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INTRO
DISCLAIMER: This technique appears in many games nowadays, I consider IOI one of the first pioneers
of adequately using this technique in Hitman Absolution that was in development in 2009, so:

I’M NOT REINVENTING THE WHEEL, or sell it as it was mine,

I’m just showing you how the wheel works :)

Back in the days, words like deferred rendering (see the end of the tutorial for more info about it), render,
deferred shading pipeline, buffer, trim sheets etc were words only for super technical monsters of the
industry :). Nowadays we are living in a time where a lot of information is in what people call the internet,
and because of that that people in the industry are learning and getting more and more technical than
artists years ago used to be, with that said information becomes easier to understand and to apply. At the
end of this pdf, you will find all the links and references that can help you expand and better understand
this topic but also all the information that is present in this tutorial scattered around.

Wrapping up I’m just tidily putting together understandable information that will help you understand the
topic sourcing what is already present in various tutorials and articles online.
Ideally, with this, I want you to quickly learn the technical stuff that the job requires so that you can focus
more on the art rather than finding solutions or fixing problems.

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 NORMAL EDGE DECALS
NORMAL EDGE DECALS are very useful when you want to break the rigidity of the geometrical lines
that compose an object. These are commonly applied to architectural elements and props that use
tileable textures. This allows you to keep the tileable material untouched whilst achieving some extra
details such as scratches or minor destruction.

A SIMPLE EXAMPLE WITHOUT AND WITH NORMAL EDGE DECALS

GEOMETRY ONLY GEOMETRY WITH NORMAL EDGE DECAL

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If you pay attention, you will find normal edge decals in pretty much all the
next gen games you play as well as some oldy buy goldy ones.
Here are some examples:

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Let’s have a look at the most obvious ones:

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 PLAN IT FIRST
Search for reference and plan what edge decals you want to create.

Ideally, you want enough variations to cover the majority of the tileable
materials you are going to use on big scale objects such as architectural
meshes: Walls corners, stairs, trims. These examples vary based on the type
of project you are working on.

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Based on the project you are working on and the number of details you want
to get, you have two different directions when planning the trim:

I <3 PERFORMANCE DETAILS MANIAC

One texture that contains all the common type of One texture with destruction levels for each type of
materials: such as plaster, concrete, metal, wood generic material.
etc. with a medium level of destruction * This is the same texture repeated to give you a better idea of what I’m trying to explain

PLASTERS CONCRETES

WOODS METALS

PLASTER CONCRETE WOOD METAL WELD

WELDS PLASTICS

PRO

BETTER PERFORMANCE MORE VARIATION

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 THE TRUTH LIES SOMEWHERE IN THE MIDDLE

LIGHT DESTRUCTION HEAVY DESTRUCTION

One texture that contains all the common type of The same texture but with and havier state of
materials with a light/soft state of destruction destruction
* For the sake of this tutorial I just changed the intensity, but if you go with this scenario ideally you sould make another sculpt that match better

+
with the state of destruction and not just changing the intensity ;)

PLASTER CONCRETE WOOD METAL WELD PLASTER CONCRETE WOOD METAL WELD

With this option, you have a wide range of destructions type for most of the conventional materials whilst
ensuring that the number of textures is low. NOTE: I OBVIOUSLY CHOOSE THESE MATERIALS AS THEY
ARE THE MOST COMMON GENERIC TYPE OF MATERIALS

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HOW TO CREATE A NORMAL SHEET
Our final goal is to reach a map that look like this (left), to do that divide
the texture in 5 (or more) slots A, B, C, D, E and get the normal
information map in the center of each slot giving enough room to fade
before reaching in the near slots. NOTE: THE TRIMS HAVE BEEN OBVIOUSLY
PLACE VERTICAL BECAUSE IT MAKE SENSE SINCE WE ARE GOING TO APPLY MAINLY
ON VERTICLA CORNERS, FEEL FREE TO PLACE DIAGONALLY IF YOU FEEL LIKE IT :)

A B C D E

!
WE ONLY CREATE ONE (OR TWO DEPENDING WHAT YOU
PLANNED) NORMAL SHEET, FOR EVERYTHING ONCE.
YOU SHOULDN'T CREATE A NEW ONE FOR EACH ASSET
YOU MAKE; INSTEAD, YOU SHOULD RE-USE THIS ONE.

