3D Creative December 2015

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3DCREATIVE MAGAZINE | Mastering displacement details Fabric textures used in the cloth shaders Texturing the clothes: The secret to 08 making good cloth shaders, for me, is to choose a nice fabric texture as a base to create the bump and diffuse maps. I rarely add reflections to cloth, only if it’s really visible in the type of fabric I want to mimic. I usually run away from very flat and realistic cloth – I really try to give a quick and exaggerated look to the fabric, and also try to make the stitch texture not too tiled. I use many images to make the dirt in the clothes, but also some texture brushes in Photoshop with scatter and hue variations. For all the pockets and leather materials I use a similar workflow, but with a blurry reflection using the unsaturated texture as specular map. Texturing the spray tank models: I’ve 09 developed a very quick shader workflow for scratched and worn-out metal. I know that I have to replicate the same shader with little differences through all the metallic objects, but if I had to paint all the diffuse, specular and bump textures for each one separately, it would take a lot of time. So I create a blend of two shaders: painted metal and rusted metal. For each slot, I create a composite shader with a base color using VRayColor, then tile metal textures with different opacity values on top of it. I use a normal map of random noise surface over the metal bump to make it look more irregular. To blend the two materials, I paint masks in Photoshop for each object, and then, if I want to apply the same shader to another object, I just change the mask and it works fine. Basic shader setup: These are some 10 examples of how I set up some of my shaders mentioned before. The red one is my skin material; it’s basically a VRayBlendMtl composed of an SSS2 shader for the skin itself and a VRayMtl with black diffuse in additive mode for realistic reflections. I always use the GGX BRDF option in all of the shaders – this new V-Ray feature makes the specular more accurate and detailed. The blue material is the basic metal shader I use for all metallic objects. The last one is the Metal shader workflow of the spray tank Setup of the main shaders I used cloth shader with a falloff shader applied in the diffuse slot. I use the falloff between the texture and a brighter version of the same in order to mimic the roughness of the surface caused by the microfibers in the cloth, usually not present in leather shaders. 3DCREATIVEMAG.COM
The Artist Roumen Filipov roumenfilipov.com TOP TIP 3DCREATIVE MAGAZINE | ISSUE 124 UV Master solution Sometimes, even with the correct setup, distortions may occur in some areas when you apply the maps in 3ds Max. A workaround for this is to always unwrap the mesh again in UV Master, checking the ‘Use Existing UV seams’. This correctly recalculates the distance between the edges for displacement generation. NEXT ISSUE Roumen finishes the character with posing and rendering 57
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