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3D Studio VIZ Materials and Rendering 3-1
Material BasicsCreating simple materials and maps as you did in Units 1 and 2 were straightforward andnot very difficult. Creating the illusion of glass and metals, however, presents its own set ofchallenges. To create a realistic material you will often need to combine several differentmaps to get the desired effect. 3D Studio VIZ allows you to combine up to 10 differentmaterial types. Building materials is a challenging and often time consuming operation.When you get the material right, however, the rendered image looks incredible!
Keep in mind that designing materials is often quite subjective. What works well in onescene doesn’t necessarily work well in another. As you spend more time designing materi-als you will begin to develop a basic understanding of what works and what doesn’t in aparticular situation.
Another important aspect that is often missing in computer images is the appearance ofwear and tear. Looking around notice how just about everything shows some type of wear.Rarely, except perhaps when an object is just pulled from the package, is an object freefrom imperfections. Wear and tear is introduced in the manufacturing process and showsas slight imperfections in most things. As the object ages, these imperfections increase. Itis important to bring out some of these imperfections to make the scene appear morerealistic.
In this unit you will begin creating more complex materials. You will combine different typesof maps and create glass and metal materials. You will work with a cake holder commonlyfound in diners throughout the country. Your mapped cake holder will be imported into ascene of a diner in a later unit. You will begin by importing the cake holder and base.
Tutorial 3.1 Importing the Base and Cake HolderBegin by using the Asset Browser to import then locate the Base and CakeHolder.1. Load the diner.cui custom interface. Accomplish this by selecting the
Tools/Customize/Load User Interface pull-down menu, change to thecorrect drive and directory and select the diner.cui file in the Load UI Filedialog box.
2. Reset 3D Studio VIZ by selecting the File/Reset pull-down menu.
3. Open the Asset Browser by selecting the Tools/Asset Browser pull-downmenu.
4. In the Address section of the Asset Browser enter:http://www.simstudio.net/render/unit3/unit3.html
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5. Scroll the Asset Browser until you see the Cake Base as shown in Figure3.1.
Figure 3.1The Cake Base as seen in the Asset Browser
6. Import the Cake Base by holding the left mouse button down and draggingthe Cake Base graphic into the 3D Studio VIZ viewport placing it any-where.
7. Right-click on the move icon to activate the Move Transform Type-Indialog box. Set all the values to 0 as shown in Figure 3.2, then close theTransform Type-In dialog box.
Figure 3.2Set all of the Move Transform values to 0.
8. Divide the screen into 4 viewports by selecting the Min/Max Toggle buttonlocated in the Viewport Navigation Tools shown in Figure 3.3.
Figure 3.3The Viewport Navigation Tools are located in the lower right of thescreen.
9. Select the Zoom Extents All button located just above the Min/Max Toggleto maximize the view in each of the four viewports. Your screen shouldlook like Figure 3.4.
Figure 3.4Four viewports with maximized views.
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10.Import the Cake Holder the same way you did the Base. Place the CakeHolder in the TOP viewport, centered in the base.
11. Select the Zoom Extents All button to maximize the viewports. Your screenshould look like Figure 3.5.
Figure 3.5The Base and Cake.
12.Close the Asset Browser, and save the file as cake.max. The next tutorialwill continue from here.
Target Direct SpotlightsIn Unit 2 you worked with a target spotlight to add illumination to your scene. In addition totarget spotlights 3D Studio VIZ also offers target direct spotlights. A direct target spotlightcast parallel light rays in a single direction, as the sun (for practical purposes) does at thesurface of the earth. A target direct spotlight can be used to simulate sunlight. You canadjust the color, position and rotate a target direct spotlight in 3D space. An example of atarget direct spotlight can be seen in Figure 3.6. Compare Figure 3.6 with Figure 3.7.Figure 3.7 shows a typical target spot icon. Notice how the light is emitted from a singlepoint in the target spot as opposed to the target direct spot.
