課程： BLENDER 的材質與花

作者：金門技術學院 - 陳鍾誠
課程： BLENDER 的材質與花
紋

主題：如何貼圖
作者：金門技術學院 - 陳鍾誠
進入 Blender
按下 F12 成像
選擇 Panels/Shading
選取 Texture Button
選取 Texture/TextureType
設定 Texture Type = Image
進入貼圖畫面 – 按下
Image/load
用檔案總管看看要的是哪張圖片
貼圖完成
按 F12 成像，發現側面沒貼
設定 Map Input ，按下
Cube
選 Texture/Map Input
再按一次 F12 成像
加入一大平面當地面
切換到正視圖
正視圖畫面
在正視圖中將立方體移到 X 軸上
方
按下 F12 的呈像結果
加入一個 Hemi 光源 , energy =
0.5
設定地板材質
設定 XRepeat = 5, YRepeat
=5
完成圖，按 F12 成像
課程： BLENDER 的材質與花
紋

主題：基本的色彩學
作者：金門技術學院 - 陳鍾誠
材質 Texture
 To get the 3D model’s surface to look correct, a
texture is applied. Textures are 2D images that
are applied to a 3D model to give the model
surface detail. In the real world, every surface
has a texture. Sometimes it may only be a color
and other times it may be very complex, like the
bark of a tree. Take a quick look around and
study some of the many textures you see in
everyday life. You will notice on close
examination that every surface has some
qualities that can fit into a few specific
categories:
表面屬性 Surface
Qualities
 顏色 Color
 飽合度 Saturation
 亮度 Value
 粗糙度 Roughness
 光亮度 Speculars (Spec) 硬度 (Hard)
 透明度 Transparency (Trans)
 Trans, Alpha,
 反射度 Reflectivity (Ref)
 發光度 Luminance (Emit)
表面屬性 ( 未理解 )
 繞射度 (Fresnel)
 鏡面效果 (Mirror)
 透明度 (Trans)parency
 霧的效果 (Fog)
 光亮度 (Spec)ulars
 硬度 (Hard) : ( 平滑度 ?)
Fresnel 繞射度
 Fresnel ,Augustin Jean 佛瑞奈 (1788-1827, 法国物理学家 )

 Cool Material: Fresnel (pronounced fra-nel')

Sporting the name of the French physicist, Augustin Jean Fresnel,
who supported the wave theory of light, the Fresnel material is a
gradient like no other, and produces some interesting results
when implemented in different material channels.

In the color channel, the material appears to be no more than a

gradient shader.  However, it's much more than that.  Derived
from Fresnel's transverse wave theory, another French scholar
found that the center of the shadow of a diffracting disk would be
illuminated.  Hmmm.  Who cares.  Show the cool.

This is cool - It's all about the diffraction of light.  As we all know -
no matter what level of 3D creation we're at: our scene consists of
camera (default or not), an object, and light (default or not).
Saturation
 Color saturation is the intensity and purity of
a color. When a color is fully saturated, it
contains color. The color is not grayed
or tinted; it is the pure color at its full
strength. Reducing saturation causes
the color to gray. Fully saturated
colors are not common in nature.
Value
 Value is a measurement of light or dark.
Much of what we see is defined by value.
All colors have a value. Colors like red
and blue tend to have dark values,
whereas a color like yellow tends to have
a lighter value. A black-and-white
photograph is a good example of a value
picture.
Roughness
 Every surface in real life has some
degree of roughness. Some surfaces,
such as glass or polished metal, have
such a low degree of roughness that it
can only be seen in a microscope.
 Other surfaces, such as a rock wall or
gravel, have obvious roughness. The
rougher a surface is the more it refracts
light. Refraction is the scattering of light
when it hits an uneven surface.
Transparency
 Not all surfaces in nature are opaque,
meaning that light does not pass
through it. Some surfaces are
transparent. A transparent surface is one
that allows some amount of light to pass
through it, making it possible to see
through the surface. Clear glass, for
example, allows almost all light to pass
through it, which gives it a high degree
of transparency.
Reflectivity
 Many surfaces reflect light. Reflection is
related to refraction. In both cases the
light bounces off a surface, but whereas
refraction spreads the light in many
directions, a reflective surface bounces
the light in the same direction. A mirror
is a reflective surface. Other surfaces
such as standing water, chrome finishes
on a car, and the human eye have high
degrees of reflectivity.
Luminance
 Luminance is the brightness of an object.
For example, a lightbulb has a high
degree of luminance when the light is
turned on and no luminance when it is
turned off.
 High luminance not only affects the
object, but also objects that are around
it because it is emitting light on them.
課程： BLENDER 的材質與花
紋

主題：材質功能表簡介
作者：金門技術學院 - 陳鍾誠
材質功能表 ( 主項 )
 顏色 Color
 光影 Speculars
 花紋 Texture

顏色 光影 花紋
Color Shader Texture

預覽 材質連結管理
材質功能表 ( 細項 )

預覽 連結 材質 陰影 子面散射 花紋
(Previe (Links (Materi (Shader (Subsurface (Textu
w) ) al) s) Scattering) re)

