All language subtitles for A_25_Cross Hatching

So let's find ourselves a space on the node
graph i'm going to bring these up here and

let's start with some texture coordinates.
Input, Texture Coordinates and we'll use the

uv coordinates for this and rather than using a
linear gradient what we're going to do is create

that gradient ourselves using a breakdown of the
vector information that we're given, so let's start

off with a converter, separate x y and z, so let's
plug our uvs in and Control Shift-click on this

x-axis now, it's not immediately obvious what's
happening here with the gradient which would be

much more obvious if we just plugged our generated
coordinates in, but bear with us, let's re-plug in

our uvs and what we're going to do is now create a
Math node and all we need to do really is just set

this to sign under the trigonometric area, actually
initially just to demonstrate what's actually

happening with this, i think it's probably going to
be a good idea just to switch that to Generated so

without the sine node if we just mute that you
can see almost nothing looks to be happening

this node is going to come alive a lot more if we
duplicate one place it beforehand and turn this

to multiply and then start to turn this up then
we'll start to see what happens so the generated

coordinates that we're getting plugged in here...
so let's click on this x is going from zero to

one and now we're multiplying that so that instead
of going from zero to one we're going from zero to

32 and the sine function is going to take these
the numbers coming out of this and remap them

to minus 1 to 1 which is why we get these kind
of dark areas, it's not just hitting zero there

it's actually going deep into minus one, if we
set this down to one we see we've not got values

coming out of here high enough to have this really
take much of an effect, but as soon as we start to

increase this, as soon as we hit what looks like pi
we've circled right back around again down to zero

and then around double pi which i think is
called tau although don't quote me on that :)

uh we're getting back to that zero point and
then so on and so on what we can do next is

create another math node, so i'm going to duplicate
that one and set this one to Absolute which we

can find under the functions area and now what's
happening is that's going to throw away all the

negative numbers basically, so if minus 0.5 comes
out of here, the Absolute node is going to output

0.5 instead it's just going to throw that negative
number away, only positive values, this is a super

positive node. next what we want to do is set the
actual size of the hatched lines that we're going

to have which is fairly simple to do, we just need
to grab a map range node and the closer we bring

these numbers together, the smaller, the thinner i
should say the black lines are going to become. so

i'm going to set this down to something like 0.4
just give it a slight little bit of falloff at

the edge. so with that what we'll do is we'll press
F2 on this and we'll label this Thickness but to

be fair that isn't the full story there because
on our multiply node if we press F2 here this is

kind of our frequency or amount of lines, which is
in turn going to affect the overall thickness, so

this node is important and this node is important
and we've labeled them away from their defaults

this Sine math node isn't really doing anything
for us that we need to see, i can just press H

on that and same on the Absolute, so now those two
nodes kind of stand out we could of course color

them something, but i'm just going to leave this
at defaults for the moment and that is it for the

general backbone of our lines that we need. let's
take a look at our uv output again now and our uvs

are way scaled up, so we can change our frequency
now, so i'm going to turn that right up between 2

and 3 hundred somewhere and then what we need to do is
decide on one of the inputs or one of these light

drivers i've kind of called it. i'm going to raise
this up a little bit to here and then let's just

use the texture so we're going to need to set up
some way of combining these, so i'm going to use a

color mix rgb node and drop that in at the end and
then let's use this in the first socket and then

we have these lines in the second socket, so let's
Control Space to take a look and currently we're

just mixing between the two, but what i'd like to
do is actually multiply the lines onto our lighter

areas that we've got there and i'm going to do
that completely, so i'm going to make sure that's

at 1. all right so let's walk through a little on
exactly how we're going to go about this, i'm going

to take this quite faded area on the back here
just to demonstrate and i'm going to take a map

range node here, converter, map range and drop it
in here and we're just going to Control Shift

click this to see only the results of our texture
coming into this map range node and then i'm going

to change this to Stepped Linear and actually
four steps is exactly what i want to see which

essentially gives us five shades, so from black
there's one shade, white as another shade and then

three other shades in between, in fact let's come
over to our color management let's just raise this

up a second, so we can see so i'm going to change
it from Filmic to Standard so that the white kind

of pops and looks a little bit more like white
on the screen here, instead of being dynamically

rescaled on the fly, as is beautiful for our Filmic
color management but we don't need it to do that

in this instance, so what exactly is happening
here is values in the texture between 0 and 0.2

are just going to get clamped out as black values
between 0.2 and 0.4 are going to come out as this

dark gray, 0.4 to 0.6 mid-gray, light gray is going
to be 0.6 to 0.8 and then anything above 0.8 is

gonna just get clamped as white, so if we mute this
node a second with the M key and come back over

to here, we don't really want this fade, we want
everything from 0 to 0.2 to be black so i'm going

to unmute this again and to achieve that we're
going to switch this back to Linear i'm going to

crank this up to 0.2 and now what i'm going to
need to do is squeeze this right down to almost