Figure 3.6The target direct spotlight.
Figure 3.7A conventional target spotlight.
3-4 Material Basics
Working with ShadowsA light in 3D Studio VIZ illuminates every face on an object that is orientated toward thelight. A light continues to transmit through the surface and is not blocked unless the light istold to cast shadows. Lights that do not cast shadows continue to penetrate the scene andlight everything up.
You can control the ability of a light to cast shadows in the Light Lister dialog box as shownin Figure 3.8. When a check mark is placed in the Cast box, the light will cast shadows. Tothe right of Cast are two buttons; one for Shadow Map Shadows and the other for RayTrace Shadows. Ray trace shadows are accurate, have crisp edges, and almost alwaystouch the object that casts them. Whenever a crisp edge is needed and an object’s trans-parency value must be calculated, use ray trace shadows. Ray trace shadows take intoaccount any opacity information contained within a material. While ray trace shadows canmake a scene look more realistic, they increase rendering time.
Figure 3.8Turn shadows on and off and adjust the type of shadow in the Light Listerdialog box.
Tutorial 3.2 Adding a Camera and LightsIn the second tutorial you will first add a camera. You will then add a targetdirect spotlight followed by a conventional spotlight and an omni light.
Adding a Camera1. Select the Cameras button in the Create panel, then select Target in the
Object Type rollout as shown in Figure 3.9.
Figure 3.9Selecting a Target Camera in the Create panel.
2. In the TOP viewport move the cursor to the lower right corner, just outsidethe circle. Click and drag the camera to the middle of the cake as shownin Figure 3.10.
3D Studio VIZ Materials and Rendering 3-5
Figure 3.10Begin the camera just outside the circle, ending in themiddle of the cake.
3. Pick the Select and Move icon to activate it. The icon is activated when itappears depressed.
4. Right-click on the Move icon to access the Move Transform Type-In dialogbox to change the location of the camera. Change the following AbsoluteWorld settings:• X:30.0• Y:-30.0• Z:25.0
5. Your Move Transform Type-In dialog box should look like Figure 3.11.
Figure 3.11Changing the position of the camera with the MoveTransform Type-In dialog box.
6. Next you will adjust the camera target. Pick the Select by Name buttonlocated on the Selection/Xform toolbar.
7. When the Select Objects dialog box appears as shown in Figure 3.12pick the Camera01.Target object. With Camera01.Target highlighted pickthe Select button to close the Select Objects dialog box.
Figure 3.12Selecting the Camera01.Target object for modification.
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8. In the Move Transform Type-In dialog box change the following AbsoluteWorld settings for the Camera01.target:• X:0.0• Y:0.0• Z:7.0
Displaying the Camera View1. Place the cursor on the words Perspective in the lower right viewport until
the cursor changes.
2. With the modified cursor on top of Perspective, right-click to access thepop-up menu shown in Figure 3.13 and click on Show Grid to turn off thegrid in this viewport.
3. Right-click on Perspective again to access the pop-up menu. This timeposition the cursor on Views, and select Camera01 in the pop-up menu asshown in Figure 3.13.
Figure 3.13Activating the Camera view in the current viewport with Show Grid off.
4. Select the Zoom Extents All button to maximize the views. Your screenshould now look like Figure 3.14. Save your file.
Figure 3.14The camera view in the lower rightviewport with the grid turned off.
Adding the Target Direct SpotlightNext you will add the target direct spotlight.1. Select the Lights button in the Create panel and select the Target Direct
button.
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2. Placing a target direct spotlight is similar to placing a conventional targetspot like you did in Tutorial 2.4 in Unit 2. In the Top viewport, click themouse in the lower right corner of the box (just to the left and in front ofthe Camera icon), then drag and release the target direct spot in themiddle of the cake as shown in Figure 3.15.
Figure 3.15Placing a Spotlight in the top view.
