Let's unlock the power of GIA 2.2 and start building terrains from scratch with the core primitive nodes. In this tutorial, besides learning about the nodes, we'll also go through practical examples. This helps break away from monotony and gives us results that are closer to realworld scenarios. Hello friends and welcome to the GN nodes tutorial series. This series will be divided into eight parts where we'll go step by step through the different categories of GN nodes. For example, we'll start by creating a simple cone and then learn about the nodes by applying them to it. The first node is constant which allows us to control the height intensity of the cone. The constant node. The constant node in Gaia is just a fixed value generator mainly used for controlling, scaling, or providing stable input to more complex procedural nodes in your terrain/biome workflows. The second node is cracks. The cracks node in GIA generates cracked patterns on flat terrain. You can use this output as a mask or subtract it from other terrain shapes using the combine node. It's ideal for simulating features like dried river beds, cracked soil, crevices, or airid terrain details. As you can see, it comes in three modes: normal, hard, and classic. By adjusting parameters such as octaves, scale, or depth, we can achieve some very interesting results. For example, if we apply a wizard effect to our cone to make it look like a mountain, then combine it with cracks, we can create some very unique outcomes. The next node is draw, which can be extremely useful. [Music] The draw node in Gaia is used to create hand painted masks directly inside the graph system. Unlike procedural nodes like noise or constant, the draw node depends on your manual input. You use a brush to paint areas where you want things to happen. White equals active, black equals inactive. As you can see, it opens a window called open painter. In this window, you can draw the ridges or elevations you want simply by sketching lines. It also provides settings like hardness, size, and height, which allow you to introduce variations in your landscape. For example, let's say you want to create a prominent mountain in the corner of your map. You can easily sketch it out here and then combine it with an effect like wizard, which we'll cover in detail later, to achieve the result you're aiming for. The next node is Gabbor. Gabbor noise node provides directional textured noise with fine control. Useful for realistic terrain detailing. As you can see, this node allows you to add fine noise to your landscape, whether subtle or intense, giving you a wide range of detail variations. The next node is line noise. Line noise in Gaia is a noise function that introduces striped or banded patterns across your terrain or mask. Unlike standard plland/fractal noise that looks cloudy and isotropic, line noise produces directional linear features. With this node, you can create mountains like the one shown in these two images. By using clamp, you can control the intensity and with direction, you can adjust the orientation of lines. This node comes with four modes, sharp, soft, flat, and blurred. Each of which can give you unique and interesting results. The next node is noise. The noise node is one of the most fundamental building blocks in GIA. It generates procedural noise patterns, grayscale maps that can be used to shape terrain, create masks, or add natural variation. With this node, you can add detailed noise patterns to the surface of your landscape. By carefully adjusting its values and choosing from the five available noise types and three blending modes, it can become extremely useful. [Music] As you can see here, using pearl and noise with a subtract mode at a low percentage gave us a very suitable texture for our terrain. The next node is pattern. The pattern node generates geometric repeating patterns inside GIA. Unlike the noise node which is organic and random pattern produces structured shapes such as grids, stripes or radial patterns, the output is a grayscale map that can be used as a mask or as a base layer for shaping terrain, blending with noise or stylized design. As you can see, it generates different patterns for us such as linear or dotted ones. By combining it with the previous nodes, you can achieve some unique results. My suggestion is to first connect it to the previous node and then combine it again with that same node. This way, its effect will only be applied to the specific volume you want. [Music] [Music] [Music] The next node is pllin. This is one of the most useful nodes as it brings us much closer to realistic results. With the options it provides, you can generate different kinds of noise and even shift them around. In the end, you can clearly see the changes it makes compared to the previous node. [Music] Heat. [Music] Heat. [Music] If you are enjoying this tutorial so far, don't forget to hit that like button. It really helps the channel grow. [Music] The next node is shape. This node generates forms like a cylinder or a hollow rectangle. And you can easily control its size, thickness, or even move it around. [Music] With a bit of creativity, you can turn this cylinder into something like an erupting volcano peak opening at the top. The next node is Voronoi. On its own, this node can generate a full mountain range. With its features, you can create large rugged formations like vast mountains, deserts, or even stylized mountain landscapes. It also has its own warp option to twist and add more variation. Of course, you can also move and scale it as needed. [Music] [Music] feel. Hey Now imagine we want to place a lake right in the middle. Using the draw node, I paint a triangle shape, then soften it with a blur node. After that, I combine it with the mountain using subtract mode and by adding a lake node, which we'll cover in detail in future tutorials, we can achieve the desired result. The cellular node. The cellular node in GIA generates procedural cell-like patterns that are perfect for cracked ground, rock formations, or stylized masking. Its real power comes when you blend it with noise or erosion for natural looking results. [Music] The cellular 3D. The cellular 3D node in GIA is a volutric cell generator that creates much more natural fracture-like patterns than a flat 2D cellular. It's ideal for cracked ground, basalt columns, and erosion mass that look integrated into the terrain rather than just surface details. The dot noise node. The dot noise node in GIA creates speckled grainy patterns that are perfect for fine surface details, sand, gravel, porous rock, or scattered masks. It's usually not used for large terrain shapes, but rather as a detail layer to make terrains more realistic. Another thing you could do with this node is create landscapes similar to Minecraft style worlds. [Music] [Music] The drift noise nod. The drift noise node in GIA generates elongated directional noise that looks like natural streaking or drifting. It's ideal for deserts, glaciers, or any terrain shaped by continuous directional forces like wind or water. Hey. Hey. Hey. [Music] [Music] The multifractal node. The multifractal node in GIA generates rugged fractal terrain patterns by layering multiple octaves of noise. It's perfect for mountains, cliffs, and rocky terrain bases, especially when combined with erosion for natural realism. Don't down. Quick reminder, friends. Make sure to subscribe and turn on the notification bell so you won't miss the rest of this series. The wave shine node. The wave shine node in GIA generates wavelike interference patterns that resemble ripples, dunes, or banded rock. It's mainly used as a mask or detail enhancer to give terrains more variation and visual richness. [Music] To better understand it, let's combine it with another node and use subtract. As you can see, the result looks like a snow-covered mountain range. The last category is gradients which we were first introduced to with a cone. The next node here is hemisphere. With this node, we can create a half sphere and we can even mix it with the cone to achieve the final result we want. [Music] [Music] linear gradient and radial gradient. The linear node generates a flat plane for us and by combining multiple planes together we can adjust their angles to create variations. The radial node on the other hand gives us a soft raw elevation that could be shaped further. [Music] All right, friends. That brings us to the end of this video. This was the first episode out of a total of eight in this series. 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