Shadowing Practice: Blender Tutorial: Photorealistic Puddles - Learn English Speaking with Video

Anyone could make a lazy puddle using a noise texture.

But if you want to make a photorealistic puddle shader that matches the three states of dry, wet, and pooled water, then this is the video for you.

By the end of this tutorial, you'll have made your very own handy, easy-to-use node group that will add realistic puddles to any material you want in the future.

So let's go.

So to kick things off, I've got a plane, which I have enlarged to be 20 by 20 meters, so it's nice and big.

And now we need a texture set.

Doesn't matter which texture set, it'll really work on anything, provided you have a base color, roughness, normal map, and displacement map.

Those four maps is all you'll need.

So I'm going to be using the Polygon add-on, which I'll put a link for it in the description.

But basically it lets you browse, download, and automatically import any material that you want.

So the one I'm looking for is this one right here, just this kind of like yellow cobblestone-y looking paver.

Quite common in, I don't know, a lot of parts of the world I've seen it.

But I'll also throw up on the screen here some different other materials which you might want to use, and I'll put the links for those in the description as well.

So if I go to my material preview, I should see that, look at that, we've got the cobblestone applied to everything.

Great.

So now the rework inside of our shading tab.

Yeah, we're going to get complex with some nodes.

Now, first of all, the add-on has added in our texture set for us, but it does look complex.

Really, all it's done is it's put everything inside of this node group

so that we can just easily change a few handy values if we want them.

But really, all you need to know is it's just got the usual texture maps, and it's coming out of base color, alpha, normal, all that kind of stuff.

Now, we don't need most of this because most of it isn't relevant to this material.

So I'm going to disconnect all the stuff except base color, roughness, and normal map, right?

We will use height later on, but for now, just these three to play with.

So that's our material.

Okay, looking bland, but it does work.

So anyone who knows their way around a shader will know that if you want to make something look wet, you really just drop the roughness amount.

The roughness is the sharpness of the reflection, and so the sharper the reflection, the wetter it tends to look.

And the higher the roughness amount, obviously the opposite, it looks more dull and more matte and bone dry, right?

So a zero to a one is the difference between a puddle and a non-puddle, right?

So those who know what they're doing will think, aha, I know of a procedural texture which will generate zeros and ones across a surface,

and that is your noise texture.

So if you add in this and you put this into your roughness input here, you will see this.

Okay, so to just quickly preview just that by itself, it's blacks to whites, right?

As a sort of general randomness across the surface, which when you put into roughness, you can see it gets you this effect, which is kind of there.

Like we've got a puddle sort of look effect, but it's very vague.

And that's because it needs more contrast.

but more importantly we have lost our roughness input from our texture set

so we don't want to override it we don't want to just like completely remove the information from

that we want to use this noise texture as a mask for the roughness map

that our texture set already has if that makes sense

so essentially i'm going to put this up here and then in here i'm going to add in color

mix color and I'm going to drop this in right here

and now with this noise texture I'm going to put

that into my factor input here and then my roughness I'm going to put into my a slot

so with this what this is doing is the white values is it's going to be using now

because it's in the factor it's going to be using whatever's in a

and then the b is going to be whatever is the black values

so for that because roughness right we're thinking of like a puddle right puddle is

it's going to have like wet looking reflections where it is a black value.

That was a terrible way of explaining that.

But essentially wherever I want there to be a puddle, I want the roughness to be zero, which means I want my alpha to be black like so.

And there we go.

So now I've got basically the same effect, but I have retained all that roughness information, which was in the roughness map.

Okay.

So now let's add some contrast because this looks very vague.

It looks like it's just been sprayed with a mist or something.

So to add in contrast, I mean, you've got like a brightness and contrast node, which I don't think I've ever used because it's just so bad and you can't understand what it's doing.

A lot of people like to use the color ramp node, right?

You would drop this in here and then you could like, you know, adjust these values.

And yes, that is helpful, but it's also like, it's very visual, but you also don't really know what it's doing with the values necessarily.

