Interior Rendering in 3ds Max and V-Ray | Leyla A | Skillshare

Interior Rendering in 3ds Max and V-Ray

Leyla A

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16 Lessons (1h 4m)
    • 1. Introduction

    • 2. File Setup

    • 3. Create Walls

    • 4. Ceiling, Floor, Windows, Baseboard

    • 5. V-Ray Camera

    • 6. Import Furniture Items

    • 7. Rug . Ceiling Adjustments

    • 8. Test Render . V-Ray Plane Light

    • 9. Downlights

    • 10. Start on V-Ray Materials

    • 11. Multi/Sub-Object Material for the Walls

    • 12. Brass . Light Sphere Material

    • 13. Leather . Marble

    • 14. Sofa Fabric . Rug . Pillow Fabric

    • 15. Candles . Lighting Adjustments

    • 16. Finalize the Rendering


About This Class

Hi! Welcome to Interior Rendering in 3ds Max and V-Ray!

This class will guide you through the process of creating a room model in 3ds Max and rendering it in V-Ray.

Please check some of the main learning points below:

  • Starting in 3ds Max: Viewports, Grid, Snaps, Navigation Tools
  • Building a Core Model: Walls, Ceiling / Floor, Windows, Baseboard
  • Importing Furniture Items
  • Adding a V-Ray Camera
  • Using V-Ray Sky for the Environmental Light
  • V-Ray Plane and Sphere Lights 
  • Render Settings Setup, Producing a Test Rendering
  • V-Ray Materials with the Diffuse, Bump, Reflection and Self-Illumination Parameters
  • Multi/Sub-Object Material, Falloff Map, Color Correction Map
  • Material Override Rendering
  • Final Render Settings

I believe this class is good for All Levels.

If you already have some knowledge of 3ds Max and would like to focus on V-Ray only, you can download the intermediate work files from the Projects and Resources Tab. 

It's recommended that you have a computer with the following parameters as specified on the Autodesk website. 

| please follow this link for more information, and scroll to the System Requirements: |

64-bit Intel® or AMD® multi-core processor 

One of the recommended Graphic Cards from the link below:

4 GB of RAM minimum (8 GB or more recommended)

9 GB of free disk space for installation

Please download and install free trials of 3ds Max and V-Ray from the links below:

For V-Ray I'm using V-Ray Next. There is now an updated version, V-Ray 5 available for download. You might as well go with that one, since it should have some updated features, and a material library, which might save you some time with materials. The basics of materials are still applicable from this class. I believe it's important to master the basics even if you're working with the existing material presets, to be able to understand how to make adjustments. 

Once you have both programs installed, please proceed to the Projects and Resources tab for more information on the class project and work files. 

Thank you!


