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Now we have this infiltration, but we are applying
it with one solid mask here at the bottom.
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In reality, there would be a lot more variation as
the moisture wouldn't affect every part equally.
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One interesting thing that we can do, is apply
the pattern of the bricks themselves onto the
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infiltration, in such a way that it is stronger
at the mortar. This could represent moisture
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accumulating in the crevices, or just the
different permeability of different materials.
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Here we have the distance field of the bricks,
which we can use to apply a gradient onto the
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infiltration. Remember that the part that
looks white is not actually constant,
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but just goes much above one, as each unit
represents one millimeter of distance.
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So let's add a Map Range,
to create the gradient mask.
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If we set the maximum to a much higher value, we
can actually see the gradient into the bricks.
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Let's set the minimum to where the bricks start,
so that the texture is fully active at the mortar,
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and fades into the bricks. If we take a look
at the node where we set the brick bevel,
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we see that we have set the edge
of the brick to start at five.
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So let's set the same minimum here.
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Now, because we want the texture
to be at its maximum in the mortar,
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and fade down into the bricks, let's invert
the output. Then, with a lower maximum input,
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we see the texture fade all the way
to black in the middle of the bricks.
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Let's make some space here, and add
this node to our infiltration setup.
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And as always, let's improve
the layout of this node link.
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Now let's add a Math node so that we can combine
these textures by just multiplying them together.
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This gives us the basic pattern, so let's
take a look at what it does to our shader.
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This does make the infiltration fade away in
the bricks, but it still looks very uniform,
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so let's get some variation in here. For the
brick bevel, we modulated the Max input with
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a noise texture, which creates a very nice
effect. So let's try the same thing here.
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We can even reuse the same Noise, as
it seems to have a suitable pattern.
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But since we don't want the pattern to
actually match the one we used for the bevel,
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let's use this last free output we have from
this Noise. So let's add a Map Range to set
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the noise influence, and connect it to the third
channel. And let's drop it next to the new mask.
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Let's look at this output, and connect
the new Map Range to the Maximum input.
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Then we can set the range appropriately. We'll
need a much higher value for the maximum.
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And increasing it, we see that the pattern
immediately starts looking a lot more organic.
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We can also increase the Min, to push the
whole texture a bit more into the bricks.
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With this extra bit of variation,
the wall looks a lot more grungy.
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We can compare it to the wall without this
gradient mask, by setting both outputs to one,
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and we see that this makes all the difference.
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But there is still one more thing that we can do
to really push this to the next level. Currently,
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the infiltration has a constant intensity from the
bottom of the wall, all the way to where it ends
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in the middle. In reality, the infiltration would
gradually fade as we get farther from the bottom.
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To get this effect, we could just apply a gradient
as a fade, but we can do better than that!
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Since we are considering that the bricks are
absorbing less moisture than the mortar, we can
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exploit this, and modulate how far into the bricks
the moisture infiltrates, based on the height.
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We already have the vertical coordinates here,
so let's add a Map Range to control the gradient.
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Let's set the input parameters roughly
to where we want the fade to happen.
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And what we can do now, is multiply this with the
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texture that we are using to determine
the infiltration depth into the bricks.
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Let's take a look at what's happening
here. We have this texture that we are
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using to determine the infiltration depth.
The dark values in the texture map to a
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lower infiltration and the brighter
parts map to a higher infiltration.
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So by multiplying it with the gradient, we
are making the infiltration less deep at
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the dark parts of the gradient, while keeping
it the same where the gradient clamps to one.
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So if we now take a look at the mask output, we
see that indeed the depth changes dynamically,
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based on the gradient. But
the texture is upside down,
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as we want the lower parts to be more covered,
so let's invert the output range of the gradient.
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Then we can also tweak the gradient range, and
perhaps set the interpolation to Smooth Step.
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Let's take a look at the output
with the cutoff mask as well,
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and tweak the range properly,
now that we see it in context.
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We can also compress the input range
where we set the amount of infiltration,
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to give it a bit more contrast,
and make it look more rough.
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And maybe even increase the maximum infiltration
depth, to really get good coverage at the bottom.
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Now let's take a look at the result! It
looks much nicer and more dynamic than
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with a constant intensity over the whole
surface, but it's looking a bit faint.
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Now that we broke up the pattern, we can
increase the effect to full intensity.
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Now, if we compare it with what we had in the
last chapter, by setting the intensity to one
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everywhere, we can see just how much more
natural it looks. And comparing it with the
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plain wall without any of this reveals how much
this effect contributes to that nice grungy look.
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All that remains now, is organizing
the new nodes and connections we added.
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