0.2 as well and we'll just round that off to 0.21,
so again we get a very slight kind of gradient and

not a harsh cutoff but, we could make that finer
by reducing the distance between these two values

so now we have our hatched lines which i'm going
to make more numerous with this multiply node take

that into the 500s instead why not, but we don't
want those hatched lines going everywhere, we want

obviously we still want to preserve our pure white,
so we need to cut out of this the very highest

values between 0.8 and 1. now it's easy enough
to do that again with the map range node, so i'm

just going to create some space and take this node
and go Ctrl Shift and D to duplicate the node and

the incoming noodle into this and then what we're
going to do is just take what's coming out of here

and if we add this to it so let's go and grab
that Math node that we need and throw that in

there Ctrl Shift click this i'm going to clamp the
results of this though see now we're going to add

some things here i don't want to get values above
one, so i'm going to keep things simple by adding

the results of this map range. now we haven't
shifted these values they're still set on 0.2 so

we're going to set them right up to say 0.8 and
0.81 and now we're essentially cutting out the

values that are very bright out of our hatching
and then we're going to multiply in the dark areas

of our 0 to 0.2 range, so to complete the effect
we want more hatching lines to go from 0.2 all the

way up to 0.6 and again another hatching pattern
to go between 0.2 and 0.4, we'll come to all that

in a moment, so all we need now is to multiply on
additional lines that go from the darkest areas

and 0.2 beyond the borders of our single hatching
and then again another pattern to make like we

get more and more hatching to make it look darker
and darker towards our very darkest area, our zero

range. but with these notes we have everything
we need to essentially set that up. let's just

name a couple of these first i'm going to select
this one f2 and then what this one is doing is

setting our darkest values and this one here is
basically just cutting out the brightest parts

or setting our brightest parts, if we were naming
consistent between these two nodes, they're also

uh swapping over wires here so let's just swap
these around and let's go full screen on these

for a second, i'm going to take this over here
Shift and right click across those there and

then what we can do is create another set of
hatching lines. so let's duplicate all of these

Ctrl Shift D to raise them up and then Shift and
right click across these two lines and put them

over there and then what i'm going to do is daisy
chain the results of our original hatching into

our new hatching, so let's take this node and
plug that into the first socket so let's Ctrl

Shift click and take a look at this and of course
we're not now using this, we don't need to set our

darkest parts anymore so we can delete that and
the lines are in exactly the same position, so

what we could do is change the frequency or we
can actually change the rotation or maybe even

both but for now let's just drop in a vector
rotate node and then we'll give this some angle

we'll go the most extreme angle for now 90 degrees
so completely perpendicular from our original

angle but that also reminds us to give ourselves
that same control on those original hatching

lines, we should probably duplicate this and add it
there too, so i'm going to set that to zero in fact

let's not be so grid-like here as we're looking
at it i'm going to set that to something like

30.5 and then this one at the top, let's take it
90 degrees away from that so like 30 plus 90.

although mental arithmetic, we could have done
that 120 and now to complete this we just need

to change the range of what we're cutting out here,
so we need to cut out more, so let's take that down

to 0.6 and 0.61 and now we can see it's starting
to take shape. with that process fresh in the mind

let's take these again and drag these up, actually
this line here is getting a little bit sloppy

let's take from this point and drag this into the
value input there, Shift and right click across

that bit and direct it like this and then again we
want to change our range, so we're going to lower

that even further to cut out even more, 0.4 to 0.41
and we can't see the results of this because we

need to Control Shift click here and then also we
need to daisy chain this so let's take the results

of our previous hatching and plug that into the
first socket and then also we need to change our

rotation, so let's take a look at what we've got
so far and then as we start to rotate this we can

see we're just altering the parts that we've got
in the very very darkest areas or second to last

darkest area i suppose. with that we've essentially
done the the core part of our hatching design, i've

just chosen to go 5 values of color from black
these three mid-grays and this white but we could

add, say, seven instead or even more it just means
creating even more of these and then setting this

value appropriately. all right so we're essentially
done on that, what we can do now is just add a

little bit of polish starting with not making
our lines look so mathematically perfect

all we need to do to achieve that kind of effect
is to introduce some chaos. that is to say some

noise into our vector coordinates. another way of
putting it is let's just create some wobbly lines.