1. Introduction: Hi. Thank you for checking out this class. Here we will focus on learning how to create a room modeling three DS max and render it in very three DS. Max and Vera is one of the most popular combinations used in interior design. If you're interested in designing spaces, it's a really great skill to have in this class. You will learn to create a rendering like this one. Here's a bit of information on the class structure. We will start with the basics of the file set up, and we'll learn to build the core model of the room by creating walls, windows and other elements. We will continue by adding cameras, importing existing furniture models into our scene, adding lights, creating materials and producing renderings. And very, if you're already familiar with the basics, you will be able to escape portions of the class and download intermediate work files from the projects and resource is tab. To continue to take this glass, you will need to have three DS max and very installed. You can download a free trial of three days max from the Autodesk website. Please check the download link in the clouds description. Autodesk also provides a list of recommended computer parameters for three DS max. The rate can be downloaded from the Chaos Group website and needs to be installed separately. That's it for now. We can continue to the first lesson. Thank you. 2. File Setup: Let's get started By opening three DS max, you can select the classic version to work with and to close this dialog box. This is our main workspace. By default, we have four view ports. DOB Front Left into perspective, we can switch between the view boards by clicking in the view port. I recommend clicking with a mouse well, as opposed to the regular mouse button, which will keep us from de selecting objects in the future. We could maximize and minimize view boards by pressing all W on the keypad or by using this icon in the bottom right corner to zoom in and out. We can just scroll the mouse will, or with this I can. We will need to click and hold and move the cursor up and down to pan. We compress the scroll wheel and to move the mouse or use the hand icon toe orbit, we can hold out key on the keypad, press the mouse wheel and move the cursor, or use this icon at the bottom. We can you zoom and pan tools in all view ports, but I recommend to use the orbital Onley in the perspective you board using orbit in two D view boards might change the type of the view port. If that happens, we can click on the name of the View Port in the upper left corner and change it to another view port. Now let's set up the file units by going to the customized menu unit set up, and from there we can select U. S standard or metric. I will be working in inches with the precision off 1/8. Once you change the units, you can press. OK, now let's right. Click on the three point snap icon at the top, go to the home grid tab and uncheck the inhibit perspective. You read rece eyes to make a perspective grid bigger. I'm also changing the grades, basing toe one foot to simplify my work with the grid. After that, I switched to the snap stab. I check the grid points snap and the Vertex snap. Then I closed this box and I click on the snap. I come to activate it. That's it for now, for the file set up, please also note the select tool here. I will be using it throughout the videos to select objects by simply clicking on them. Now let's move to the next lesson to start modeling the room. Thank you 3. Create Walls: Let's continue by building the walls. We're starting in the top few port so you can quicken the view port and press oft w to maximize it. Then let's go to the create panel on the right. It's indicated whether plus sign, click standard Primitives Select EEC extended and select Walt. I change the width of the Walter 10 inches, hide to 10 feet and justification to write. I will be drawing walls by snapping to the grid, and I will start about five feet to the right, off the intersection of the main axis. Main axes are emphasized with a darker gray color, and you can also notice the co ordinates of the bottom that show zero if you hover your cursor to the intersection off the axis. So I step about five grid cells to the right, collect to start drawing the grid, move the cursor and then click every time I want to specify a corner point. I also keep an eye on the coordinates of the bottom as I'm drawing to control the length off each wall segment. I'm making a room about 18 by 18 feet, and I right quick to stop the right segment halfway to leave some space for the door. I'm leaving about three feet for the opening, and I drove another corner segment, also stopping it earlier to have some space for the window. This time I will right click twice to reset the wall command. Then I click the wall button again. But this time I changed the wall high to 24 inches and I drove a small segment, which I will later raise above the window. I repeat the steps for the door, but in this case I put three food for for the height. Now I can switch to the perspective. You port. Select the move to it's this icon at the top and change the Z coordinate for these additional segments to raise them up. Make sure to click on the segments one at a time to select them. So for the door segment, I put six foot eight under the Z Co ordinate and for the window segment, I changed the Z quarter to eight feet. Now I conjoined all these segments together. I use the move tool to select one of the segments. Either one is fine and then I go to the modify tab, which is right next to the create tab. I collect the modifier list and I select Edit Polly Edit Polly is a modifier that has many different functions here. We will use it to attach the objects to one another, but we will also use it later to modify some of the geometry in the further lessons. So I scrolled down the settings on the right toe. I see the attached button I press attach and I start clicking on all the segments that I want to attach. Then I can write Collector de Select the Command here. I'm also changing the color of the walls by clicking on the color box on the right. Great. Let's move to the next lesson to add more details. Thank you. 4. Ceiling, Floor, Windows, Baseboard: we will continue by adding a ceiling. But first, let's right. Click on the snaps icon and deactivate the grid points snap, as in this case, we will be snapping through the German tree on Lee. Then let's go back to the create tab, Click a E C extended and switch back to standard primitives. From there we can select box and to draw a box, I click and hold my cursor in one of the corners of the walls. I continue holding the cursor as I drag my mouth's on the diagonal. Release the cursor in the opposite corner, then move it up and quick to finalize the box. Then let's go to the modify tab and renamed those box to ceiling. Renaming objects will help with selections later. Then I right click on the ceiling and press hide selection to hide it. For now. After that, I orbit down under the walls and I create another box using the same steps as for the ceiling and I every name and change the color of this box as well. To add a door, I will be using another box object this time to simplify access to some of the virtuous is I press the F three button on the keypad to activate a wire frame mode, or you can switch it from the View port settings in the upper left corner. I draw a box snapping to the corners of the door, opening press F three again to get back to the shaded mode. And then I go to the modify tab and change the width of the box to two inches. Now, to add a window, I switch back to the create tab, Click standard Primitives and select Windows. I'm using a fixed window, so I click fixed and I switched to the wire frame mode again. I started by snapping to one of the corner, so I just click and hold my cursor in the corner, and I keep holding the cursor. As I drag along the top edge of the opening, I released the cursor in the other corner, then move the cursor back, click and then