You can also mix the Map with the Blend amount color, using this numerical value. Here’s an example with a black and white map in the slot. Of course, you can also use a map in the Blend amount slot. The map needs to be grayscale and the Gamma, when loading the image, should be set at 1.0 for correct results. Everything in between is a mix of the two. It’s a simple opacity scale: black makes the coat invisible, and white makes only the coat visible. You can see how the Blend amount color affects how much of the second layer is visible. We’ve set up a Red material in the Base slot and a Blue material in the first Coat slot. It’s also easier to manage the shader with fewer layers. Most of the time, 4-5 layers should be the absolute maximum to use, with 2-3 being the norm. This means you could easily bog down your render times if you get too carried away. Each new layer makes the render slower, since V-ray has to calculate all the materials in the blend, and then blend them together. However, in the real world, this isn’t the most practical way to do things. Since you’re not limited to the ten slots, you can always add another blend in the last layer slot and keep piling on layers. Each layer after Base has a Blend amount, Color, and Map.īlends can be as complex as you want them to be. In fact, they all function in the same way (similarly to layers in Photoshop), so you have a ten-layer stack. The layout is simple: you have a Base material and nine Coat materials. It does not have any shading options, so it combines multiple other shaders in different ways. The V-Ray Blend Material could be best described as a utility material. The information covered here will be generally useful for V-Ray for C4D, but the blend material acts quite differently in C4D. While the images used are from 3ds Max, the same concepts and settings can be used for V-Ray for Maya. It will cover the theory behind many of the features of this material, and will also provide specific examples of settings, as well as tricks to use. You can enhance the shader even more by painting separate reflection and glossiness maps for both materials, but must of the times this should be more than enough.The following is an in-depth guide to the regular V-Ray Blend Material. This is what I have used as a “blending mask”:įor maximum control, you will have to unwrap the 3d model this way you can control exactly where the rust will appear.Īfter having done all of the above your final result should look similar to the one bellow. Fortunately that can be done very easily with a mask map next to the coat material slot.
We need to control the way the rust appears on the object. However this is not the look we are after. The 2 materials now blend in a uniform manner.If you do a test rendering at this point, you should end up with something similar to the one bellow. bump – a bump map similar to the one bellow. In the first slot of the coat materials, create a vray material with the following specs.
bump map – noise (adjust the tilling and the size according to your needs).Īt this point, the material should look like the one in the rendering bellow.