#tiletexture

[imagella-blog]

Realistic clipart of mosaic tiles, high resolution

Mosaic Tiles #mosaic #tiles #photo realistic #clipart #highresolution #nobackground #isolated #graphicdesign #tiletexture #decoration

[portfoliodocumentationandpitch]

Portfolio, Documentation and Pitch (Aryan Raj Adhikari)

Floor Tile #2

I continue working on the color maps for the stylized sand tile texture. As we are really near the end of the creation of the tile texture, I will also attempt to export the tile textures by the end of this session.

Figure 1 (Changing the color values for the sand)

The output of the Contrast/Luminosity node is plugged into a Normal node. I figured I could probably use the normal values of the tile and use it much further. I plug the output of the Normal node into the 'Curvature Smooth' node. This computes the values of the curvature of a surface that is described by the normal map.

The output of this node is then plugged further into a Gradient Map. I tweak the parameters of the Gradient Map and create different color gradients that would work as the color map for the sand texture. The output is plugged into the 'HSL' node. This node allowed me to adjust the Hue, Saturation and the Lightness values of the input color. Since, I finished the color maps, I plugged it into the final Base Color node.

Figure 2 (Plugging the Normal output)

Since, the normal maps has no further purpose other than using it further in the color maps, I export the Normal to its final Normal node.

Figure 3 (Plugging final exports into its export nodes)

I plugged the output of the Contrast/Luminosity node directly into the Height node as we can further control the height tessellation factor of the sand texture in Unreal Engine. Before plugging the exports into the final roughness node, I run it first through a Histogram scan and tweak the values to make it more rougher and then export it to the final Roughness node.

Since, I don't really require the Ambient Occlusion and the Metallic maps for the sand tile texture, I just leave it empty. I then export the maps as a Targa file and finish my final texturing process.

Figure 4 (Export outputs settings)

[portfoliodocumentationandpitch]

Portfolio, Documentation and Pitch (Aryan Raj Adhikari)

Floor Tile #1

Before we quickly move on to Unreal, I want to create a tile texture for our landscape that perfectly matches with the theme of our VR game design. Since I am still replicating a small environment that could exist inside 'Iron Giant', creating a sand tile texture was a no brainer.

To create a tile texture, I open Substance Designer, another powerful 3D package with a lot of versatility when it comes to control over shapes, designs, displacement factors and color.

It is a really simple to follow structure of nodes that I used to create the stylized sand tile texture. I start with a 'shape 'Polygon' node but you can also use a 'Shape' node. I just find it rewarding to start with a shape node and then tweak the parameters there on out.

Figure 1 (Polygon shape node)

I plugged the Polygon node into a 'Splatter' node. Splatter is a pattern generator that is intended for random placement of a map input. It is a much simpler version of a 'Tile Generator' node and it works well for quickly getting shapes stamped down, without a lot of tweaking for its parameters.

Figure 2 (Warp node)

I then plug the output of the Splatter node into the 'Warp' node. The warp node transforms a base input by warping pixels with a gradient input. It's useful for pushing away uniformity. For the gradient input, I used a 'Gaussian Spots 1' node. This generators blurry, soft dots in a random pattern.

Figure 3 (Additionally warping of the input noise)

I again add another warp noise to induce more noise variation to the original input. I use 'Clouds 1' noise as a gradient input. The clouds node is very useful if you want to introduce stylization to your tile textures. However, for my case, Clouds 1 by itself retained a lot of its grain value and I plugged it into a 'Blur' node to blur a lot of its grain values. While I am setting up the nodes, I am also tweaking the parameters but its completely subjective. The output of the blur gradient is again plugged into the lower channel of the warp node.

Figure 4 (Blending various grunge masks)

The output of the Warp node is plugged into a 'Histogram Scan' which allows me to remap the values of the contrast and the brightness of the input grayscale images. I use a 'White Noise Fast' node to add grainy details to the tile texture and I plugged it into a 'Blend' note. The Blend node allows for the the blend or the mix of two separate inputs together.

To get more stony details in the tiles, I again use a Gaussian Spots 1 node to get random dots. I plug that into a 'Gradient Map' node which allows for a simple grayscale-to-color conversion. The output is then plugged into a 'Levels' node which allows to remap the tones of the input. It also has a histogram preview built into the parameters which is very helpful for viewing purpose. The output of the Levels node and the Blend node is plugged into a new Blend node, giving a new blend output.

Figure 5 (Controlling the tone values)

The output of the Blend node is plugged into a 'Blur HQ Grayscale' node. The Blur HQ Grayscale node performs a high quality gaussian blur on the result. The output is then plugged into the 'Contrast/Luminosity Grayscale' node. This allows for a simple adjustment to the contrast and the luminosity values of the tile texture.

After having completed the grunge details for the sand tile, I aim to complete the color values of the sand tile texture and have it exported by tomorrow.