move it down and click. It might be a little tricky at first, so just try it a couple of times if necessary. Once I have the window placed, I switch back to the shaded mode again by pressing F three. We can also activate the edged faces mode by pressing F four on the key bed or through the view board settings in the corner. This is just to highlight the edges. Then I can go to the modify tab and add a few panels to the window. Now let's add a baseboard. First, I select the walls, and I isolate them by clicking on this icon at the bottom just to temporarily hide everything else again. Later, click on the same button to end the isolate mode. Then I go back to the create tub and I click on the second icon shapes or spines. From there, I select line and I uncheck the start new shaped box to draw a couple of lines as a single object. Then I orbit down and start drawing a line by snapping or clicking in each corner. I start from one side of the window opening draw a segment and right click to exit the command. And then I drove another segment, ending it in another corner of the window opening and right quick to exit the command again . Once the line is finalized, I go to the modify tab and under the rendering tab, I check the boxes next to enable and renderers enable in view board to give this line of thickness by default. The profile is said to radio, but I change it to rectangular and I changed the length and with 24 inches by one inch. Then I select the move tool and I raised the lineup by changing the Z coordinated the bottom 22 inches just to align it with the bottom side of the walls. Now I can end the isolate mode by pressing on the science square at the bottom. Looks good for our core geometry. Let's move to the next lesson to place a camera. Thank you. 5. V-Ray Camera: Now let's add a camera to our room. Before we do that, we need to make sure that various said as a primary rendering software because we will be using a very camera. So let's go to the rendering menu. Select render set up and change the renderers from scan line to very. Then we can close the render set up window. We will get back to it later, but this gives us access to the view rate tools. Now let's switch to the top few port, go to the create tab and click on the camera icon. Then click standard selective Yuri and click the very physical camera on the right. To place the camera, we need to click and hold the cursor and drag it across towards the focal point of the scene. I am placing the camera next to the window and dragging the target towards the opposite wall, where I will later play some furniture. Once the camera has been placed, we can click on the line connecting the camera to its target to select both the camera and the target. Then I switched to the left few port and I moved the camera up on the Y axis. To do that, we can select the move tool, click and hold the white Arrow and drag the mouse up. Or you can enter the exact coordinates to specify the height for the camera if you like. Now let's switch to the perspective, view port and press. See on the key bed to activate the camera view. It's a close up right now, so we only see a part of the wall. But we can expand this view to do that. I'm selecting the camera in the top of the U port. Notice that here I'm selecting just the camera without the target. I go to the modify tab and I start lowering the zoom factor of the camera to expand the view. I will put 0.7 for now. Now let's go to the render set up just to see what the current frame ratio means for our camera. So by default we don't see this frame unless we render it. But if we press shift F, we will apply this output ratio to the current camera view port. The areas on the side will be great out as they want show up on the rendering. Now, if I start adjusting the parameters in the render settings, I will see these adjustments in the camera view port. So I will put about 400 by 6 44 now, and I will lock this aspect ratio by clicking on the lock icon this way. In the future, I will be able to increase the resolution without changing the ratio. This looks good for now, and we can always adjust it later. Thank you. Let's move to the next lesson. 6. Import Furniture Items: in this lesson. I want us to start adding furniture to our models. I usually use our key products for most of the furniture that I download. When you go to the Ark, a product website, you can click be I am, which will display the items with three D files for download. From there, scroll down and apply a three DS max filter to display three DS max compatible files. Then look through the models or apply additional filters like sofas, tables and so on. Once you find a model that you like and I will use, the stool is an example. You can click three D Studio Max under the download section. You will need to fill in the contact information form, and after that you will be able to download the file. We will get back to it later. Design connected as another website with a good database of three D models. There is a freebie section that I like to check, mostly for accessories and small furniture items. You need to register to be able to download those three D files. When you press free download, you will want to make sure that you're downloading files compatible with three DS max. Downloaded files will come as it folders, so you will first need to unseat them and then unzip the Max file sub folder. From here. These models are created for multiple rendering programs, so you will see a few options depending on the type of the program. But you will need to select the one that says very now to bring this model into my original file. I'm going back to three DS Max and I go to the File Menu Import Merge. I select the file from the folder a press open, and some of these files can have more than one object stored, so I usually select all of them and press OK and then I can delete those that I don't need . Once the models are in the file, I will move them to the side. For now, I'm also switching my camera view board back to perspective, either from the upper left hand corner or by pressing P on the keypad. The three copies that have been imported have different materials applied. We will be applying a custom material later so you can just keep either one of these and to lead the other two. Then I'm going back to the top few. I use the move tool and move this object into the room. I also usually go to the side of you board and check of the model is sitting on the surface of the floor and make adjustments if necessary. From here, I want to rotate this item so I go back to the top few port. I activate the rotate tool, and I also right. Click on the angle snap to rotate to a fixed number of degrees. The default set up is five. I'm changing it to 10 but you can keep it as is, if you like, and then just make sure to click on the angle. Snap. I going to activate it from here. I'm rotating the object of 40 degrees, so I just click and hold on the outer road. Eight circle. I drag the cursor up and I keep an eye on the co ordinates of the bottom. I stopped rotating when it reaches 40 degrees now, going back to the item that we downloaded from our key products. Most of the models that you download from argue products will come as three DS files as opposed to max format. Of the models downloaded from design connected three DS is another foreman that is compatible with three DS max and some of the other programs. If you don't see the file extension, you can usually tell the difference by the thumbnail off the file. To import three ds files, you need to go to the file import import. From there, you can select the file and click open. You will want to use merge objects with the currency option for us. Okay, You can say no to the animation converter window if it bobs up. Another box that might appear on import is this one. If some of the objects have similar names, you can just select the rename all option and press OK and then you should see the file in the model. Some items might come oversize