![]() ![]() Like with the reflection glossiness, we also have the opportunity to create frosted glass by adjusting the refraction glossiness value! Refraction glossiness enables us to define shapes on the other side of the material.ĭepending on the qualities of the fabric in question, we would advise taking a look through the preset textures within V-Ray… V-Ray offers plenty of preset fabric textures We can deduce that the setting to use that controls the transparent properties of glass is called refraction. Hold on… how does glass work? Refraction colour dictates how much light ‘refracts’ through a material.Īs we can see, the lighter we make the refraction colour, the more ‘glass-like’ our material becomes. Texture map courtesy of Extreme Textures Adding Complexity A bump map is used to give the texture some 3D depth. Be careful with the intensity of bump or normal values – anything above 1 is normally not required. Areas on a bump map that are darker are shown as depressions on the surface of the material when rendered, whilst the opposite occurs for lighter areas. Not all materials are as flat as a mirror for this, we use a bump or normals map. A specular map dictates where on the material we will see glossy or matte reflections. For example, areas on a texture where one would see a glossy finish would show up as white on a spec map, whilst matt areas appear darker. V-Ray has the ability to control the intensity and glossiness of reflections of materials within the scene by using reflection or specular (see also spec) maps. If light bounces off an object and is not absorbed, then one sees a reflection. A diffuse map defines what our texture looks like. This can be considered our ‘base’ texture and defines predominantly what the material looks like without lighting or roughness effects applied. The diffuse texture is what we see within our SKP model. Virtual textures can be broken down into three maps.Īs covered on our Access into V-Ray for SketchUp courses most solid materials can be divided up into three maps diffuse, reflections and roughness. ![]() ![]() What V-Ray allows us to do is to bounce light around our model and control how our materials interact with it. We now have a high-quality, seamless texture applied to our model which is the correct scale. There is a vast collection of seamless materials available from the sources mentioned above! Here we can see how important it is for our material to be seamless. Using a guide line for reference, we resize the texture globally using the material panel within the tray. To help me do this, I like to draw a guideline that equals the desired width of the board, so that I have something to reference. Now is a great time to check the scale – within the Materials panel of the tray use the global size settings to ensure that our boards are scaled appropriately. ![]() How to import images to use as textures within SketchUp In this example, we are importing Extreme Texture’s Antique Oak into SketchUp as a Texture, which will allow us to paint this onto a face. We recommend Poliigon or Extreme Textures if you are looking for high-resolution images to use as materials, whilst SketchUp Texture Club is another source with an extensive library. In our first example, we are going to begin developing a wood floor texture – and so we need to find an appropriate image to use here. The process within SketchUp to import images to use as textures Textures ( see also materials) are painted onto faces within your 3D modelling software, and these can be flat colours or image-based. Well, grab a brew and open up V-Ray – we want to show you how to create realistic textures using some common examples to help improve your texturing game within the V-Rayfor SketchUp Proworkflow! Basic Principles How do I create realistic textures? Have you ever wondered how you can go from this… ![]()
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