3. Adjust the Hotspot and Falloff values for the target direct spot you justcreated. This is done in the Command Panel under the DirectionalParameters rollout. To see the rollout you may have to scroll the win-dow up and down and open the rollout. To open the rollout select thesmall “+” mark on the Directional Parameters button.
To scroll the Command Panel rollout place the cursor anywhere in therollout except in a text box until a small hand appears. To scroll therollout hold the left mouse button down and move the mouse up anddown. Adjust the Hotspot to 10 and the Falloff to 15 as shown in Figure3.16.
Figure 3.16Adjusting the Hotspot and Falloff for the target direct spotlight.
Adjusting the Target Direct SpotlightNext you will adjust the location of the target direct spotlight. To do this youwill use the Select Objects dialog box, and move both the spotlight and thetarget.1. Pick the Select by Name button located on the Selection/Xform toolbar.
2. The Select Objects dialog box appears select Direct01 in the left columnso it appears highlighted as shown in Figure 3.17. With Direct01 high-lighted pick the Select button to close the Select Objects dialog box.
3-8 Material Basics
Figure 3.17Selecting the Direct01 object for modification.
3. Pick the Select and Move icon to activate it.
4. Right-click on the Move icon to access the Move Transform Type-In dialogbox. Change the following Absolute World settings for the target directspotlight:• X:20.0• Y:-30.0• Z:20.0
5. Pick the Select by Name button again and pick Direct01.Target.
6. Change the following Absolute World settings for Direct01.Target:• X:0.0• Y:0.0• Z:7.0
Adding another spotlight and an omni lightTo complete the lighting for this scene you will add another spot light, and anomni light for fill.
1. Select the Lights button in the Create panel and select the Target Spotbutton.
2. In the Top viewport, click the mouse in the upper right corner of the boxthen drag and release the target spot in the middle of the cake as shownin Figure 3.18.
Figure 3.18Placing a target spotlight in the top view.
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3. Adjust the Hotspot and Falloff values for the target spot you just created.Adjust the Hotspot to 25 and the Falloff to 40 as shown in Figure 3.19.
Figure 3.19Adjust the Hotspot to 25 and the Falloff to 40.
4. Pick the Select by Name button located on the Selection/Xform toolbar.
5. The Select Objects dialog box appears select Spot01 in the left column soit appears highlighted. With Spot01 highlighted pick the Select button toclose the Select Objects dialog box
6. Pick the Select and Move icon to activate it.
7. Right-click on the Move icon to access the Move Transform Type-In dialogbox. Change the following Absolute World settings for the target spotlight:• X:30.0• Y:30.0• Z:30.0
8. Pick the Select by Name button again and pick Spot01.Target.
9. Change the following Absolute World settings for Spot01.Target:• X:0.0• Y:0.0• Z:7.0
10.Select the Lights button in the Create panel and select the Omni button.
11. In the TOP view place one Omni light in the center of the cake.
12.Pick the Select by Name button located on the Selection/Xform toolbar.
13.The Select Objects dialog box appears select Omni01 in the left columnso it appears highlighted. With Omni01 highlighted pick the Select buttonto close the Select Objects dialog box.
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14.Pick the Select and Move icon to activate it.
15.Right-click on the Move icon to access the Move Transform Type-In dialogbox. Change the following Absolute World settings:• X:0.0• Y:0.0• Z:40.0
16.Your screen should now look like Figure 3.20. Close the Move TransformType-In dialog box.
Figure 3.20The Cake scene with the addedlights and camera.
Adjusting the LightsNow that you have three lights in place, you will next adjust their intensity.You will also add raytrace shadows to the direct spotlight, and turn offshadow casting for the omni light.1. Select the Launch Light List icon located on the Shade/View toolbar at the
left of the screen.