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 A B C D E

A B C D E

Simply create some primitive meshes and sculpt the corners the way you
want the normal map on the decal to look like. Then create the low poly
version of that corner. Make sure that you cover the area of each slot with a
lowpoly mesh (see "low poly and bake" page).
NOTE: THERE ARE DIFFERENT WAYS TO ACHIEVE THIS, THAT?S THE ONE THAT IT'S MOST STRAIGHT FORWARD TO UNDERSTAND

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 ZBRUSH WORKFLOW 101

OPTION A OPTION B
Import your mesh in ZBrush and under Alternatively, you can subdivide your mesh a few
Geometry press divide few times (5-6 times) times with the SMT (smooth) option disabled
then activate SMT (smooth) option and press and then under Deformation you play with the
other few times so that you can smooth a bit first deformers. This will allow you to have better
the edges which will help when sculpting it control over the smoothness of the edge.

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Here are some of the brushes that I used to create the normal map for this tutorial. There are
endless ways to achieve the same thing in ZBrush.
WOOD AND PLASTIC CONCRETE METAL WELD

TO ACHIEVE A
BETTER WELD I’D SUGGEST
TO SMOOTH A BIT THE
+ + CORNER YOU ARE GOING
TO SCULPT BEFORE
STARTING

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 HOW TO CREATE WELD ALPHA IN PHOTOSHOP
This technique can be applied to other software such as Substance Designer

A B C D E F G H I J

Create a new document (A), Using the gradient layer you can create a spherical shape with a smooth black
outline, might be better to set the background mid-grey to see the dark ring around the circle (B), Remove the
background and rasterise the layer (C). Duplicate the layers vertically to fill the whole image like in the image D
and merge all the layer then press Ctrl+A and from the top menu press Image > Crop. At this point go to Filter >
Other > Offset and set horizontal at 0 and vertical offset half of the size (512 px ). If you get a seam you can easily
remove it with the Clone Stamp Tool you can remove it (E). Now go to Filter > Blur > Gaussian Blur and try to get
the result I got (G). Now create a new gradient layer (H) and set the blending mode to Multiply on top of
everything. The last step is to reduce the intensity of the map with some level (I). You should get something like
mine (J). Depends on the type of weld you want to deform more the shapes as well as adding more variation on it.

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 LOW POLYS AND BAKE LOW POLY CONSIDERATION

- Needs to have a single uv

shell/island

- Needs to have the same

smoothing groups (soften edge) Having
the same smoothing groups will also allow us to use the edge normal decal on
every angle we want.

- Each uvs need to be unfolded

B D covering the entire slot

-Try to place uvs snapping with the

A B C D E
grid. it’s going to be much easier to
A C E UV SPACE
work with later on. Snapping things on grid, in general, it’s
a good practice to keep everything nice and tidy. Every software should allow the
snap to grid functionality both if you are working in 3d or 2d with uvs.

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Finally bake the high poly on the low poly (if you don’t know how to do https://goo.gl/HDWhd5

this I made a tutorial explaining how to bake normal maps, go check it

out.) You should get something similar to image above. Unfortunately
you will have to remove some seams on the vertical axis ( which is a
problem because later we are going to use tile this texture)

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Time to fix the seams. You can quickly fix that with photoshop or similar software.

SET THE VERTICAL

VALUE OF HALF OF
YOUR TEXTURE HEIGHT

The Clone Stamp Tool will do the job

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Now we need to adjust the texture a bit. Since we baked from a 3d model on a
smooth mesh, we need to flatten a bit the area between the different corner dents
so that when we applied the normal decal, the transition will be more seamless

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 To get this result open it
with photoshop (or
similar) and create a
new layer. Then with a
soft brush make some
strokes in the gaps. Use
the colour for the flat
normal map.

