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To blend the moss into the wall, let's add
some greenish tint to the wall around the moss,
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as if there is some algae growth or something,
due to the extra moisture the moss holds.
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Over here we have a mask of the
moss. This mask is completely sharp,
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and represents exactly where our moss
is. But now, we want a soft mask that
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is a bit bigger than this one, so that we
can have a soft fade away from the moss.
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For this, we can add a Math node,
and plug in the moss depth texture.
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And then plug in the wall depth
texture, and set it to subtract.
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Now, wherever the moss depth is greater
than the wall depth, we get a positive
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value, and wherever the wall depth is greater,
we get a negative value. This means that at the
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boundary of the moss, the value is zero,
as it crosses from positive to negative.
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If we compare this with the sharp mask,
we see that indeed the shape is the same,
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and the only difference is that this
subtraction not only tells us where the moss is,
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but also how far from the wall
surface it is at any point.
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To make absolutely sure that this is
indeed equivalent to the sharp mask,
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we can add a Greater Than after the subtraction
and set it to zero. This confirms that the
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positive values do indeed represent the moss,
as this mask is identical to the other mask.
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But now that we have this extra surface distance
information, we can make soft masks as well. If
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we add a Map Range onto this output value, we
can control where our soft mask starts and ends.
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We want it to have full intensity at the boundary,
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so let's set the max input to zero, which
as we covered, represents the boundary.
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Then we can lower the min input, and
going farther into the negative direction,
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it expands outwards from the moss. This mask
is looking pretty good for the color bleed,
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so let's make some space here,
for another Color Mix node.
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And let's plug the new soft mask in there.
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It's working, but we need
to tweak the color a bit.
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Let's copy the moss color as a starting point.
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And let's look at the shader
output to see it in context.
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It's a bit too bright and
saturated, so let's adjust it.
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Now we can also lower the maximum output of
the mask, so that it doesn't go fully green,
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but always preserves some of
the wall color underneath. And
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we can tweak that input range a bit more as well.
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Now, if we set the output to zero, to
compare it with and without the green tint,
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we see how this helps to integrate
the moss and ground it onto the wall.
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And it's always fun to take
a look in Cycles as well.
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Then it's just a matter of framing these
nodes, naming it, and copying the node color.
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And as always, let's organize
the rest of the tree a bit.
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