2. Adjust the Mult: value of the first light to 1.0, second light to .7, and thethird light to .5. Turn on Ray Trace Shadows for the direct spotlight, andturn shadows off for the omni light. Your Light Lister dialog box shouldlook like Figure 3.21.
Figure 3.21Adjusting the intensity of the lights, and activating raytrace shadows.
3. Make sure the Camera01 viewport is active and render the scene. Thenext tutorial continues from here, where you will assign materials to thescene.
3D Studio VIZ Materials and Rendering 3-11
Creating a Chrome MaterialMetal materials, especially reflective metals such as chrome, share similar attributes toglass materials. The lighting is very important, and the reflective elements in the scene canaffect the way the material appears. In the first part of this unit you created a lighting set-upusing a target direct spotlight with ray traced shadows. Use of a ray traced direct targetspotlight will greatly enhance the materials applied to the cake base.
To create the chrome material found on the bottom of the cake base you will mix two differ-ent bitmap images. One bitmap image will be used in much the same manner you usedbitmaps before. The second bitmap image will be added and mixed to the first bitmapimage. This is done in the maps section of the Material Editor rollout as shown in Figure3.22.
Figure 3.22You can mix different bitmap images to create materials in theMaps rollout of he Material Editor.
Tutorial 3.3 Creating the Base and Chrome MaterialsFirst you will create a granite material and assign it to the base. Next you willcreate a chrome material and assign it to the cake bottom.1. Open the Asset Browser by selecting the Tools/Asset Browser pull-down
menu.
2. In the Asset Browser access the C:/vizrendering subdirectory.
3. Scroll down in the Asset Browser until you see the REDGRAN1.JPGmaterial.
4. [material editor icon]Start the Material Editor by selecting the MaterialEditor button.
5. Arrange the screen so you can see both the Material Editor and the pic-ture of the REDGRAN1.JPG in the Asset Browser.
6. Place the cursor on the REDGRAN1.JPG graphic in the Asset Browserand drag the red granite graphic into an open window in the MaterialEditor.
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7. Name the material Cake Base in the Material Editor.
8. Drag the Cake Base material from the window in the Material Editor to thecake base located in one of the 3D Studio VIZ windows. It doesn’t matterwhich window you drag the material into.
9. To adjust the map on the cake base select the Modify panel in the Com-mand Panel window as shown in Figure 3.23.
Figure 3.23Select the Modify panel in the Command Panel window.
10.Make sure the Cake Base is selected, then select the UVW map button.This will align the map to the cake base.
11. Make sure Camera01 is the current viewport, then render it. Your com-pleted scene should look like Figure 3.24.
Figure 3.24Rendering of the cake holder with materialapplied to the cake base..
12.Save your scene.
Creating a Chrome MaterialNext you will create a chrome material by combining two different maps. Youwill begin with a chromic map, then add another map to give the material amore realistic appearance.
3D Studio VIZ Materials and Rendering 3-13
1. In the C:/vizrendering subdirectory of the Asset Browser scroll down inyou see the CHROMIC.JPG map.
2. Drag the chromic graphic into an open window in the Material Editor.
3. Name the material Cake Bottom in the Material Editor.
4. Drag the Cake Bottom material from the window in the Material Editor tothe Cake Handle located in one of the 3D Studio VIZ windows. It doesn’tmatter which window you drag the material into.
5. Drag the Cake Bottom material and drop it on the Cake Bottom object.Again it doesn’t matter which window you drag the material into.
6. Select the Quick Render button and render the Camera01 viewport.
7. After the rendered image appears select the Clone Virtual Frame Bufferbutton located at the top of the rendered image window. As you modifyand change the scene you will be able to make comparisons.
Enhancing the Chrome MaterialThe current chrome material looks dark. To enhance its appearance you willadd a reflection map to the cake bottom material and adjust the strength ofeach map.1. In the Material Editor open up the Maps rollup as shown in Figure 3.25. As
you can see in the Maps rollup the CHROMIC.JPG map you importedearlier already appears.