HEX: 7E7DFD

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 SIMPLE

+ COMPLEX

Last thing we need to create an alpha texture to mask out the part of the normal we don't need it. You can also
create a more complex alpha if you see some problems in the way the normal decal is blending with the other
normals. Both should work nicely, the complex one is more accurate but at the same time if not correctly done
could bring some other problems. My advice is to start with the simple one, and if the edge decal normal map is
not blending nicely, You can try to make a more precise mask. You create them with the brush tool in photoshop,
and the channels of the normal map can help you to extrapolate some shapes
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 HOW TO ADD NORMAL EDGE DECAL
ON YOUR MODEL

What you need to create is just a corner mesh which I’m going to call trim mesh from now on.
The faces need to be slightly offset from the original mesh in order to avoid visual issues.
The width of the faces can vary based on the scale of the edge normal decal wanted.
The uvs of the corner mesh need to be mapped correctly on top of one of the slots you have.
The mesh needs to have one smoothing group (in other words the edge needs to be a soften edge)

TOP VIEW

+ =
SMALL MARGIN BETWEEN
MESH AND TRIM

MESH TRIM MESH + TRIM

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Let’s have a look at something more complex.

+ =

MESH TRIM MESH + TRIM

EDGE DECAL ON OBJECT BASES

There are some cases where you want to have a normal edge decal on the
base of an object to get a visually smoother transition between the vertical and
horizontal surfaces. In my specific example (image on the right) I want some
details on the “concrete slabs”, but I want to keep the floor untouched. It is
important that you keep those hidden faces (the selected ones). Because they
allow the edge of the corner to be soft which is required to visualise the normal
information correctly. Alternatively, you can rotate the vertex normal by 45 degrees.
See next page for a more in-depth explanation, and some other alternatives.

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 “ISSUE” SOLUTIONS
MESH

MESH

Even if you don’t see it,

you keep the hidden
NORMAL MAP
DIRECTION
A TRIM
MESH
face.
FINAL
LOOK
PRO: Quick
CONS Extra faces
FINAL
TRIM TRIM MESH NORMAL MAP LOOK
VERTEX NORMAL DIRECTION
MESH

TRIM MESH
VERTEX NORMAL

As you can see by deleting the hidden face MESH

of the trim at the base, you are (by default) You delete the hidden
straightening the vertex normal, which face, and you rotate by
means that the normal map (that has been 45 degrees the lowest
created along the average normal of the B vertex normal towards
corner of those two faces) will perform NORMAL MAP
the bottom.
incorrectly, and it will lean out trying to bend
DIRECTION

around a missing old average vertex normal. FINAL PRO: Single face
TRIM LOOK
MESH
TRIM MESH
VERTEX NORMAL
CON: Slow
You can purposely remove the face if you are trying
to achieve something like the example above :) TRIM MESH
VERTEX NORMAL

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UVs wise for the trims you are going to get something like the following image. You want to
offset some UV islands in order to map the trim on a different part of the texture so that you
can achieve more variation.

As you can see the grid is really helping

us snapping the islands in the right slot
and making sure that the decals are
mapped correctly on the edge.

Also since we snapped on the grid in the UV editor

(with Maya), we can set the offset tool to 0.2 (in my
case), and every time I’ll press the left and right
arrows I will offset the selected UV to the previous
or next sloot allowing you to quickly trying them out

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 Not only Maya has the feature to offset uvs, here the spae option on other softwares

ABSOLUTE
RELATIVE

In 3ds Max after opening the uv editor, there In Modo in the uv editor, you select the In Blender after opend the uv ediotor press In Houdini you create an uvedit (or when you
are two options absolute values and the trim uv you want to move, select “N” to get the right bar with the proprieties. are making the uv), you open the uv editor (
relative values, you can cange them by Transform tool and in the Transform The values are absolute so you need to add space + 5) and select the uv then add or
pressing the icon. I’d reccomend to use the proprieties you have the U and V value. or subtract the offset you want. In my case subtract 0.2 (in my case) in the transform
realtive mode: and in my case I use 0.2 or You can offset by adding or substracting 50 units proprieties
-0.2 to move the uv to the next or previous 0.2 (in my case)
slot.

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 SOME WAYS TO CHANGE THE SCALE OF THE DECAL DETAILS
The first thing first, we should take into consideration one important thing: We should ALWAYS REDUCE THE PART OF THE MESH THAT IS GOING TO BE
TRANSPARENT based on the Alpha we generated earlier. For two reasons: First becasue the amount of transparent area we are rendering: less transparent
is cheaper. Second reason is that by reducing the unnecessary mesh area, we are reduceing the size of the trim mesh, which will reduce the draw distance,
that means the trim mesh is rendered only up-close. The following are some of the available options you have if you want to scale details, choose wisely :)

YOUR INITIAL DECAL MESH SCALED UP

UV SCALED MESH SCALED DOWN + UNFOLD

however we would need to cut a bit
of mesh in order to reduce the transparent area

B C

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NORMAL DECAL IN UNREAL (SIMPLE)

Creating the material for the normal decal is incredibly

easy in Unreal Engine. Just import the two texture you
create ( Normal map and alpha) in the material editor
connect them as shown in the image and set the
proprieties of the Material. Then apply the material to
the trim mesh slot.

