This group controls the material’s main Texture. You can switch between using a texture or a solid color, set how large the texture appears on the surface.

⚠️ Note: UV_TextureSize is only Available in UV Mode Not WA.

These settings let you tweak the look of the base Texture color. You can enable color adjustments, add random variation between instances, and fine-tune brightness, contrast (power), and saturation to make the material look more natural or unique 

These options control how the alpha channel is kept and used. If your texture is black and white, this lets you keep specific areas unchanged while allowing color changes elsewhere. You can choose which channel acts as the mask and invert it if needed.

This effect adds a color highlight that changes depending on how you look at the surface. It’s often used to make edges feel brighter or more noticeable. You can flip where the effect shows up, control how sharp it is, and adjust how strong the color change appears.

These controls decide how shiny the surface looks. You can turn the shine on or off, make it stronger or softer, and adjust how it shows up more around the edges when light hits the material.

The Overlay Map lets you add an extra layer of detail on top of the base material, like dirt, wear, stains, or variation. You can project it in world space so it stays consistent, move and scale it independently, blend it with the base color, adjust its look, and even fake subtle shadowing to give the surface more depth and realism.

⚠️ Note: “Same as Base Albedo” matches the overlay map to the albedo, while still allowing other passes to be used individually in the overlay layer.  

It adds a subtle darkening along the overlay edges, helping the overlay blend more naturally into the base material and giving the surface extra depth where the transition happens.

⚠️ Note: Fake shadow effect is only available when the Transition     Mask is enabled.

You can use simple single-channel textures for occlusion, roughness, and Metalness values, or rely on a combined ORM texture. 

This helps define how dark crevices appear, how shiny or matte the surface feels, and which parts look metallic, keeping the material efficient and easy to manage.

These settings control how metallic the surface looks. You can turn metalness on, choose a simple constant value or a range, and adjust how metallic different areas appear, from non-metal surfaces to fully metallic ones.

These settings control how the AO texture map is used. The map adds subtle shadowing in cracks, corners, and recessed areas. You can adjust how strong the map is, how much contrast it has, and how it blends with overlays, helping the material feel more grounded and less flat.

⚠️ Note:  Ambient Occlusion doesn’t show up under fully dynamic lighting because it isn’t calculated in real time. To keep the effect visible, the AO map is injected into the albedo, baking the shadowing directly into the color. This preserves depth and contact shadows even when dynamic lights are used.

These controls decide how shiny or matte the surface feels. You can keep it simple with one value or use a texture for more detail, flip it if the result looks wrong, and limit how glossy it gets. The edge (Fresnel) settings let roughness change around edges so reflections feel softer and more natural.

⚠️ Note:  Translucent materials rely on specular highlights to define their shape, so specular settings are important for making translucent surfaces read correctly. 

These settings make parts of the material glow. You can turn emissive on, choose a texture or color for the glow, and control how bright it is. The Fresnel option adds extra glow around the edges, helping emissive areas feel more dynamic and visually interesting.

These settings control how transparent the material is, like glass, water, or thin plastic. You can fade the surface based on depth so it blends better with other objects, and use a Fresnel effect to make edges transparent. The overlay control lets translucent areas blend smoothly with other layers.

Refraction: bends light as it passes through the surface, making it look more like real glass or liquid. You can keep it simple or fine-tune how strong the distortion is, how it fades with camera distance, and how it changes around edges.

⚠️ Note: Translucent materials rely on specular highlights to define their shape, so specular settings are important for making translucent surfaces read correctly.

You can enable or disable normal mapping, adjust its strength, flip it if needed, and control how detailed the surface looks.

Extra Detail Normal
This adds a fine layer of small surface detail on top of the main normal map, like subtle noise or grain, helping the material feel richer and less flat when viewed up close.

Normal Map Peeling
This effect simulates areas where the surface looks worn, chipped, or peeling away. It is only available when the Transition Mask is enabled, and helps add extra realism to damaged or layered materials by making normals break up along the transition.

⚠️ Note: The Peeling Effect only works when the transition mask is     enabled. 

Here you decide how the height map shapes the surface. You can preview it, flip it if it looks wrong, choose which channel controls the height, and fine-tune how deep or subtle the displacement feels, making details like cracks or bumps look more believable.

⚠️ Note: Displacement requires enabling Material Tessellation. 

This simulates light passing through the surface instead of bouncing straight off it, which is useful for materials like skin, wax, or leaves. You can control where the effect appears using a mask and adjust how strong it is, helping the material look softer and more lifelike.

⚠️ Note: The SSS requires changing the Material Shading Model to Subsurface. 

This controls which parts of the material are visible and which parts are cut out, like holes in metal, leaf shapes, fences, or torn fabric. You can use a texture, a simple value, or even the albedo map to decide what shows and what disappears. You can also reuse the same mask for overlay layers so everything stays.

These controls let you fine-tune the mask’s placement. You can slide it around, resize it, or rotate it so the cutout lines up perfectly with the texture. You can also adjust how sharp or soft the mask is, giving you clean cut edges or slightly faded ones.

Dithering helps soften harsh cutout edges by breaking them into a subtle pattern. This is especially useful when fading objects in or out or when you want the opacity to feel smoother without hard, obvious edges.

⚠️ Note: The Opacity Mask requires changing the Material Blend Mode to Masked.