because they were created in different units. They might also come with their own cameras and lights that I usually delete. So here I'm moving this item into an empty space first and I delete the cameras. This item here is just a single object, but you will see that some other items might come with multiple ungroomed elements, so it's a good practice to select all the elements with a selection window, go to the group menu and Press group. It's also good to rename groups so that it's easier to work with the selections later. From here, I will rotate this item. I'm doing it around the X axis. So I click and told the Red Circle, and I dragged the cursor down until the X coordinate at the bottom shows 90 degrees. Now I will re scale the item, so I select the scale tool and I right click on the scale icon. I lower the offset screen percentage to 3.9% which is the scale factor between the millimeters and inches. Then I move this object into the room. We can also double check the size based on the actual dimensions of the item. To do that, I use the tape measure. We can go to the create tab, click on the triangle helpers Aiken and select tape. Click and hold and drag the cursor to create a tape measure, and you can check the measurement in the settings on the right. Then you can check the specifications off the item. To make sure that it's the right size, you might need to convert the units to double check. If it's slightly off, you can select the scale command and just click and hold and dragged the triangular gizmo to scale the objects up or down. So these are the main steps that I take to import furniture items. Please find a few more items on your own and place them in the room using the same tools. Once you have a few items placed, please continue to the next lesson. Thank you. 7. Rug . Ceiling Adjustments: in this lesson. Where will be creating a rag into modifying the ceiling? Let's start with a rug. Let's go to the create tab. Click on the second icon for two D shapes and select rectangle. I hold and drag the cursor to create a rectangle under the furniture group. Then we can right click on the rectangle and select convert to edit herbal supplying. It should automatically bring us to the modified panel. Here. Let's click the arrow next to the editor Bols Plying to open the sub objects, select Vertex and use a selection window to select all four. Virtus is now. Let's scroll through the settings of the editor balls plein and find the Philip button I collect. Feel it first and then I hold and drive my cursor on. One of the virtus is this way. I'm creating a rounded edge. I can move my cursor all the way up until the virtuous is meet each other in the center. Then I can write Collector de Select the command from here. I want to add more segments to the curve to make it smoother. Let's find the interpellation tab and change the interpellation Type two adaptive which automatically adds more segments to the line. Then we can click Vertex again to de select. Now let's go to the modifier list and add the extrude modifier. I changed the extrude amount to half inch, one minor detail. Here, the edges look a bit too sharp, so I'm going to add a fillip to the edges as well. To do that, I'm applying a chance for modifier to this object. I lower the chance for amount to eighth of an inch, and I increase the number of segments to create a rounded edge. Four segments is good in this case, so this is our rug. We will add a material to it later. I'm also raising the furniture a little bit to position it on the surface of the rug. Now let's modify the geometry of the ceiling for the coup of light. We can select and isolate the ceiling and apply the editor Polly Modifier. Then open the added Polly Select polygon, scroll down through the settings and find insects. I click on the button next to Inset, which opens a dialog box where I can enter an inside parameter. So I put 12 inches first and I pressed the check mark. This is to offset the ceiling and align it with the inner line of the walls. From here, we can apply inset again, this time at seven inches to add a frame for the coop, Then press the check mark again to finish the command. Now to create a drop ceiling. Let's keep the polygon selected. Click on the button next to extrude and increase the extrude amount to 12 inches. Then let's press the check mark to apply the command. Now we can deactivate the polygon. Just click polygon under the Edit Polly and end the isolate mode. One more thing here before we move to the next lesson, Let's apply. Agree material to everything for now, just for the purpose of the test rendering, we can press control A to select everything in the model. Then let's open the material editor by pressing am on the keypad. Scroll down through the list of materials on the left side. Find very mtl Dragon drop theory Mt. Oh, onto the grid on the right, then right click on the name of the material and press assigned material to selection. Then we can minimize the material editor. So this was good for now. Let's move to the next lesson. Thank you 8. Test Render . V-Ray Plane Light: in this lesson, we will be producing a test rendering and adding a cool light. The furniture set up that I currently have will change towards the end. I kept adjusting it as the rendering progressed. So first, let's hide the window for now to let the environmental light into the room, I select the window, right click on it and prez hide selection. Now let's go to the rendering menu. Render set up and we will change a few settings here. Let's go to the G I Global Illumination tab First. Here we have a choice to select different rendering algorithms, and I usually work with the radiance map instead of brute force because it renders faster and the quality is also good. So I collect brute force and changes to Iranians map. Then, for the test render, I lower the quality. I opened the Iranians map tab, Click hi and select custom. I put minus two for the maximum rate. The difference between minimum and maximum rates equals the number of passes that the program will calculate while rendering, so I lower the number to render faster with fewer passes. Now let's go to the veer a tab scroll down to the environment and check the boxes next to the G I and Reflection Refraction environment. This is one of the ways to bring environmental light into our scene. I also click on the no map body next to the environment and find thievery. Sky map in the list of maps. This map gives a rendering a more realistic effect and allows to control the intensity over the light. So I select the very sky and press OK. And then I Dragon dropped the map under the Reflection refraction environment as an instance which will show the map in the reflections and will keep it linked to the map in the environment. Now let's go to the common tab for the test renders. I will use a low resolution so something around 600 or 700 is good. Now we can save these render settings, and you can use the same settings across your files, add them to a new file and so on. To save the settings, I go to the preset tab on top. I clicked, save preset, and you can name these settings as test render settings and press save. Also, press save for all the preset categories in this box. Now I will press render to create a test rendering. It comes out a little dark, but that's OK. We'll adjust the settings to make it brighter. I will stop the rendering once I see a more or less clear picture, and I will start adjusting the environment of light. To do that, I opened material editor, and I placed the material editor side by side with the Render Settings Window. I go to the environment settings under the very tab, and I drag and drop the map from the environment. Slot onto the grid off material editor. I select instance, and press OK. Instance will let me adjust the map in the Material editor and reflect the adjustments in the render settings. From here, I double click on the map, check the box next to specify son note, and I start adjusting the sun