NOTE: YOU CAN LEARN MORE ABOUT DECAL BLEND MODE IN

UNREAL ON THEIR DOCUMENTATION: HTTPS://GOO.GL/ZVTEPW

The normal edge decals only work with

lights set as movable or stationary.

In very short, the reason why is not working with the static lights is that the normal maps are
used for faking the lighting of bumps and destructions by making the rays bouncing in
different directions from the actual geometry. If you bake the lighting (static) you are baking
the light as a map onto the meshes which means that you are not going to have rays which
means that the normal map can’t work properly in the way I’m explaining with this tutorial

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Here a comparason in unreal engine. I applied some tileable material as well to simulate more
the resoult you will get. Normal edge decal sill work even if the surface is completrly flat

MESH ONLY MESH + NORMAL EDGE DECAL

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NORMAL DECAL IN UNITY

With this tutorial, you also get the shader you need to
use to get the deferred normal decal functionality.

In your project, if nicely organised you should have a

folder called “shader”. Drag and drop the shader file in
that folder. or in case you don’t have the shader
directory, cut it somewhere inside the project

* if you are reading this from another source go to leonano.com

and you will find the link for download the original file.

The Shader is made by: Dickie McCarthy ( @dickiemccarthy)

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Once you have the shader, Create a new In order to see the normal decals,
Material and apply the new shader. Then you will have to set your camera or
assign the texture you create earlier project. “Rendering Path” as Deferred
(Normal map and alpha)

The normal edge decals only work with lights set as Real-time or Mixed.
(This is a copy paste of the Unreal section if you read that you can
skip this one) In very short, the reason why is not working with the
static lights is that the normal maps are used for faking the lighting
of bumps and dents by making the rays bouncing in a different
direction from the actual geometry. If you bake the lighting (baked)
you are baking the light as a map onto the meshes which means
that you are not going to have rays which means that the normal
map can’t work properly

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 EDGE NORMAL DECAL
+ VERTEX PAINTING IN UNREAL

Another technology worth mentioning that you can use to

improve the edge decal is vertex colour. The vertex colour
will give us an extra four values you can use combined with
your master material, almost for free. In the example on the
left I’m using the RED channel to mask out the decal. (I’ve
also exposed a global float to control visibility) There are
plenty of ideas with the vertex colour, for example, you can
control the normal intensity with a channel, you can offset
the texture to a different slot, etc. etc.

All good but it comes with a price when you use vertex
colour you might face some LOD issue since this workflow
relay on vertex density which is something that you want to
reduce in your LODS.

You can add colours to your vertex in Unreal Engine with the
paint tool as well as in your 3d software (Maya, Max, Modo etc)

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 BLENDING USAGE MASKING USAGE

NORMAL MAP IN SECTOR A

NORMAL MAP IN SECTOR B

WIREFRAME VEREX COLOUR WIREFRAME VEREX COLOUR

In this usage, you can use vertex colours as a way to blend In this case, I’m using the vertex colours to mask the normal
between two different normal edge decals. For example, you edge decals to break that repetitiveness and add some variation.
can have soft concrete dents combining with a destroyed As you can see from the wireframe, I added some vertex in order
concrete. In this example, I’m overlapping the two decals in the to have more control when using the vertex colour. The
center part, and I’m erasing the red colour from the last two disadvantage or proper you might face with this technique is the
vertexes that are overlapping. In this case, you shouldn't have LOD popping out. If you generate LOD automatically, Unreal,
significant LOD popping issues since you have two different Sympligon or whatever tool you are using they will remove
meshes made of very few faces. vertexes which means that you are going to lose density of your
mesh in the generated LOD leading to poping.
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 PRO AND CONS