Figure 3.25The Maps rollup in the Material Editor.
2. Scroll down in the Asset Browser until you see the Sky5.jpg map.
3. Drag and drop the Sky5 graphic onto the word None (see Figure 3.26) tothe right of Reflection in the Maps rollout of the Material Editor. Afterdropping the Sky5 map the reflection area should look like Figure 3.27.
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4. Change the amount of the Diffuse Color (chromic map) to 75 and theReflection (sky5 map) amount to 60 as shown in Figure 3.28.
Figure 3.28Adjusting the amount of the Diffuse and Reflection maps.
5. Render the scene. Compare Figure 3.29, with just the chromic map, toFigure 3.30, with the two maps.
Creating a Glass MaterialTransparency and background have an effect on objects. In this unit you will create andapply a glass material to the cake lid, and apply material to the cake itself that lies under-neath the lid. You will begin the glass material with an anistropic shader basic parameterand increase the specular level, glossiness, and anistrophy. Increasing the Specular Levelwill increase the polish, gloss, or gleam the material has. While the Specular Level in-creases the polish or gloss a material has, the glossiness controls how large the specularlevel highlight is. Refer to Figure 3.31. The figure on the left is an anistrophic basic mate-rial with default settings. The figure in the middle has an increase in the Specular Level,and the figure on the right as an increased Specular Level and Glossiness.
Figure 3.26Importing a map into the Reflection area of the Maps rollout.
Figure 3.27The Reflection area of the Maps rollout with the Sky5 map assigned.
Figure 3.29The chrome material with one map.
Figure 3.30The chrome material with two mapscombined.
3D Studio VIZ Materials and Rendering 3-15
Figure 3.31Increasing the specular level and glossiness of amaterial.
Increasing the opacity of the material will make it transparent. Combining the transparencywith modifications to the specular highlights creates a decent glass material. Simply adjust-ing these paramenters makes the material look too perfect. Adding a slight reflection mapwill randomly cloud the glass, and make it appear more realistic.
Tutorial 3.4 Creating a Glass MaterialFirst you will adjust the basic specular highlights and the opacity to create aglass material. Next you will add a bitmap material to make it look morerealistic.1. In the Material Editor select a blank material window.
2. Select Anisotropic in the Shader Basic Parameters.
3. In the Anisotropic Basic Parameters section, adjust the following param-eters as shown in Figure 3.32:• Opacity: 40• Specular Level: 190• Glossiness: 60• Anisotrophy: 55
Figure 3.32Adjusting the Anisotropic Basic Parameters to create a glass material.
4. To see the material better in the Material Editor window (see Figure 3.33),you can change the background in the window itself by selecting theBackground button. This button is located on the upper right side of theMaterial Editor as shown in Figure 3.34.
Figure 3.33Changing the background in aMaterial Editor window.
Figure 3.34The Background button,located on the MaterialEditor.
3-16 Material Basics
5. Name the material Cake Glass in the Material Editor.
6. Drag the Cake Glass material and drop it on the cake lid. It doesn’t matterwhich window you drag the material into.
7. Select the Quick Render button and render the Camera01 viewport.
8. After the rendered image appears select the Clone Virtual Frame Bufferbutton.
Enhancing the Glass MaterialTo make the glass appear more realistic you will cloud it up a little. This willbe accomplished by adding a reflection map to the material.1. Make sure the Cake Glass material is selected in the Material Editor.
2. In the Material Editor open up the Maps rollup. As you haven’t used anymaps in this material nothing appears in the rollup.
3. Drag and drop the Sky5 graphic from the Asset Browser onto the wordNone to the right of Reflection in the Maps rollout of the Material Editorand adjust the amount to 40. After dropping the Sky5 map the reflectionarea should look like Figure 3.35.
Figure 3.35Adjusting the reflection of the Sky5 map to 40.