multiplier, which in this case is a sky intensity or a sky multiplier, since we don't have direct sunlight. So I put three instead of one for the intensity and I press render to create another test. It's brighter, but I actually want to dim it a little bit to allow more room for the interior lights. So I changed the intensity to two and I render again. This looks good for now. Now let's add a light to the cove. I switched to the top few port, go to the create tab and click on the lightbulb icon. There I click photo metric, selective, eerie and click on the very light button. Very lights come in different shapes, but for the coup of light, will will use the plane light Drawing. This light is similar to drawing a rectangle a click and hold in one of the corners. Drag on the diagonal and release the cursor to place the light. Then I switched to the front or side view port, and I raised the light up and I hide it right under the ceilings lab above the level of the drop down ceiling. From here, with the lights still being selected, I go to the modify panel to adjust a few settings. First, I changed the color mode to temperature and I put 4500 which is something you can adjust later. But usually warmer interior light creates a good balance with a cooler environmental light then I increase the multiplier to make the light brighter. I usually adjust the intensity based on the rendering, so I will put 200 for now, and I can always change it later. From here I go to the options tab, make the light invisible and uncheck effect reflections so that this light on Lee works is a light source and doesn't show up as geometry. Now I can press F nine on my keypad, which is a short got to start rendering. Or you can also quick on the teapot on the very toolbar instead. So this looks good. You can save this progress, if you like, by clicking on the floppy disk icon and let's move to the next lesson. Thank you. 9. Downlights: Now let's add a few down lights to the model. I'm selecting and isolating the ceiling and applying another added Polly modifier just so that I can always hide or delete it if I want to go back to my original ceiling model, I opened this edit Polly Click edge, and I select two parallel edges. If you don't see the edges, press the F four key on your keypad to display them. Then I select one of them, hold control on my keypad and select the other one. After that, I scroll through the settings of the added Polly and a click on the button next to connect increase the number of connecting lines. I approximate this right now, so I put about 30 lions and they press the check mark. Then, with these lines still being selected, I pressed connect again with the same parameter of 30. This way, I'm creating rid on the ceiling. From here. I select polygon and I select three polygons in one row, leaving some space in between them and run the sides to select multiple polygons. You can select one of them, holds control and select the other two. Once I have the three polygon selected. I can press the button extra extrude and I will put about minus three interest for the extrude amount and press the check mark from here I can deactivate polygon and closed the edit Bali. Now let's place vieria lights for those down lights. I'm using the very plain light similar to the one that I used in the previous lesson. So just to review, I go to the create tab lightbulb icon very light. But in this case I drove a square instead of her rectangle and I changed the size of the light in its settings. I put three by three inches. Then I raised the light up and place it under the inside. For now I change the lights parameters. I put 4500 for the temperature. When it gets to the multiplier, I raise it way higher than for the coup of light. These down lights are smaller in size, so the multiplier has to be weight higher for the smaller lights to work. I put 3000 for now, but I ended up changing it later. After that, I'm copying this light. So I used the move tool and I hold shift on my keypad as I drag the cursor to the right, making sure only the X axis is highlighted. Once I reached the central down light, I released the cursor, and I select instance in the Clone Options Dialog box instance will create linked objects. So all the copies of these lights will share the same settings, and I will be able to modify one of them to automatically modify the others I also enter to for the number of copies to have three lights in total and for us. Okay, one more adjustment to these lights. I keep one of them selected and I go to the modify panel. I scroll down to the rectangle disk like Tab. I changed the preview to selected, and I changed the directional parameter to 0.7. With the preview being displayed for selected lights, you will see that increasing the directional parameter creates a cone a flight or directs the light toward the floor. This is something we need to do for the down lights to create a more accurate light distribution. After this, I make the light invisible and I uncheck effect reflections. As in the previous lesson, I will also raise the lights further up to hide them in the insects. Make sure that the lights don't touch the ceiling. Otherwise they might not work m placing them slightly under the top level of the ceiling. Now I can press F nine to start rendering, and if everything is done correctly, you should see more light in the space and some highlights on the floor. In furniture. This looks good. Let's move to the next lesson. Thank you. 10. Start on V-Ray Materials: Now that we have the basic lighting set up, we can start applying materials to open the material editor. You can press em on your keypad. I am using a slate material editor, but some versions of three DS max show the compact material editor by default. If that's the case, you can collect on the MoD's menu and select Slate material editor. Once we have it open, we can scroll through the list of materials on the left to the very tab to use. Very MTL. Most of the materials that I used are based on the very MTL template. To start creating a material you can drag and drop theory Mt. Oh, from the list onto the grid. We can double click on the material name to open its settings and rename the material we can pan in the material editor the same way we pan in general in three DS fax by pressing the scroll wheel and moving the mouse. Or we can also use the hand icon at the bottom. Same for zooming in, zooming out, scrolling the mouse wheel or using the magnifying glass icon. We can double click on this fear Preview of the material to make it bigger, and we can copy materials by holding shift and dragging a material to the side, so we will be using most of these things later. I just wanted to give a quick intro. Usually, most of the materials that I create have texture or image maps, files that you can download and linked to the default material templates. I will be using this website together with our key products to download most of the image files for my materials. This a sketch of Dexter Club. It's a really good source of textures, regardless of whether you're using sketch up or other software. Usually a free membership gives you access to a number of good quality, seamless textures. So here I'm downloading the wood floor texture. You can find it. If you look through the folders on the left, I can unzip this folder and add a new, very empty oh onto the grid of my material editor. Then I can drag and drop this image into my material editor as well. Now we can click and hold on the circle of the texture and dragged this thread to connect it to the diffuse map circle off the material diffuses the main collar of the material or a texture, As in our case, which will override the color from here, I double click on the material name to open its settings. We can change the reflect color too great to add some reflectivity to the material. Brighter colors under reflect give more reflections. Black collar is used for known reflective materials. I also want to make the reflections Matt as a boost of glossy. So I lower the reflection glossy nous parameter. Where lower parameters give Matt and higher parameters give glossy reflections for wood material. I usually put 0.6 or 0.7. Then we can make the material editor window smaller. Select the floor box and right click on the name of the material. I will first press show shaded material and Vieux port, and then I will press a sign material to selection to apply to the floor. After we have the material applied, we need to apply you VW map modifier to the floor object. U V W map lets us control the size of the texture. I usually select the box mapping, and then I started changing the length width and height parameters to adjust the size. I approximate the size here, but if it has to match a certain dimension, I can use a tape measure to double check. Thank you. Let's continue to the next lesson. 