And it also has sliders, which aren't helpful

if you want to be able to easily adjust something later

in my opinion the much better one is the map range node

which does exactly what a color ramp node does

but it does it with values

that you can change by um by a slider basically it

makes it a lot more friendlier for a node setup

which we'll get to later on now with this this maximum

amount here is basically now going to become my wetness value

if i set this all the anything below zero that's the

original like roughness right it's just using 100% the original texture

and then as I increase this it's generally adding in sorry

genuinely gradually it's gradually adding in a wet amount to it

so this is just a really nice easy way to just quickly add puddles to something

and we're going to use this map range into everything that we use for the rest of this shader.

So it's all going to be nice and procedural and we're going to know what we're doing.

All right.

So it's looking okay, but it kind of has this feeling like, it's not like puddles are forming.

It looks like someone's just hosed it very recently with water.

And the reason for that is the bump.

If we look at reference photos of puddles, not surprisingly, where there is a puddle where the water has formed so much that it has pooled,

you're not able to see the texture of of the road or the cobblestone underneath it.

You are able to see obviously the texture around it, but where there is a puddle, it's water.

So it is glass, it is completely flat, right?

So what's causing the bump, what's giving us the bump is this normal right here So if I was to just like remove that then yes, it does look more like a puddle right here

But it doesn't look good because we've lost all of the bump information

Which is giving us so much character to the original material so we do need that bump information

So essentially what I want to do is just like what I've done here creating using a mask to

keep my original map value, but tweak it, I'm going to do the same thing down here.

So I'm going to duplicate my mix color node here, shift D, drag that down, and then making sure my normal goes into my A input,

I'm then going to take my map range output and then put that into the factor input.

Okay.

Now we can see something is happening, but probably not what we want.

We've got the bump everywhere else, which is what we want nice and untouched

But where we have got our puddle where the puddle should be forming We've got an error

And the reason for that is

that this input for our principled shader is a very special input

That purple one means it's looking for vector data So vector data is an R, G, and a B which has been converted into an X, Y, and a Z Very technical,

100

I know But that information is what it is looking for And the black color, this one here, which is where it's going to put anything that is a white value, right?

101

This white part of our cloud noise texture is being turned into black.

102

And it doesn't know what to do with that.

103

So essentially, instead of a black color, we need to use a color that the vector part of the shader can understand.

104

And that color is blue.

105

100% blue, no red, no green.

106

and when you do that, it says, yep, this surface is pointing directly upwards, it's flat and it now works correctly everywhere.

107

We've still got the bump everywhere else but wherever there's a puddle, it's now working correctly.

108

Now, if this is not working for you, if you've got something that looks really weird, like, I don't know, like something like this where it kind of looks like screwed up in some way,

109

it's probably because you haven't got vector information going into your mix node, you've instead got color information.

110

So what you're not seeing inside of this node group here, what the polygon add-on did is it added in a normal map, then it put it into the normal map here,

111

which then gives it this, you see this blue output, right?

112

Sorry, blue or purple.

113

Purple, purple, then it goes into here.

114

If you had your normal map here, the normal map node, it would not work correctly.

115

So make sure that this goes after your normal map node, wherever that is, not before it.

116

Otherwise, it won't work correctly.

117

so you can be proud if you've made it this far

118

because you've got something that looks pretty close to puddles

119

and certainly a lot further than anyone else has made it

120

and you've got a very nice system that works with just one single slider

121

which is great but we can do better it is missing one critical component of puddles

122

that is why this doesn't look quite right

123

and that reason is it's all explained by this slide right the difference between a surface

124

that is dry and a surface

125

that is wet is a difference in the color value right it is noticeably dark darker

126

when something is wet and you can see this on every surface right

127

so really a puddle is kind of like three stages you've got the dry you've got the lightly wet

128

and then you've got the pooling, right?

129

And right now, all we've got is just almost like everything is completely wet, and we've got pooling, and that's it.

130

But we need this stark difference.

131

Now, what is actually causing that, by the way, if you were curious, is that even though it's not a pool, right, there is a thin coating over this patch of concrete here.

