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Best method of modelling THIS rug...


Terri Brown
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Hi guys,

 

I was wondering if you clever people out there could help me. My client is very specific and wants THIS rug:

MINOTTI DIBBETS_09.jpg

 

Please can someone suggest the best method of approaching it? The threads are very short and soft...I tried with Forest Pro but I think that works better with longer shag rugs. Unless I'm missing something? What I want is the threads to be combed in different directions to achieve that nice soft differentiation between patches. Tried a displacement map too, but think my map must have been a bit rubbish. Not sure if a texture alone will cut it? And what falloff settings would you recommend for the texture itself?

 

Thanks a mil guys! It's the one thing in this project that is driving me bananas.

 

Terri

30676_04.jpg

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Id say stick to forest pack. You need some threads that are not pressed flat and some that are. Then perhaps use a black and white version of your rug texture to distribute your flat threads, and then you make another forest item with the not so flat threads and set it to not make threads where the other forest object have spawned the flat threads. I think it is under the area tab. You may also have to up the density of the forest objects so that you get good coverage. Also you may have to turn off collisions or reduse them within the forest objects, it is better to have the threads intersect than to get areas that are not covered.

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Just off the top of my head, the "patterns" in that rug are created because the pile is brushed in one direction or another, catching the light differently.

 

If you were to model a small section of carpet pile that was brushed in a direction and scattered that using forest pro or multiscatter, you could control the rotation using a map. This has worked for me before when creating mown stripes in grass.

 

Sent from my HTC One using Tapatalk

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Just off the top of my head, the "patterns" in that rug are created because the pile is brushed in one direction or another, catching the light differently./QUOTE]

 

 

Yes Chris that's exactly it. I was trying to get the pile brushed in different directions to catch the light, but it's true what you say - I hadn't thought about scattering a patch instead of individual threads. It's been a crazy deadline and I am verrrry tired!

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  • 1 month later...

Hi guys,

 

Thought I would post a render of the finished carpet. In the end I went with the Vray Hair & Fur modifier. Lots of control and I found it the easiest way to get the pile lying in different directions and hence catching the light like so:

 

carpet 02 Terri Brown.jpg

It's all about clumping, it seems! Well, it may not have been exaaaaactly what I wanted, but the client was happy.

 

So voila :)

 

Thanks for all the tips

carpet Terri Brown.jpg

Edited by terribrown
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Sure Mazen. Here's a screen grab of the main settings which I found influenced the rug the most:

 

fur settings.JPG

 

I played with the clumping parameters quite a bit. That's what gives it the effect of catching the light in different ways. You can see what works best for you. Because my client was very specific and wanted the least pile possible, I brought the general scale down all the way to 2. However I did thicken the root and tip to give it a woolier, thick pile appearance. I found with this option you also need less hair count.

 

However, that said, I do think the settings may vary. In each room in the project that had a similar rug I did make small adjustments. It depends how close you are, how large your rug is etc. Because the hair count can tend to chow your memory I would suggest starting with the least amount possible, and if you feel it's not enough to slowly add. The further you are from your rug the lower your hair count can be. For my birdseye view I set it at 30000 only and it was enough.

 

Also if you are using VRay don't forget to change your rendering option in the Effects panel to either 'geometry' (if you want the material affected by a map), or 'mr prim' if you want to use the material settings in the actual modifier (which I found rendered very nice results too - just switch off 'tip fade' which also eats render times like mad'). I had geometry selected here, although IMHO you don't see the map very well at all (it was too faded out I think).

effects.jpg

 

That's it! I did initially play with the styling tools, but because my threads were so short it tended to flatten them down too much. The best is to play around and have fun. It's a very versatile modifier and I'll definitely be using it again. Check out Viscorbel's tut on it too:

http://viscorbel.com/rugs-and-carpets-3ds-max-vray-tutorial/

 

Post any results you may have. I'm sure everyone out there is keen to learn too.

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I see you used Max's own hair & fur system as opposed to V-ray's.

Was there a particular reason for that choice or just familiarity?

 

I've never actually tried Max's myself, only ever used V-ray's, so interested to hear thoughts

 

EDIT: ah I see Max's hair & fur offers a bit more control over styling & clumping possibly

Edited by Richard7666
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I see you used Max's own hair & fur system as opposed to V-ray's.

Was there a particular reason for that choice or just familiarity?

 

I've never actually tried Max's myself, only ever used V-ray's, so interested to hear thoughts

 

EDIT: ah I see Max's hair & fur offers a bit more control over styling & clumping possibly

 

Yes Richard, that's exactly it. I found Vray's fur very limited in comparison.

 

The styling tools in Max's fur are also great - especially with longer threads.

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