11. Multi/Sub-Object Material for the Walls: Now let's talk about the wall materials in general. Since I was changing materials back and forth quite a bit here, I will be showing the final versions with the settings that I used in the end. So this is the set of that I have for the wall. I'm using a multi sub object material to be able to apply a different materials to different surfaces of the walls. This type of material is really helpful when you have one object and need to apply different materials to its elements or polygons. To create this material. I go to the General tab on the left and I drag and drop multi sob objects onto the grid by default. This material has 10 slots, but the numbers can be adjusted. I want to use only two different materials, so I double click on the name of the material press said number. Change it to two and press OK, now this is just a template. I still need to theory materials to connect to this template. So I drag and drop of Yuri Mtl, place it on the left side of the multi sub and connected to one of the circles off the multi sub material. Then I repeat the steps so that I have two different very materials connected to the multi sub. One of the very materials will be a wall paint and the other one a wall covering. I can rename both materials. Now let's talk about the settings for each of them for the wall covering. I just drag and drop the image that I downloaded, and I link it to the diffuse lot off the very entail. Then I right click on the material name and I press show shaded material in view port for the wall paint. I'm using a concrete texture to add some grain to the paint. It doesn't have to be concrete. It can be plaster in image that has a visible grain. I drag and drop this image into the material editor, but this time I link it to the bombs. Lot of the material I will zoom into the material to demonstrate how bomp works. It creates a three D effect based on the brightness and contrast of the image that is applied to the bomb slot. The effect can be very subtle, as in this case, but if you link and only the map, you will see the difference. There is also a way to intensify this effect to add more texture. If you double click on the name of this material and scroll to the maps tab of the material settings, you will see a number next to the bomb map by default, it said 2 30 which should work well for light to medium textures, but it's gonna be increased to make the Dexter heavier. Here, However, I will keep it a 30. In addition to the bump map, I'm changing the diffuse color off the wall paint material, so I click on the rectangle next to defuse and I start changing the color. I'm using a creamy tone, so if you like to match the color, you can just copy the RGB numbers from here. Otherwise, just use a color off your choice and press OK. I'm also adding a slight sheen to those wall paint. To do that, I changed the reflect color from black to a light great, and I lower the reflection glossy nous to 0.8. Now, when it comes to applying, these materials will first need to select the walls and apply the multi sub object, not the individual materials. So right click on the name of the multi sub material and collect assigned material to selection. Then we need to open the edit, probably modifier off the walls. Select, Probably gun and select that polygon or that side of the wall that will have a wall covering, Then scroll down the settings of the added Polly to the tap polygon material i DS. These numbers correspond to the numbers of the material slots on the multi sub materials. Since my wool covering material is linked to the slot number one, I will put one for the material I d off this polygon. Same for the two polygons on the side. I select them and put number two because that's the number of the world being material. After that, I can de select the polygon under the Edit Poli and close the added Polly. Then we need to apply you VW map modifier and with a box mapping type, weaken Tyler. Depending on the size of the texture, sometimes of the image doesn't show up. You might need to uncheck the real world map size box, so that's it for the wall material. Let's move to the next section. Thank you 12. Brass . Light Sphere Material: in this lesson, we will learn to create a brass material and the material for the lights. Fear. Let's start with the breast as usual, I dragon drop of eerie mtl from the list and rename it here. I'm changing the diffuse color to black. I do that for most of the metallic materials, and then I changed the reflect color to the color off the medal. So here I change it to Beijing. You can copy the exact numbers from the RGB boxes if you like. In general, for colored metals, the reflect color will usually correspond to the color of the metal. So if you're creating a different metal, you can just change the reflect color to the color of your choice. I also increased the personal Iowa are higher parameters will give stronger reflections, so I usually boot town for all metallic materials to be able to adjust it. We need to first click on this little L icon to unlock the default Iowa are and then change it to 10. After that, I lowered the glossy nous to blur the reflections a little bit. I put 0.95 for the glass anus in this case, I'm assigning this material to the side table to the base of the floor lamp and some other elements in the room. As usual, weakens. Select an object right click on the material and click assigned material to selection. If the object were working with is a group, go to the group menu, click open and then we will be able to select the components of that group and assigned materials. Tow them individually. Now let's talk about the lights. Fear material. Here I will be making a slightly illuminated milky glass. So again I start with the very MTL I rename it. I change the diffuse collar to white or light grey. For the main color of this material. I changed the reflect color too great to add some reflectivity, I increased the I. You are to about 3.0. This is something I usually test on the rendering and adjust the parameters. Depending on the result, I lower the Lawson is to about 0.9 to blur the reflections a little bit. I also changed the refract collar toe. White refract adds some translucency to this material next time, adding self illumination by default. This parameter is inactive. But if I start changing the color to a brighter caller, I will add illumination to this material. But instead of just using a color, we can use a radiant map for a more realistic effect. Here, I'm using a greedy int from orange to base to add a worm. Tend to this material. You can find the great Aunt map under the general maps on the left drag and drop it onto the grid. Link it to the self illuminations lot. Double click on it and change it. Scholars. You can copy the collars from one rectangle to another simply by using the dragon drop sequence. You can also change the grade ian type to re deal. If you like to match the colors that I used again, just copy the RGB numbers. I also increase the intensity of the self illumination in the material settings. I change it from the default 1 to 15 to make the light effect brighter. Once I have the material, I can apply it to the lights of years, and I will add a U V W map to each of them. Since I have a great aunt map that needs to be aligned with the shape here with a mapping types of to box, I press fit to fit the Brady into the size of this fear. I also sometimes apply a shell modifier that adds a thickness. And sometimes for translucent objects, you need the object to have a thickness for it to render right. I usually put a very minor parameter for the shell, about 1/16 of an inch or so. That's pretty much it for the lights. Fear you will see that I also added a light above. But we can review that later. Thank you. Let's continue to the next lesson. 