132

So inside the grooves of that, there's a little bit of water, and it means that when the light enters that surface, instead of bouncing into it,

133

getting the color information and then exiting out into your eye, some of it is actually bouncing inside of this little miniature like layer of water,

134

and then it's bouncing back into itself.

135

So because that happens enough, some of that light goes back into it and then it appears darker to your eye.

136

And that is why everywhere where there is a, yeah, basically like, that's why you have that.

137

Like part of the stone is dark and part of it is light.

138

So how do we do that?

139

Well, we're going to use our, basically the exact same method that we've used for these two.

140

So I'm going to take my mix roughness here.

141

I'm going to duplicate it and I'm going to drag it up here just so that that lines up with this.

142

And this is connected it for me exactly the way I want it.

143

My base color, I want to go in here

144

and then I'm going to take my map range and I'm going to put that into here.

145

So essentially I am now tweaking my, uh, my yellow cobblestone, it's going into here,

146

and then this value here is going to be wherever there is a puddle.

147

So it's currently black, which is why it looks like someone has spilled oil all over the surface.

148

So I don't want it to be completely black.

149

I want it to be somewhere in the middle, right?

150

So if I was to adjust my value here, I would want something like this, but this isn't right.

151

So the reason it's not right is this is set to mix.

152

So instead I want to make it multiply so that it ignores all of the white, the light values, and just use the dark values from this.

153

So this now basically becomes, you know, how dark do I want the wet part of my surface, right?

154

So we can just leave it somewhere here for now.

155

And this looks somewhat better.

156

Like you look at it, it's like, yeah, it's kind of right.

157

Like, okay, now when it's completely dry, it's light.

158

And then when it gets darker, it is dark, but something's still not right about it, right?

159

Kind of in a big way.

160

And the reason for that is going back to our reference, because reference is king, reference, reference, reference.

161

I'm going to sell that shirt one day.

162

It's binary, right?

163

You can see there's no gradient here.

164

It's not like it's getting darker towards the middle there.

165

It is either bone dry or it is dark because it is wet.

166

Okay.

167

And you sometimes see where it looks like darker in the middle of a puddle.

168

That's usually where like sediment is pooled.

169

And that's a completely different thing where it's like muddy.

170

But in most cases, no, like it's just, it's either completely wet or it is completely dry and that's it.

171

So what we need to do is between here and here, we need to add something to basically do like a hard cut, a binary cut.

172

You could actually create a separate map range node, but since we're not going to be tweaking this value, it's actually easier to use the more visual version of this I mentioned before,

173

the color ramp node.

174

So if I drag this in here, again, making sure it's going between our map range just into here, not affecting these down here.

175

This, as you can, you know, as you probably know you can tweak this and you can adjust

176

which parts of it will affect where we want it to be binary

177

so the trick is to change it from the linear blend type to instead be a uh constant

178

is it a blend type maybe it's just interpret interpolation

179

but you can see that now we've got we've got exactly

180

that it's either wet or it is dry it is nowhere in between and that is pretty much what we want, but it looks terrible.

181

It looks really, really bad.

182

Okay.

183

So why is that?

184

It's got the correct effect, but it looks terrible.

185

If we go back to our reference here, you will see that, yes, you've got, you know, parts of the brick here, which are black and then parts that are white,

186

but it's not a completely clear like line, right?

187

This looks like it was drawn with like, I don't know, like cut out of paper, like clip art, vector art or something, completely clear line.

188

That's not the way it works in the real world because real bricks and cobblestone and asphalt as well, if you were just using like it for like a car park texture or something, right?

189

The line is jagged and it changes depending on the height of the material that is underneath it.

190

So these bricks are higher than the grout.

191

So the grout is where you're getting this pooling effect.

192

And the bricks that are individually lower than the others, those are darker because that's where water, like it hasn't dried from that section yet.

193

And then you've got some bricks which are like higher than others.

194

So they're like sticking out of it and they're high and dry, right?

195

So that information is very relevant.

196

We need that information on here.

197

So we need this texture to somehow tweak, to somehow tweak this, right?

198

So between actually, between the map range and in here, we need to use part of our texture.

199

Okay.

