now wants color and

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a color on basically can emphasize colors.

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It can emphasize how much which bumpiness you've got within the material, things like that.

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Rhum isn't just the color.

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So let's bring in a color.

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So we shipped a search color from let's drop that in there.

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And then what we're going to do is we're going to grab our color and put it into the fact of the actual

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color.

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Now, let's grab the principled move over a little bit.

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And what we're going to bring in now is a bump shift, a search view and pay.

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Let's bring that in, pull down there and then let's bring the color from the color ramp into the height

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of the bump.

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And then what we'll do is we'll bring the normal and plug that into that light.

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So let that load up.

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Now, you can say we've got all these little ridges on there, not exactly what we want, what we all

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get in that.

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So now how do we change this?

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Well, the one thing we can do or the main thing we can do is change the Verrone texture first, because

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that is the thing that says how big or small these kind of noises are.

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So let's zoom in a little bit and change the scale of this to something like five thousand.

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And now you can see we've got a lot more actual bumpiness on there.

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And that's exactly what we're looking for.

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I'm kind of trying to go with the look of when you've got led lead like leaded windows.

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That's the kind of look we need a lot of bumpiness.

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So now what we need to do is we need to come and bring the strength down so you can see over here and

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I'll bump as I bring this down.

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You'll see now that you get smooth it all, it gets a little more bumpy.

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And you can see now this is the kind of look we're actually going for on this I'm really, really happy

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with already.

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Now, the other thing is you can use the ramp, as you can see, as a kind of ability to really ramp

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it up or make it smoother.

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So in other words, what it does is because you go around here, if I zoom in a little bit, these parts

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that fly here, we can actually dictate how let's just drag it across, as you can see now how bumpy

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that actually is.

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We've got a lot of control, a lot more control than just the strength.

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So the strength will do everything, whereas the column will really start to make them less big, as

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you can say, or more be whichever you choose.

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So I'm going to bring that and I'm going to bring this one down just a little bit like so.

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All right.

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So that I'm really happy with.

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Now, the last of all, we need to actually mess around with the actual metallic.

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So as you can see, if I bring this up, I can make this more metallic.

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And that is what the look I'm going for.

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So you can see that we've got bits that are more metallic bits, a less metallic based on or actual

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roughness, which is basically a noise texture so that I'm actually really happy with.

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The last thing is you might want to mess around with your base color so you can bring this up, make

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it darker or lighter.

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So at the moment, I think maybe that's a little bit too dark.

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So let's bring it back just a little bit like so.

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All right.

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So I'm actually really happy with and what I'll do is I'll actually pull this down now and we can actually

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split their salt.

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So on the next lesson, then what we'll start to do is work on our actual glass within the bell.

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That's your first procedural material finished.

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I hope you enjoyed it and I hope you learned a lot.

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And I'll see you on the next.

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Nicole, thanks a lot.

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Bye bye.