let's isolate this top bit of hatching, so Ctrl
Shift and click on this last add node here, that's

just going to show us these lines and the chaos
that we need to introduce is right here. so let's

create a texture, Noise texture and then what
we're going to do is add that onto the already

existing coordinates, so with the mix rgb node
we have our already existing coordinates coming

through and now we're going to set this to Add and
we're going to add our noise. now this effect is

mega strong at the moment, so i'm going to
turn that right down and hold Shift while

left clicking on here just to add a touch, just
a tiny amount like this. now they're quite large

wobbly lines and what i'd like to do instead
is make that much smaller, so i'm going to go

20 and also add a little bit more extra detail in
there and create even more chaos by increasing the

roughness. now this is all personal taste at this
point, but i think i'm actually going to take that

even lower, because we still want to essentially
keep the general straight line nature of it

but now it looks a lot more organic and less
mathematical. that's for these lines anyway, now

we need to just add what we're doing here on to
the other lines as well, right before doing that

i'm just going to alter something about this
or at least add an extra detail into this, but

it's only going to be subtle and that's just to
offset our noise, so our positive values out of

here or in other words our zero to one values
that we're getting out of this noise texture

mean that all the addition is going to be in the
positive, whereas if we offset that by subtracting

0.5 which is what this is already set to and let's
take that all the way up we'll see when we start

to increase this, it doesn't actually move the line
any further, so if we mute this subtract node again

and show the difference, well in this case the
lines look like they're starting to move downwards,

when we unmute that again with the M key we can
see we're just adjusting them in place so with

that now done we've got the three nodes that we
know we can duplicate, so i'm going to take these

left click and drag across them, Control C control
V, G to move them down let's go full screen on this

with Control Space, i'm actually going to grab
these and Shift select all these as well and

let's bring them right over here, so we've got tons
of space, bring those back into the fold, left click

and drag that in here and all we need for this is
for the uv coordinates to be in our first socket

of this node and then let's plug that into there
now that one will be done let's take these again

Shift D, this time bring them down left click and
drag that over, let's plug those into the first

socket and this into the vector mapping node and
then Ctrl Shift click the final node in the tree

there and then everything should have noise or a
little bit more of an organic feel to it. currently

this is using three-dimensional noise which
might not be the most performant way to go

about it, slightly more optimal is if we just plug
in our uv coordinates and set that to 2d and then

we've reduced an entire dimension. how's that for
performance? ;) so then it's just a matter of carrying

that over to the other instances, where we're
using that noise, so let's take that over into 2d

with that, that alters the scale of the noise a
little bit so i'm going to turn this back up to

kind of compensate take that to around 30 on each
of these, something else i'll do is just collapse

a few of these nodes, that we don't really need
to play with, so for example like this one this

one so i'm pressing H to essentially hide
those, same with these additions at the end

everything else we've got, we could kind of use to
change how this looks apart from maybe these guys

so thank you kindly you've served as well, but we
are going to collapse you down for readability.

one extra thing that we can do to this is add a
little bit more natural nature into the stroke

itself, so we've done some shape variation but,
what about some value variation, so to do that it

might actually be better to affect all of these
lines at the same time, which means it would be

great for example to add some noise into the end
right here, but if we were to do that right now

we're going to affect everything including this
dark space, but it wouldn't be very tricky for

us to just flip this, so that instead we add the
dark space that we have down here at the bottom

that that was just at the top instead, so let's
just reorganize this slightly... so here i'm going to

actually delete this multiply node and i'm going
to plug the results of our first hatching lines

into this color mix rgb node here so we have the
two hatching lines now let's just bring this one

right up to the top, shift right click across that
to redirect it and actually we can just plug in

from here to clean that up a little bit as well,
so now as we are at the moment we should only

see our hatching lines, because this is setting the
very very darkest areas, as we can see here setting

our darkest values, so let's take a look at how
that has changed things and then what we can do is

duplicate this multiply node here, hook that
up and then we can set our darkest values and