200

So this is why I said that the texture set that you need, you need to have base color, roughness, normal, which we've used and height information, which is what I've got coming out of this material.

201

So if you've been using materials from elsewhere, it would just be your displacement node, which is just basically black and white information,

202

which by the way, the polygon add-on will automatically, by default, it'll set your displacement strength to zero.

203

So if you want to see it, you just turn it to one and now you've got this information here so we need to use this information because

204

This has got the information of the grout is like a lot like it's dark

205

because it is low a lower height And then you've got some brick which is lighter than others,

206

which means it's higher than other brick So now we know what information we need to use.

207

We know where to put it How do we make one influence the other and this is the trick?

208

something that you learned

209

if you watched my abandoned house tutorial whichever direction it is

210

up there i talked about how you can infuse two values together

211

so the way that you do it is by adding in a mix color node

212

so basically same one as there right adding this in

213

and i'm going to take my height

214

and i'm going to put this into my bottom input down here

215

so my noise texture this is before it goes into the map range

216

because i want to use just like the gray values and i'll I'll tell you why in a sec, before it goes and gets like contrasted.

217

So my grayish looking values here, my grayish looking values here, and it's gonna go in here.

218

And the trick to get them to influence each other is to use not the mix blend type, but the overlay blend type.

219

Now in my old like abandoned house tutorial, I mentioned like color burn was the one.

220

I think maybe I didn't understand the math correctly.

221

And I thought like, ah, it just looks punchier and it looks nice.

222

I think actually the correct one is overlay.

223

It's more standard.

224

I don't actually know how they change.

225

That might actually probably be like a fun quiz for like artists out there.

226

Like what is the difference between multiply and subtract?

227

What is the difference between screen and add?

228

And like, see how many can get it correct.

229

I bet you like 99.99% could tell the difference between overlay and color bone.

230

I guarantee like nobody knows.

231

I know there's a difference, but anyways.

232

Point is with this, if I now go back to here, you can see that it's now correctly working, right?

233

And this value here is now tweaking how much influence.

234

This is so cool.

235

This factor amount becomes our influence value of how much it is influencing that blend between the noise texture and the brick,

236

which is so cool.

237

Now, the more astute of you might notice, that's wrong, Andrew.

238

It's seemingly doing the opposite.

239

Where the grout is, it's making it look dry.

240

And where the bricks are, it's making it look wet.

241

So basically this value here needs to be inverted between the height and the B.

242

Now, normally I would use like an invert, but actually I need to do another operation on it as well.

243

So I'm gonna use a map range node and I'm gonna drop this in here.

244

And just to invert this, I'm setting my min to one and my max to zero.

245

And now it is working correctly.

246

And look at that.

247

So those lines now become darker, right? which is so cool, just automatically looks correct.

248

This is how you get realistic materials.

249

You study reference really, really hard, trying to fix everything until it looks right.

250

And then it eventually does and you go, aha.

251

So it's now working correctly.

252

Now, if you're not using polygon textures, you don't need to worry about this next part, but something that we have just realized, we tried to standardize it to work across shaders.

253

And it meant that our displacement values had to be between 0.4 and 0.6 in range, which is why this looks very gray looking, not a lot of contrast there.

254

We are actually gonna be remastering it later this year, all of our textures.

255

But basically it means because of that, we got a lot of gray range that could be normalized and this map range will do it.

256

Just means basically you're gonna set from 0.4, which is when the detail actually starts to 0.6.

257

And it will mean it will go from that to this and it will actually then look correct.

258

And it means that you're, it just means you'll have more range here to play with essentially. So now

259

that this looks correct you can see the whole picture changes it looks way way different um it looks just

260

so much more realistic

261

because this is what cobblestone does right it's not like everything

262

is just coated in water right you have like bricks individual bricks it's like like lego pattern across everything

263

which is really cool and you can see that as i change this it's almost like a really cool transition, right?

264

Of like water buildup across the surface.

265

It's really, really cool.

266

And you'll see a similar effect when you're using it on like a different texture and asphalt or something.