呈像效果 鏡面與透明
反射與散射
(Render (Mirror &
(Ramps) Transparency)
Pipeline)
材質功能表 ( 細項 )

反射 Reflection
(Ref)
顏色 紅R綠G
Color 藍B
光滑度 Speculars
(Spec)

透明度 Alpha 發光度

(A) Emit
硬度
Hard
功能表：預覽 (Preview)
 用以預覽『各類型物件』貼圖後的結果
 平面 (Plane)
 球 (Sphere)

 立方體 (Cube)

 猴子 (Monkey)

 髮束 (Hair Strands)

 有天空的大球
 Large Sphere with Sky
功能表：連結與呈像 (Links &
Pipeline)

材質名稱

光暈
(Hal
o)

綁線 陰影
(Wire) (Shadbu
f)
Rander Pipeline 的效果

Wires Halo
 功能表：材質與光線 (Material &
Ramps)

散射顏色
Diffuse
Color 顏色
反射顏色 R : Red,
Specular G : Green
Color B : Blue
鏡射顏色
Mirror Color
透明度
RGB 顏色模 HSV 顏色模 (Alpha)
式 式
陰影、鏡面、透明度與散射
(Shader 、 Mirror 、 Transparency 、 Subsurface
Scattering)

光亮度
Speculari
ty
(glossy)

平滑度
Hard
Specularity
(Flat)
課程： BLENDER 的材質與花
紋

主題：顏色功能表
(MATERIAL)
作者：金門技術學院 - 陳鍾誠
 功能表 Material

主顏色
Col(or)

散色光
Spe(cularity)

鏡色光
Mir(ror)
顏色 Color (Col)

R:1 G:0 B:0 R:0 G:1 B:0 R:0 G:0 B:1

透明度 Alpha (A)

Alpha : 0.25 Alpha : 0.5 Alpha : 0.75

功能表 Ramps
課程： BLENDER 的材質與花
紋

主題：光影功能表
(SHADERS)
作者：金門技術學院 - 陳鍾誠
光影功能表 (Shaders)
反射 Reflection (Ref)

R:0 G:1 B:1 ref:0 R:0 G:1 B:1 ref:0.5 R:0 G:1 B:1 ref:1
純黑與純白

R:0 G:0 B:0 ref:0 R:1 G:1 B:1 ref:1

發光 Emittence (Emit)

發光
Emit

Emit: 0.25 Emit: 0.75

光滑度 Speculars (Spec)

Rough
粗糙度

光滑度
Spec

Spec : 0 Spec : 0.5 Spec : 1.0

硬度 Hard

硬度
Hard

Spec : 0.5 , Hard:7 Spec : 0.5 , Hard:120

參考文獻
 MATERIALS WITHIN BLENDER - By
Olivier Saraja
 http://www.linuxgraphic.org/section3d/blender/
功能表： Mirror
Trans(parency)
練習：玻璃材質的設定
新增一個平面，上放一顆球
呈像結果
按下 Set Smooth 使其平滑化
呈像結果
新增一個材質
設定 Material/Alpha 為 0.05
按下 Links & Pipeline 中的
Ztransp
設定 Shaders/Ref 為 1.0
選擇 Panels/Shading
設定 Mirror Trans/Fresnel =
5.0
玻璃材質 (2)

MirrorTrans MirrorTrans
/RayTransp/ /RayTransp/
Fresnel = 5.0 ( 原 IOR = 1.55 ( 原為
為 0) 1)
玻璃杯建構
玻璃杯材質呈像
貼上桌面的材質 – OAK.JPG
貼完的呈像結果
設定 Texture/RepeatX = 5,
RepeatY=5
加一盞側面 Area 光源
參考文獻
 MODELLING A GLASS By Olivier Saraja
 http://www.linuxgraphic.org/section3d/blender/pages/d

 Tutorial: reflections
 http://feeblemind.tuxfamily.org/dotclear/index.php/2004/
12/26/6-didacticiel-les-reflets---tutorial-reflections
 Blender 3d Model a Wine Glass in Blender
Tutorial
 http://www.tutorialized.com/view/tutorial/Model-a-Wine-
Glass-in-Blender/32403
 Materials in general
 http://download.blender.org/documentation/oldsite/oldsite.ble
功能表： SSS
 SSS : Subsurface Scattering
課程： BLENDER 的材質與花
紋

主題：花紋功能表
(TEXTURE)
作者：金門技術學院 - 陳鍾誠
新增花紋 Add New
花紋功能表 (Texture)
 Texture
 Map Input
 Map To
功能表 : Texture/Map Input
 Texture Mapping

