u/Playful_Shirt_1896

But I made the right setup to start this project!

4 years ago, I wanted to start making natural materials so I could do better at my job and take more responsibilities.

However...

I found out that the workflow I was using for ManMade surfaces was really getting in my way, and I had to develop a new method.

One that allowed me to be more creative and less stiff.
By exploring my options, I came across this setup!

So let me break it down for you:

I started with an organic noise.
Using Clouds 2 and getting the scale right early (big shapes first).

Then I killed the contrast with a Histogram Range, which turns “crunchy noise” into a snowy mass.

The core is using the Vector Morph (with a Gradient Map) to push the forms into that natural “wind-carved” flow.

But we still need to soften the final read with a Non-Uniform Blur.
This will help with noise while keeping shape.

Now you have the right shape to start your snow material!

But if you need more help, there is a Free Discord Community for material artists.
It is called Future Material Artists.

📍 And we are waiting for you here: https://discord.gg/PpTCFyR6qS

They don’t follow your tiles.

They don’t respect the pattern.

They just sit on top like a sticker.

Here’s a super simple way to make procedural leaks that I made in a Space Shuttle Material.

💥 Grab a Leak Generator from the library

💥Align it to your tiles with a Flood Fill Mapper

💥Create a directional “fall” mask with a Linear Gradient

Point it where gravity should go.

💥Control the leak length with Levels

Then apply it to your Base Color and Roughness.

However, it might not be easy to use or apply as it reads in the post.

So if you need help, I have free support for you.

I created a Discord Community called Future Material Artists where professionals help Students learn the basics of Materials!

📍 We are waiting for you here: https://discord.gg/PpTCFyR6qS

And this is the main reason your material feels off.

However, I have an easy system to avoid the issues in this part of your workflow.

Let me show you how it works:

🟢 Choose quality over resolution

You don't want to see every small detail zoomed in; you want to visually recognize what you want to build in your material.

🟢 Choose with intention

Don’t save “anything similar”. Pick images for a reason:
Shape language, edges, breakup, roughness, story, color variation, etc.

🟢 Write down what you need from each image
Literally add a note next to it saying what you will take from this image.

🟢 Pre-plan your workflow before opening Designer
Do a quick checklist of every step you want to take and in what order.

Your references are not decorations.
They’re your roadmap to your final material,

However, this can be really hard to apply in your workflow.
That is why I created Future Material Artists, a Free Discord Community for Material Artists!

📍 We are waiting for you here: https://discord.gg/PpTCFyR6qS

But 3 rules make it easier!

Materials have a way of working, and some need special consideration.

Flesh is one of those materials, which is why I made some rules.

And it made it a lot easier for me.

Check them here:

🚀 Start with composition (yes, even for flesh).

Think in 3 layers:

Big shapes (≈80% of the read)

Medium shapes break the silhouette rhythm

Small breakup, help micro variation that supports the forms

🚀 Make it feel organic, not random.

Organic doesn’t mean “add more noise.” It means controlled deformation:

Start from a simple base (Perlin / Voronoi / directional patterns)

Then push it with Non-Uniform Blur / Slope Blur / Directional warps

The goal is flow and stretch, like tissue under tension.

🚀Sell it with the right shader + presentation.

You don’t need to “cheat” with translucency everywhere. What makes flesh pop is Subsurface Scattering + a clean mask:

Use SSS where light should “bleed” through thinner areas

Keep roughness/spec under control so it reads wet without becoming plastic.

These are the rules, but there is something else I would like to share.

A great material needs more than just good technical knowledge; it needs or Art Direction and knowing how to present its best features.

It is not easy to apply these pillars to your work.

That is why I created a Discord Community for Material Artists!

📍 We are waiting for you here: https://discord.gg/PpTCFyR6qS

But what if there is a quick & easy way to do it?

During my recent mentoring, I found a new technique.

It follows the basics of Rock detailing, but much better and more organic.

This is how I made it:

✨ Start with a Voronoi Fractal

This gives you a base pattern with a natural breakup.

✨ Blur it in a non-uniform way

Use a Non-Uniform Blur Grayscale to push the shapes away from looking too procedural.

✨ Add more variation with a slope blur

This helps create a rougher and more stony feeling.

✨ Invert / adjust the values

Now you control what will become the raised or recessed parts of the noise.

✨ Warp it again with extra information

Using something like Clouds 2 with a Multi-Directional Warp helps destroy repetition and gives you a more organic result.

✨ Tweak the contrast

At this point, it’s all about deciding how soft or intense you want the noise to be.

Now blend it on your stones, you are done!

But....

It might be a little more complex to use it correctly.

That is why I created Future Material Artists , a community where professionals help Game Art Students learn Texturing.

📍 We are waiting for you here: https://discord.gg/PpTCFyR6qS

We wanted to make something original and new.

And he nailed it!

This is the process:

🚀 Start with Messy Fibers

This gives you a chaotic base that already feels close to veins.

🚀 Warp them around your flesh shape

This helps the fibers follow the flow of the material instead of feeling flat and random.

🚀 Blur the edges a bit

A soft blur makes the veins feel more natural and less harsh.

🚀 Adjust the intensity with Levels

Here, you control how visible the veins will be and how much contrast they have.

🚀 Add a final soft blur if needed

This helps everything blend together better before applying it to your project.

Good flesh veins are not just random lines.

They need to feel like they flow with the form of the material.

But you might need more help building this or learning how to use it.

And I have a place for you.

There is a Free Discord Server called Future Material Artists where professionals of the industry help students grow and learn!

📍 We are waiting for you here: https://discord.gg/PpTCFyR6qS

You try a few noises, add a warp… and it turns into spaghetti.

Here’s a super clean way to get space cloth folds that actually read well (and stay art-directable).

Let me show you:

🎯 Create your “tube” base

Start with a simple horizontal gradient/tube shape.

Keep it tiling only horizontally so you control the direction from the start.

🎯 Generate the first folds (light touch)

Scatter a thin shape with a Tile Generator and add a tiny random rotation.

Then soften it with a blur so it becomes “cloth energy” instead of harsh lines.

🎯 Add a small Multi-Directional Warp with creases

This is where the folds start to feel organic.

Keep the intensity low, you want bend, not destruction.

🎯 Repeat from different directions

Duplicate the setup, change the tiling + crease pattern, and rotate the direction.

Layering 2–3 passes is what makes it feel natural.

🎯 Now you can art direct it. Once the fold system is clean, you can:

Control fold density

Push big vs small folds

Decide where creases show up

Without rebuilding everything.

🚀 If you want more breakdowns like this (and feedback on your graphs), join my free Discord community for Material Artists!

Click here to join: https://discord.gg/PpTCFyR6qS