multiply them as we did at the start and now
we're basically back to where we were, only the

difference is now we can slot in something here
in between these two nodes and that will affect

all of these hatching lines at once and that's
just exactly what i'm going to do. so let's just

bring ourselves a little bit more space and
add in a Noise node. i'm going to set this to

use some uv coordinates, just the standard uv
coordinates that we get by default, now what

i'm going to do is to get the most out of
this noise texture is to break down the rgb

channels, so we're going to separate them and now
if we Ctrl Shift click on this and let's turn up

our noise a little bit, we can Control Shift click
through these just allow it to buffer into memory

and now as we switch through these, you can see we
can get three different noise patterns just from

one noise node. so what i'm going to do now is add
a little bit more space actually at the very end

so where these multiply nodes are i'm just going
to drag these over a little bit, that gives us a

chance to just be able to space this out a little
bit better and now what i'm going to do is add in

a map range node, just here actually let's start
with the red channel and what we want to do

is add this just here and all we need to do is
plug this into the second socket and now we can

control how much we want to multiply into this, so
let's Control Shift click here, Ctrl Space to take

a look and in fact we don't want to multiply there,
we want to add of course and i'm going to set this

to clamp, so again we don't get any values above
one, which might mess up with further calculations

and here i'm going to set this up to about 0.5 and
also increase this way higher actually, turn up the

detail while we're at it, turn up the roughness,
zoom in a little bit further and we can see now

that's giving a lot more interesting variation
to the value, so with that let's Control Shift

click on this to add back in our darkest area and
we're almost good to go to increase the contrast

even further we could start bringing this lower to
bring these two values closer together, maybe 0.5

and 0.8 look pretty good not too pronounced but
just gives a subtle variation. while we're at it

seeing how we do have these other noise variations
that we can play with, let's Shift D to duplicate

this node and we'll perhaps add some of this
noise let's put that into the second socket onto

our darkest area so we're going to slot that into
the first socket only here, i think, i'm going to

yeah... increase this a little bit further, maybe
somewhere around 0.55 for that just to give it a

little bit of texture, can also reduce the contrast
a little by dropping this a little bit lower, maybe

0.2 there and with that we can pretty much just
try whatever values that sit nicely for the kind

of effect that we're going for, how pronounced
that we might want this kind of effect to be

but we're largely done at this point, but just
before we go it might be worth giving just a

slight recap on what we've created here, so if we
zoom in a little bit we have the widths of our

lines themselves, those are going to be controlled
with this area here, so right now we have it 0.2, we

could try instead for example to go 0.1 to 0.8 for
much softer falloff at the end there or we could

raise that much higher so the values so we get
much thicker lines, if these were closer to one,

somewhere around 0.4 to 0.6 or 0.2 to 0.4 gives some
pretty good effects though for my personal tastes

anyway, something else to bear in mind is that we
have this cutting out the brightest parts linear

node now what we can do here is just separate the
distance, so for example 0.9 instead and we can

see now we get much more of a faded falloff
at the end of the suggested pen stroke, but

something else we can do with this is actually
i'm going to set this a little bit closer, 0.85

we can try a different uh... interpolation type
here for example Smoother Step and i think that

just gives a nicer falloff at the end there so
switching from Linear to Smoother Step so i might

make this adjustment on the others, so here would
be 0.65 and we just set that to Smoother Step

and then there's one more, here would be 0.45
though and then again set to Smoother Step the

general frequency is controlled here, a value node
here to set this so it's around 550 at the moment

let's just plug this into all three of these and
now let's take a look and then it becomes way

easier to just change the frequency depending
on the resolution that you're going for, but

otherwise our node tree is basically complete and
we can feel free to continue to paint on here and

if we've got a nice bit of falloff somewhere
we can make best use of all our little hatching

combinations and one last thing, let's just instead
of using our painted texture let's use this shader

instead, the Shader to Rgb instead, the light
in the scene which we have up here and then we

can see from this light here we're getting this
nice gradient here, just working out pretty well

and finally let's actually just test it with
a quick gradient texture, plug that in and it

seems to be working pretty nicely there, showing
us very easily the various different tones in

value that we've got maybe a nice touch might
be to make these lines here a little bit thicker

and make them thinner as they go, to emulate
the brightness in value, but hopefully you're

feeling fairly confident to be able to make
that tweak for yourself, if you desired it.