267

It's just, this is a cobblestone, it's more noticeable, but you will have the effect of the height influence,

268

the height information influencing where the puddle actually begins and ends.

269

Couple of quick things to improve this.

270

So first of all, if you were just trying to go for like, you know, everything needs to be like relatively wet, like a wet car park or something, you might not like these dry patches,

271

which case you would just adjust this slider here until you like don't see them

272

or you only see like a few or something.

273

But this is generally where if you want, I don't know, it's like it's getting drier, right?

274

Or like the effect, like the spread really of that, that wet mask is kind of, yeah, just being changed.

275

The other thing is that this, the scale of this will obviously change the size of your puddles and how often they appear.

276

You can also change to 4D mode and it'll just add this W value at the top.

277

And the only difference there is that this is now seed.

278

So if you don't happen to like the particular arrangement that you've got, you could change the seed and try and get a different amount of puddles.

279

The other thing that you might wanna do is to, because I noticed looking at reference that like puddles rarely actually form like uniformly, like even in a car park or something flat,

280

like there's generally parts of the car park where it's like lower.

281

So you'll have like a lot of puddles there and then less elsewhere.

282

So I kind of wanted to like paint, I want the ability to paint in.

283

So you could add in like an image texture and paint this way.

284

I actually prefer to use vertex paint.

285

So the way I would do that is just hold down control and tab, move up to vertex paint.

286

And when you do that, it will have automatically added over here in your color attributes.

287

You've got a vertex paint attribute called col, C-O-L.

288

Great name, which just means if you go shift A input attributes, you should see one here that says coal,

289

and then I can blend the two of these together.

290

So I'm going to take my mix color right in here.

291

I'll make this like my, oh God, it's all screwing up.

292

I'll make, okay, first of all, let's do the painting on this.

293

So first of all, you need everything to be black.

294

So hit X until the black value is at the front there on the left, then hit shift K.

295

It's weird because you can't see anything that's happening, but you just have to assume, yep, now it's working.

296

Shift K, everything is black, it's filled.

297

And now with my white brush, so white is on the left, so hit X to swap, I could paint.

298

Now I can't paint because I've only got four vertices.

299

So this is vertex paint, so you need more vertices.

300

So that's the downside of this method is that you do actually need vertices, but the upside is that you don't have to worry about UV mapping and like image texturing.

301

And then if you change your mesh, you have to like redo all of your, your, your painting or whatever.

302

Like I just hate working with blenders texture painter, but this is a lot easier.

303

So now with this, I can just paint in using, you know, my brush of wherever it is that I want my puddles to appear, right?

304

Go back into object mode.

305

This now is going to go into here.

306

So this is my top.

307

This is now going to go into my bottom like this

308

and then this value here I want to be set to multiply

309

so it's basically all the way to the left is using just the mask by itself

310

and then as I gradually increase multiply it's adding in this noise texture

311

because while you could use just the uh the painted map

312

that you did by yourself um I find

313

that without it it just looks oh god I hate the eevee thing

314

but it just looks like really like it just looks just

315

looks nasty it looks like it's just been painted right because it has been painted.

316

So this just adds in a little bit of variation and it just helps it look a lot nicer.

317

You can also use like a lower strength amount so that you can just like more subtly paint in certain areas.

318

And then you can get something that feels a little bit more realistic to like, yeah, this is like the low part of the town square where,

319

you know, the contractor who built it was a little dodgy and he didn't level the surface.

320

And so you've got like a build up of a buildup of puddles, right?

321

But it's, it's more realistic, right?

322

Because that's how puddles appear.

323

They generally appear in like one place.

324

It's not generally over everything uniformly.

325

And that's basically it.

326

If I want to make this like a nice user-friendly tool that I will want to use again and again,

327

I'm going to hit control G and now I've got a node group here, right?

328

I've got all going into one.

329

It's all coming out correctly.

330

And the most important thing is I would go in here with this map range and I would take this, drag this out over here, and then where it's got the group name,

331

I would call this wetness, right?

332

And I've just reordered these just so that I'm easy to understand.

333

Wetness is the key value, right?

334

That's the one where I'm getting most of the control of how my puddles are going to look.

335

And it's just one slider.

336

It's nice and easy.

337

It's artist friendly.

338

It's very easy to adjust.

339

I mean, if you wanted to, you could also throw in like, you know, how much of the color, sorry, the noise influence, you could drag that in there.

340

You could also, I don't know, have like the seed value from your clouds or your puddles if you wanted to.

341

It's really up to you.

342

However, user-friendly you want to make it.

343

And I'd probably also relabel this color roughness and normal as well.

344

But then I've got a little puddle group and I can add

345

that to my future shaders and it's easy to use and it's really fun.

346

If you want to download the finished node group, I've put a link in the description so you can get that,

347

along with some links to several other photo scanned like concretes and asphalts and things that work really great with this shader.

348

And yeah, if you enjoyed this video, hit like and subscribe so that other people can find it.

349

And thank you for watching.

350

I'll see you in another video.

✨ Aanbevolen Video

108 zinnen

Woordenschat en spreektips bij deze les

Deze spreekles op niveau C1 is gebaseerd op de video “Blender Tutorial: Photorealistic Puddles”. Deze woorden komen het vaakst terug: puddle, value, texture, map, color. Deze video bevat 350 zinnen en 5016 woorden om na te spreken. Het gesproken deel duurt 26:16. De spreker praat snel, ongeveer 191 woorden per minuut, dus reken op verbonden en ingeslikte klanken. 86% van de woorden hoort bij de 3.000 meest gebruikte Engelse woorden; de rest kun je beter vooraf bekijken.

Belangrijke woorden in deze video

De 15 moeilijkste woorden uit de video, met uitspraak en betekenis:

Woord	Uitspraak	Betekenis
puddle zelfstandig naamwoord	/ˈpʌdəl/	plas
texture zelfstandig naamwoord	/ˈtɛkst͡ʃə(ɹ)/	textuur
roughness zelfstandig naamwoord	/ˈɹʌf.nəs/	ruwheid
cobblestone zelfstandig naamwoord	/ˈkɑbl̩ˌstoʊn/	keisteen, kassei
tweak zelfstandig naamwoord	/twiːk/	bijstelling
vertex zelfstandig naamwoord	/ˈvɝˌtɛks/	toppunt
bump zelfstandig naamwoord	/bʌmp/	botsing
adjust werkwoord	/əˈd͡ʒʌst/	aanpassen, verstellen
vector zelfstandig naamwoord	/ˈvɛktɚ/	vector
grout zelfstandig naamwoord	/ɡɹaʊt/	voegmortel, voegspecie
multiply werkwoord	/ˈmʌltɪplaɪ/	vermenigvuldigen
polygon zelfstandig naamwoord	/ˈpɑliˌɡɑn/	veelhoek, polygoon
invert werkwoord	/ɪnˈvɜɹt/	omdraaien, omkeren
asphalt zelfstandig naamwoord	/ˈæʃfɑlt/	asfalt
attribute zelfstandig naamwoord	/ˈæt.ɹɪˌbjut/	attribuut, eigenschap

Phrasal verbs die je zult horen

Woord	Uitspraak	Betekenis
come out werkwoord	/ˌkʌm ˈaʊt/	uitkomen

Zinnen om te herhalen

Korte, volledige zinnen uit de video die je in alledaagse gesprekken kunt gebruiken:

Those four maps is all you'll need.
I'm going to sell that shirt one day.
You can see there's no gradient here.
I think maybe I didn't understand the math correctly.
I don't actually know how they change.

Grammatica in deze video

De structuren die de spreker het meest gebruikt, met de exacte woorden uit de video:

Structuur	In de video
Present perfect have/has + voltooid deelwoord — iets uit het verleden dat nu nog telt	have made · have enlarged · I've seen
Lijdende vorm be + voltooid deelwoord — het gaat om wat er gebeurt, niet om wie het doet	been sprayed · has been converted · being turned
Betrekkelijke bijzinnen who / which + zin — extra informatie over een persoon of ding	anyone who knows · those who know · effect, which is

Uitspraak om op te letten

De spreker gebruikt 139 samentrekkingen en verkorte vormen, zoals I'm, you've, don't. Spreek ze kort uit, zoals je ze hoort.

