Graphics Reference
In-Depth Information
this same principle holds true. Before you begin adding materials to your model, take the time to assign
selection sets in places of similar surface types, such as wood, rock, stucco, and concrete. The addition of
these sets will greatly enhance your workflow moving forward. For a review of setting up selection sets, see
Chapter 9, “Texture and Lighting for Architectural Interiors.”
Creating Wood Materials
As previously mentioned, there is a significant difference between the composition of interior and exterior
wood materials. In many cases, exterior wood materials are painted. The actual color and reflective values
are governed by the paint. The visual cue to the grain of the wood is apparent only in the physical roughness
(bump map) of the material. In addition, exterior wood is typically composed of large, solid pieces, as op-
posed to smaller segments. For this reason, the grain of the wood is consistent across a large area and is not
broken up into smaller pieces.
Creating Painted Wood
To create a painted wood material, the first element that you should consider is the surface of the paint.
After this is finalized, you can add a wood grain to properly break up the surface. Exterior paint is typically
thick and durable. This results in a surface that features soft but noticeable reflections and rich, even color.
The majority of the material attributes for painted wood can be controlled directly within the material layer.
Specular/Reflective settings should range between 3%-5% with a Fresnel amount between 15%-20%. En-
abling Blurry Reflection is the key to the quality of the surface. The Roughness value should be low (around
20%-25%) or can be controlled by the grain of the wood when it is added.
Figure 11-3
shows an example
of a painted material without an added bump map.
Figure 11-3:
An example of a simple painted material; note the soft blurring in the reflection.