4. Render the scene. Compare Figure3.36, with just the anisotropic parameters adjusted, to Figure 3.37 with theadded sky5 map. The next tutorial continues from here.
Figure 3.36The glass material with basicanisotropic adjustments.
Figure 3.37The glass material with an added reflection map.
3D Studio VIZ Materials and Rendering 3-17
Creating a MapTo complete this unit you will assign a bitmap image to the Cake. Figure 3.38 shows thebitmap image used for the cake. This image was created using simple drawing tools likeMicrosoft Paint. When the bitmap image is applied to the object the image then appears onthe object. Bitmap images can be obtained from a wide variety of sources for use in ascene. As shown in this example they can just as easily be created!
Figure 3.38The bitmap image for the cake was created using a simple paintprogram.
Tutorial 3.5 Creating and Assigning the Cake MapRegardless of the source of a bitmap image, they all follow the same proce-dure in the creation of a material. You will import the Cake bitmap, create amaterial, then assign it to the cake.1. In the C:/vizrendering subdirectory of the Asset Browser scroll down in
you see the Cake Side.jpg map.
2. Drag the Cake Side.jpg graphic into an open window in the MaterialEditor.
3. To see the Cake material better in the Material Editor window (see Figure3.40), change the type of object the material is displayed on. To do thisselect the Sample Type fly-out, and pick the cylinder icon. This button islocated on the upper right side of the Material Editor as shown in Figure3.39.
Figure 3.39Select the Sample Type fly-out to change the materialwindow display.
Figure 3.40Changing the display of thematerial window.
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4. Name the material Cake in the Material Editor.
5. Since the Cake object is under the Cake Glass you won’t be able to dragand drop the cake material directly onto the cake. First pick the Select byName button located on the Selection/Xform toolbar.
6. When the Select Objects dialog box appears select Cake in the left col-umn so it appears highlighted as shown in Figure 3.41. With Cake high-lighted pick the Select button to close the Select Objects dialog box.
Figure 3.41Using the Select Objects dialog box to select the Cake.
7. With the Cake object selected, pick the Assign Material to Selectionbutton. This button is located in the middle of the Material Editor as shownin Figure 3.42.
Figure 3.42Pick the Assign Material to Selection button to assign thematerial to the Cake.
8. Make sure Camera01 is the current viewport, then render it. Your com-pleted scene should look like Figure 3.43.
Figure 3.43Final rendering of the cake holder.
9. Save the scene, your rendering, and the material library. This completesthe tutorial.
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Unit 3 Assignment
In the Unit 3 assignment you will import a new object, the Coffee Pot. The Coffee Potconsists of four different objects. Create your own scene consisting of lights and a base,following the examples used in the Unit 3 tutorials. Create and assign materials to thefollowing objects:
• Coffee Band• Coffee Glass• Coffee Handle• Coffee Lid
HINT: You can use most of the information given in the Unit 3 tutorial to get started. Firstmake sure the diner.cui file is loaded, then select File/Reset. Begin by importing the CakeBase and locate it at 0,0,0. Then import the Coffee Pot and place it in the middle of thebase just like you did the Cake Holder in Tutorial 3.1. Next add some lights and a camera.At a minimum you can use the same lights and cameras you set-up in the tutorial. Afterimporting the objects and setting up lights and a camera, create and assign materials. TheCoffee Pot can use many of the same materials you created for the cake. Use these mate-rials as a starting point. Figures 3.44 and Figure 3.45 show two possible scenes you couldcreate for the Coffee Pot.
Figure 3.44The Coffee Pot, using many of thematerials discussed in this unit.
Figure 3.45Another version of the Coffee Pot, using slightlydifferent materials.