De klanken “sh” en “zh”: shader /ˈʃeɪdɚ/, asphalt /ˈæʃfɑlt/, grayish /ˈɡɹeɪ.ɪʃ/, interpolation /ɪnˌtɜː.pəˈleɪʃən/, mesh /mɛʃ/
Lange woorden — let op de klemtoon: uniformly /ˈjunəfɔɹmli/, procedural /pɹəˈsiːd͡ʒ(ə)ɹəl/, interpolation /ɪnˌtɜː.pəˈleɪʃən/, photorealistic /ˌfoʊ.toʊˌɹiː.əlˈɪs.tɪk/, miniature /ˈmɪn.(i)ə.tʃəɹ/

Klanken die Nederlandstaligen lastig vinden:

Stemhebbende eindmedeklinker — /b/, /d/, /g/, /z/, /v/ niet verscherpen: node /noʊd/, blend /blɛnd/, vague /veɪɡ/, enlarge /ɪnˈlɑɹd͡ʒ/, infuse /ɪnˈfjuz/
/æ/ — opener dan de Nederlandse “e”: asphalt /ˈæʃfɑlt/, attribute /ˈæt.ɹɪˌbjut/, abandon /əˈbæn.dən/, jagged /ˈd͡ʒæɡɪd/, randomness /ˈɹæn.dəm.nəs/
/g/ — een harde plofklank, geen Nederlandse “g”: grout /ɡɹaʊt/, polygon /ˈpɑliˌɡɑn/, grayish /ˈɡɹeɪ.ɪʃ/, vague /veɪɡ/, gradient /ˈɡɹeɪdiənt/

Zo oefen je met deze video

Luister de hele video één keer zonder te spreken en noteer de woorden die je niet kent.
Begin op 0,75× snelheid, spreek zin voor zin na en ga terug naar normale snelheid zodra het makkelijk gaat.
Neem jezelf op en vergelijk met het origineel; let daarbij op woorden als puddle, texture, roughness.

Wat is de Shadowing-techniek?

Shadowing is een wetenschappelijk onderbouwde taalleermethode die oorspronkelijk is ontwikkeld voor professionele tolkentraining en gepopulariseerd door polyglot Dr. Alexander Arguelles. De methode is eenvoudig maar krachtig: je luistert naar native Engelse audio en herhaalt het onmiddellijk hardop — als een schaduw die de spreker volgt met slechts 1–2 seconden vertraging. In tegenstelling tot passief luisteren of grammaticadrills, dwingt shadowing je hersenen en mondspieren om echte spraakpatronen tegelijkertijd te verwerken en te reproduceren. Onderzoek toont aan dat het de uitspraaknauwkeurigheid, intonatie, ritme, verbonden spraak, luisterbegrip en spreekvaardigheid aanzienlijk verbetert — waardoor het een van de meest effectieve methoden is voor IELTS Speaking-voorbereiding en echte Engelse communicatie.

Shadowing-techniek: lees de volledige stap-voor-stap-gids →

Shadowing Practice: Blender Tutorial: Photorealistic Puddles - Learn English Speaking with Video

How I Learned Procedural Generation

REVIT 2023 FOR MEP - SYSTEM PIPING

The Art of Sfumato: An In-Depth Oil Painting Masterclass

How to make an eyebrow gel

Wonderful website design

A1 A2 B1 B2 English Comprehensible Input... While I Make Coffee! | DAY 1 PART 1

Python3 For Pentesting - Introduction

5 Things Under $20 Every ARCHITECT Needs

How to actually make eye-catching 3D Scenes | After Effects

How I deploy serverless containers for free

The basics in Amplitube 5

Native popovers with smooth animations (no JS required)

Woordenschat en spreektips bij deze les

Belangrijke woorden in deze video

Phrasal verbs die je zult horen

Zinnen om te herhalen

Grammatica in deze video

Uitspraak om op te letten

Zo oefen je met deze video

Wat is de Shadowing-techniek?