ADD DETAILS IN A NON-DESTRUCTIVE WAY DEFERRED DECALS USAGE

BREAK THE HARSH MESH EDGES EXTRA MATERIAL SLOT

FAIRLY EASY TO CREATE NOT WORKING WITH STATIC LIGHTING

FEWER UNIQUE TEXTURE ISSUES WITH REALTIME GEOMETRICAL

FOR CORNER DENTS DESTRUCTION

THE TRIM CREATION PROCESS CAN IT GIVES NO SILHOUETTE TO THE EDGE

BE EASILY AUTOMATED

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 UNDERSTAND WHAT YOU ARE DOING

ROUGHNESS

FINAL IMAGE
POST TONE
GEOMETRY

SPECULAR

PRE TONE
METALLIC
NORMAL
WORLD

COLOR
+ + DEPTH + + + + + + =

In a very simplified way, showing only a few of the passes, this is what happens in the buffer
every time you're rendering a frame with the Deferred Shading pipeline. Through shaders we
can access all of these layers and override or change proprieties for each of them

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 When we create the shader (in Unreal), we select Deferred Decal as “Material
Domain”. Basically we are saying to the shader to go affect one or more of the
passes previusly shown. How do we choose which pass we want to affect?
When selecting Deferred Decal, you are going to get “Decal Blend Mode”
enabled. From there you can pick the different way the decal will blend, in our
case we have “NORMAL” WHICH MEANS THAT WILL ONLY AFFECT THE
NORMAL OF THE OBJECT. If we want some colour variation ( for example dry
blood decals, or paint marks), you may choose Stain, and if the full material is
needed you just leave it on “Translucent” (for example better paint decals with
rough variation).

DEFERRED DECAL
SET TO NORMAL

ROUGHNESS

FINAL IMAGE
POST TONE
GEOMETRY

SPECULAR

PRE TONE
METALLIC
NORMAL
WORLD

COLOR
DEPTH
+ + + + + + + + + =

Everythong come with a cost. As you can tell in this “flow chart”, we added an extra pass that the buffer needs to go
through every frame. Ideally, it is not a big deal. The problems start when you overlap many deferred decals on top of
each other which is very likely to happen since they are so cooool :) so be careful!

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 WRAPPING UP
Now that you learned how this technology works and how cool the normal
edge decals are. Try to think of other ways you can use this workflow for
different stuff.

For example, imagine if you want to add a patch with a tiny drop on a tiled
floor. Or you want to enrich your storytelling with some scratches on a wall. Or
even add some footprints marks on a muddy floor.

All of these examples are achievable with the same tools I showed you in this
tutorial. But I want you to stretch your mind and get to the solution by yourself
so that by trying you will master this workflow. If you really can’t think of
anything feel free to drop me a message tho :)

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 LINKS AND REFERENCE

https://gfycat.com/InconsequentialObeseClam#Inspiration
https://www.reddit.com/r/Unity3D/comments/7ertg2/shader_which_only_writes_to_normal_buffer_for/
https://geofflester.wordpress.com/tag/substance-painter-2/
https://geofflester.files.wordpress.com/2016/10/substancepainterdecalscene.png
https://docs.cryengine.com/plugins/servlet/mobile#content/view/1310733
https://simonschreibt.de/gat/fallout-3-edges/
https://polycount.com/discussion/155894/decal-technique-from-star-citizen/p3
https://www.youtube.com/watch?v=iNdZ2LKih9I
http://www.richterdesigns.co.uk/mobilesite/scripting.html
http://www.richterdesigns.co.uk/graphics/decal_generator.png
https://answers.unrealengine.com/questions/75508/is-it-possible-to-use-custom-geometry-decals.html
https://docs.unrealengine.com/en-us/Resources/ContentExamples/Decals/1_2
https://pastebin.com/g5RYj45H
https://forum.unity.com/threads/how-do-i-write-a-normal-decal-shader-using-a-newly-added-unity-5-2-finalgbuffer-modifier.356644/
https://en.wikipedia.org/wiki/Deferred_shading
https://learnopengl.com/Advanced-Lighting/Deferred-Shading
http://blog.digital-horror.com/introduction-to-deferred-rendering/
https://simonschreibt.de/gat/renderhell-book1/

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This page is part of a tutorial made by Leonardo Iezzi about Normal edge decal. If you have any question, feedback or suggestion, please get in touch with me at LEONANO.COM