13. Leather . Marble: So now let's talk about the leather material. The one that I use is a little extra bumpy in shiny, but you can use the same concepts for the other types off leather. So we start the same way with a very MTL. I have an image of the leather that I don't load it and I dragon drop it into my material editor next. Instead of linking it directly to the diffuse lot, I'm going to filter it through the color correction map. To do that, I click and told the circle on the right of my texture map. Drag the threat out and release it in the empty space, which opens a list off options that I can select from. I go to Maps General and select color correction. Then I link the color correction map to the diffuse map. I also copy this color correction map by holding shift and dragging this map down and I length a copy to the bombing. Reflect maps. Lots color correction allows me to de saturate images, increased brightness and contrast, change, color, balance and so on. I get access to all these parameters. If I double click on the map So here you will see that for the diffuse color correction, I was just changing the brightness and the saturation of the texture just to achieve the tune that I like for the reflect and bombs loads. I was de saturating the texture entirely, and I was increasing the brightness and contrast. Both reflect and bomb settings will read the texture based on the values off. It's brighter and darker parts, so the bomb map will show a stronger texture based on the higher contrast. As for the reflect, it will match the reflective parts to the brighter parts off the texture. Now, back on the material settings, I increase the reflection I A war to make reflection stronger and I lower. The reflection gloss in is to avoid extra shiny reflections. I also increased the bomb intensity in the settings. I raise it to 150 instead of the default 30. The specific leather that I use has a heavier texture. Otherwise the bomb parameter can stay lower. Once all of this is done, I apply my material toe. There upholstered parts of the chair. I also apply the U V W map modifier. Adjust the size and so on. Please also remember to activate a show shaded material in view board option through the settings of the material. Next material I want to cover here is the marble that I used for the tabletop. The set up is pretty simple. A marble. Imagine that if you Slaught reflect color to mid grey Lawson is 20.9 Fresno, Iowa are goes to do 0.0. You gonna play with a gloss anus and I your parameters, if you like to adjust the reflectivity again just to review higher Iowa are will make the material more reflective. Glass anus at 1.0 will give solid reflections, and global parameters of the glossy nous will make the material. Matt. Once the material is ready again, just apply to the selection and user you VW map to tile it. Thank you. Let's continue to the next lesson. 14. Sofa Fabric . Rug . Pillow Fabric: here. Let's talk about the material that I used for the sofa. There's an easy way in three DS max to imitate velvet by using a full of map. Fall off is basically a greedy int that follows the geometry open object and is linked to the viewing angle. I confined the fall off map under the general maps on the left and link it to the diffuse slot off the very Mt. Oh, I can change the colors off the fall off map by double clicking on the map and then adjusting the collars by clicking on the black and white rectangles. I usually change the bottom white collar to a main color of the velvet, and then I can change the black color to a darker shade of the same velvet collar. Here I chose a shade of purple, but you can use a different color as long as you keep the top one darker and the bottom one brighter. In addition to using the fall off in the diffuse load, I add an image of the fabric to the bomb slaughter of the same material, just to add some texture. I used 100 for the bomp intensity in this case, but again, it can vary. Once you have this material applied to the sofa, you will need to add a U V W map. As usual, I put about three by three feet for the box tiling off the U VW. Now let's review a rug material for this material. I used an image in the diffuse slot and an image of the fabric for the bomb. You can choose different images and use a higher parameter on the bump to make the texture heavier if you like. I used about 200 in this case also here when I applied to this material and applied au VW map. I wanted to position the image differently, and there is a way to control it through the U V W map. You can open the UW map modifier select gizmo, and then you can use the move tool to move this image around and use a rotate tool to rotate those texture. Once you go through the move and rotate motions, you can click gizmo to de selected and close the U V W map. You might have also noticed that I scaled the rock down a little bit, So if you like to scale it down as well, you can just select a scale tool and dragged the gizmo on the accident. Why access to stretch it and one or both directions for the pillow fabric? I used the same concept of the defusing bump, but I also added a color correction map as in the leather exercise, and I added that map to the reflect slot to make the fabric a little shiny. I used 0.85 for the gloss Innis 10 for the freshman Ally Awar and 300 for the bump. When you have a stronger bomb that might override some of the reflectivity. So I raised the I A war to still see this material with machine and same you VW map adjustments. As for the rug moving and rotating the gizmo and so on for the second pillow, it's the same concept, just a different fabric and a different adjustment on the color correction map. I made the reflect color correction brighter to have brighter reflections. I also lower the Iowa or for that one to about 8.5, because otherwise it was rendering too strong. So this is it for the fabrics? I also want to add one organizational note here. It might be that as you keep adding materials to the material editor, it starts getting a little disorganized and look something like this. To fix this, you can press the layout all vertical button at the top of your material editor. You can then use the selection window to select groups of materials and move them around. You also have an option to create multiple view tabs at the top. You can right click on the view one press, create new view and switch to the new view tab. You can add new materials to the new view. You can also use the eyedropper tool to bring the materials from the scene into the views. I hope this helps, and now we can move to the next lesson. Thank you. 15. Candles . Lighting Adjustments: here. I want to go over some minor details. You will see that I added candles and book to the table. You can probably download these items, but I modeled them and just want to show how to make candles. It's pretty easy. I start with a cylinder, which you can find in the create tab under the standard primitives. To make a cylinder you can hold in, drag your purser from the center to the outside, release the cursor, move it to the side, and click dimensions can be adjusted later. Then I apply a chance for modifier to the cylinder to smooth. Now the edges. I make the champ for about 1/8 of an inch or so and I at three or four segments to the champ for to make it smoother. Then I can stretch the cylinder with a scale tool, stretching it up on the Z axis and copying it for the second candle. I scale the copy down a little bit just to make them slightly different for the material. I used a very MTL with a beige collar in the diffuse, and I made it slightly reflective with a reflect color toe white and reflection closeness At 0.7, I also added to sphere lights above the candles to get some glow. To do that, I go to the create panel lightbulb icon Very, very light. And I changed the type of light from the default plane to sphere. Then in the top few I draw a circle just holding and dragging the cursor to the outside and releasing the cursor by the autumn of the light up in the side view to place it above the candle, I make the light invisible uncheck effect Reflections change the color mode to temperature Change the temperature to 4500 and I changed the multiplier to 100 I then copy those lied to the other candle. I also have a book placed on the table. You will find this model if you download a package from the projects and resource is for the material. I found an image of the book cover that I liked linked it to the diffuse, made the materials slightly reflective. The image that I found have these white areas which actually helped because I tiled the material with the U V W map and I could apply the white parts to the sides of the book or you could use a multi sub object material. As for the walls, I also want to go over the lights that I used again because I was changing the brightness for some of them and adding more lights for the coup of light. I ended up putting 600 for the multiplier and making the light warmer with a temperature of 4000 for the down lights, I raised up the multiplier to 3500 and set the temperature to 4000 as well. Remember to use the 0.7 directional parameter for these lights. I also ended up on checking effect speculum because these lights were showing up in the speculator reflections of some of the materials and I didn't like the effect. You can see that I added a couple of sphere lights above the floor lamp to add glow to the lights. Fears I put 500 for the multiplier 4500 for the temperature and, as usual, made the lights invisible and unchecked. Effect reflections. I also added a copy of the down light above the floor lamp with a multiplier off 800 just to have more light around the floor lamp. I added the same plane lights with a directional parameter of 0.7 above the chair and pillows and over the tables, just to add some highlights to the furniture for the light above the chair. I used the multiplier or 1500 with a temperature of 4500 and for the one above the trolley side table, I used the multiplier off 800 for the light above the coffee table. I used the 500 multiplier, but I lowered the directionality to 0.36 to make the coon of white wider for it to cover a wider area. I also rotated the lights, likely to direct the spotlight towards the table, and I used the same light for the pillows. But I raised the multiplier to 800. That's pretty much it for the interior lights. I then went back to my view re sky map, the one that controls the environmental light, and I changed the sun intensity multiplier to 4.0 to have more Ambien flight in the room. These are my main lighting adjustments. If you haven't been testing the render for a while. Please run the test render by pressing F nine or clicking on the teapot to see if everything looks good or make adjustments if necessary. In the next lesson, will will be finalizing this rendering with the final render settings. Thank you. 16. Finalize the Rendering: let's finalize our rendering. You will see that I added a mirror frame to the wall, and I included it in the download package. But I also encourage you to play with the material for it on your own, using the same techniques as for the rest of the materials. Once you're done with materials and of the test render looks good. Let's archive our file. I do that periodically for most of my files. Archiving creates a Zip folder with your three DS max file and includes all the texture and image files that you used. So if you occasionally misplace your image files, you can always find them in this archived zip file. Archiving is pretty easy. We can just go to the File menu Press archive, specify the folder where we want our archive placed. Specify a file name and breast save. It might take a few moments to process, but once it's done, you should see a Zip folder in the location that you specified. Now I will be changing the render settings to the final settings. I opened the render set up, go to the G I tab, and they changed the Iranians map, setting from custom too high. Then I go to the viewer a tab and under the image sampler, I changed the type to bucket, which will be calculating the image based on the small squares and will make the rendering more precise. I also go to the common tab, and under the output size I increase the final resolution. I use 1920 by 1200. In general, the higher resolution the better. But in the meantime, higher parameters will slow down the rendering, so we need to pick a number that is good enough. Usually, something around 2000 pixels works well for the medium size images. Once I have these changes applied, I can press render. It might take a little longer than our test renders, probably around 30 minutes or so. The render speed depends on the ram and the graphics card and also on the scene parameters . Once the rendering is done, you can click on the floppy disk Aiken to save it. If you plan on using Photoshopped to edit it after, you can save it as a tiff format with a 16 bit color option which will store the graphic information in a more precise way. If you don't have access to photo shop, you can save it directly as a J beg file. I usually take my images into photo shop for some minor adjustments. Here I use the brightness and contrast adjustment layer to make the image a little brighter . I also use the Dodge Tool to highlight certain areas of the image. Add glow to my lights, fears and so on. Then I save my images Ajay bag file with the maximum quality. I also like to create a material override rendering. It can be good too. Just the lighting or show progress without materials. I also just like the way override renderings. Look, to make one, you need to go to the render set up to the very tab and under the global switches, you can check the box next to override MTL to activate it and then you won't need to press known and select of your a m t o. This will be a material that will be applied to everything in the scene. Another option here. Instead of using a regular material, we can make a mess rendering like this one. To do that, we need to drag and drop this very Mt. Oh, from the render set up into the Material editor. And also Dragon dropped the very edges text map from the list of maps under very on the left. Then we can link this map to the diffuse lot of the material. I also double click on the map to change the color of the edges from white to black, and they change the pixel with 20.3. All of this is done to control the color and thickness of the mesh lions. You can also exclude some of the objects from the override. So, for example, here the lights fears off the floor lamp were rendering too dark because the measure of the geometry was too dense. So I went back to the render set up breast, exclude and move the light bulbs from the list on the left so they exclude list on the right, which kept their original material. Once I have this view rendered Aiken de Saturate a directly in the view re frame buffer. I can activate the corrections controlled by clicking on this button on the bottom off the frame buffer and de saturate the image or increased brightness and contrast and so on. And I can save my images. Ajay Paige, Once all of this is done and that's pretty much it. Please let me know if you have any questions. And I look forward to seeing your projects. Thank you so much. Have a great day.