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Unit 3 QuestionsName:_______________
1. Explain the difference between a target spotlight and a target direct spotlight.
2. Explain the difference between a ray trace shadow and a shadow map.
3. What is the advantage to creating a camera in a scene?
4. What is the advantage to using several lights in a scene as opposed to just one?
5. Draw a diagram and display a simple lighting set-up.
6. What so the terms hotspot and falloff mean?
7. What is the advantage of mixing several different maps when creating a material?
8. Explain the relationship between specular level and glossiness when creating a mate-rial.
9. What happens when you increase the opacity of a material.
10.Briefly explain the procedure you would take to create a glass material.
Welcome to Sim Studio! This site has beenspecifically designed to work with the assetbrowser within 3D STUDIO VIZ. This siteis your doorway into an exiting new world ofsimulation. Enjoy your stay and thank youfor purchasing 3D STUDIO VIZ TUTORIAL,Materials and Rendering!
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title bar
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Red Granite Base Chromic
Unit 3 Material Basics
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Sky5Cake Side
Figure 3.1The Cake Base as seen in the Asset Browser
Figure 3.2Set all of the Move Transform values to 0.
Figure 3.3The Viewport Navigation Tools are located inthe lower right of the screen.
Figure 3.4Four viewports with maximized views.
Figure 3.5The Base and Cake.
Figure 3.6The target direct spotlight.
Figure 3.7A conventional target spotlight.
Figure 3.8Turn shadows on and off and adjust the type ofshadow in the Light Lister dialog box.
Figure 3.9Selecting a Target Camera in the Create panel.
Figure 3.10Begin the camera just outside the circle, endingin the middle of the cake.
Figure 3.11Changing the position of the camera with theMove Transform Type-In dialog box.
Figure 3.12Selecting the Camera01.Target object formodification.
Figure 3.13Activating the Camera view in the currentviewport with Show Grid off.
Figure 3.14The camera view in the lower right viewportwith the grid turned off.
Figure 3.15Placing a Spotlight in the top view.
Figure 3.16Adjusting the Hotspot and Falloff for the targetdirect spotlight.
Figure 3.17Selecting the Direct01 object for modification.
Figure 3.18Placing a target spotlight in the top view.
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Figure 3.19Adjust the Hotspot to 25 and the Falloff to 40.
Figure 3.20The Cake scene with the added lights andcamera.
Figure 3.21Adjusting the intensity of the lights, andactivating ray trace shadows.
Figure 3.22You can mix different bitmap images to creatematerials in the Maps rollout of he MaterialEditor.
Figure 3.23Select the Modify panel in the Command Panelwindow.
Figure 3.24Rendering of the cake holder with materialapplied to the cake base.
Figure 3.25The Maps rollup in the Material Editor.
Figure 3.26Importing a map into the Reflection area of theMaps rollout.
Figure 3.27The Reflection area of the Maps rollout withthe Sky5 map assigned.
Figure 3.28Adjusting the amount of the Diffuse andReflection maps.
Figure 3.29The chrome material with one map.
Figure 3.30The chrome material with two maps combined.
Figure 3.31Increasing the specular level and glossiness ofa material.
Figure 3.32Adjusting the Anisotropic Basic Parameters tocreate a glass material.
Figure 3.33Changing the background in a Material Editorwindow.
Figure 3.34The Background button, located on theMaterial Editor.
Figure 3.35Adjusting the reflection of the Sky5 map to 40.
Figure 3.36The glass material with basic anisotropicadjustments.
Figure 3.37The glass material with an added reflectionmap.
Figure 3.38The bitmap image for the cake was createdusing a simple paint program.
Figure 3.39Select the Sample Type fly-out to change thematerial window display.
Figure 3.40Changing the display of the material window.
Figure 3.41Using the Select Objects dialog box to selectthe Cake
Figure 3.42Pick the Assign Material to Selection button toassign the material to the Cake.
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Figure 3.43Final rendering of the cake holder.
Figure 3.44The Coffee Pot, using many of the materialsdiscussed in this unit.
Figure 3.45Another version of the Coffee Pot, usingslightly different materials.
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