貼圖方式
Flat, Cube,
Tube,
Shpere
Map Input : Flat
貼圖方式
Flat
Map Input : Cube
貼圖方式
Cube
Map Input : Tube
貼圖方式
Tube
 貼圖方式
Map Input :Sphere
Sphere
功能表 : Texture/Map To
 Channels
Map To : 頻道的概念
(Channels)
 Channels
 Col, Nor, Csp, Cmir, Ref, Spec, Hard,
Alpha, Emit
 說明
 The picture hosted by each of these channels can be
redirected to one of the following outputs, appearing as
blue-green buttons : Col, Nor, Csp, Cmir, Ref, Spec,
Hard, Alpha, Emit. Its color intensity (or shade of grey
intensity) is then used in order to affect the base
material, either by mixing with it (Mix), by multiplying its
intensity by its own (Mul), by adding its intensity to its
own (Add) or by substracting its intensity to its own
(Sub). In the following tutorial, we will only pay a look to
the results of the Mix button. You should get various
interesting results if you try the other buttons (Mul, Add
Map To : Col
 The Col output
 This is the default output when you add a
texture to a material, and the most useful
of all. The color datum of the texture is
applied to the material. The Col 1.000
slider lets you set the color intensity of the
channel. You can easily figure this out by
making some renders with this slider set to
1.000, 0.000 or 0.500, for example. The
following pictures show the raw base
material, the the same material with our
study texture redirected to the Col output.
Nor
 The Nor output
 Another very useful output, also with its own slider : Nor 0.500.
The color datum of the texture is passed to the material as a
height map for the surface of the object. To be perfectly clear :
dark areas of the texture are computed as hollow and the light
areas as bumps. Please note that the Nor button has two
positions, the second appearing with yellow text, and for which
the data are inverted : the dark areas appear as bumps, and
resp. The following pictures show the raw base material, then
the same material with our study texture redirected to the Nor
output, and then to the negative Nor (in yellow). The Nor
0.500 slider lets you set the intensity of the change applied by
the texture to the Nor output, enabling you to get more or less
significant bump maps based on the texture. The Nor output
is the default output associated to the procedural texture
'Stucci'.
 The other outputs are slightly more specific, but can easily find
many interesting uses in your renderings. Their intensity is set
Ref

 The Ref output

With it you can pass the texture intensity
datum to the Reflection material
property, and thus tinge the lightness of
the base material. This output admits an
inverted setup (text in yellow).
Map To : Alpha
Map To : Alpha
 The Alpha output
 In order to take advantage from this output, you should
turn on the UseAlpha option (and even the CalcAlpha
and NegAlpha if the picture is not a Targa file coded on
rgba keys) in the Texture Buttons (F6). You also need
the Alpha parameter to be set to a value different from
1.000 in the Material Buttons (F5). The following pictures
feature the raw material ((coloured in order to have a
better view of it), then the same material with our study
texture redirected to the Alpha output (with the
parameters set to Alpha 0.000 and Alpha 0.500 on the
second and third pictures). This output admits an
inverted setup, as featured on the fifth and sixth
pictures, even if this effect can be achieved through the
use of the NegAlpha button. Of course, the inverted
Alpha output and the NegAlpha button invert each
Emit

 The Emit output

 Thisoutput allows you to pass the texture
intensity datum to the Emit material
property. This output admits an inverted
setup (text in yellow). The following
pictures depicts the raw base material
lighted by a low-energy Hemi lamp, then
the same material (with same lighting
conditions) with our study texture
redirected to the Emit output with Dvar
set to 0.500, and the last picture the same
texture redirected to the Emit ouptut with
Map To : Other Channels
 The Csp, Spec and Hard outputs
 Ata final point, the effects of the Csp,
Spec and Hard outputs are easily figured
out with high Spec and Hard material
properties, in various setups too toilsome to
present here. As they are the less useful
outputs, I won't write about them, but they
could be of real use in modellings glass
objects. Csp lets you play with the specular
color, Spec with the size of the specular
and Hard on its fuzziness.
 The Cmir output
參考文獻
 MATERIALS WITHIN BLENDER - By
Olivier Saraja
 http://www.linuxgraphic.org/section3d/blender/
課程： BLENDER 的材質與花
紋

主題：
材質索引 MATERIAL
INDICES
作者：金門技術學院 - 陳鍾誠
 http://wiki.blender.org/index.php/Manual/Multiple_Materials

 Blender allows you to have multiple

materials for different pieces of a mesh.
This section describes how to use the
multiple material features of Blender.
Outliner window
指定材質的步驟
 建立新材質索引
 Creating Material Index slots
 指定某些面的材質索引
 Assign Faces to a Material Index
 設定材質與材質索引的關連
 Associate a Material with a Material Index
新增一個新材質索引
指定某個面的材質
建立新材質的方法
練習：設定材質索引
按下 Link and Material/New 兩次，
建立兩種新材質 ( 共三種 )
設定三種材質顏色，分別為紅、綠、藍
三種材質設定完畢，進入編輯模式
選定面之後，選取材質索引，按下 Assign
分別指定三個面為紅綠藍
按下 F12 呈相
新增一盞 Hemi 光源
再按下 F12 呈相
參考文獻
 Multiple Materials
 http://wiki.blender.org/index.php/Manual/M
ultiple_Materials

 MATERIAL INDICES - By
Olivier Saraja
 http://www.linuxgraphic.org/section3d/blender/
課程： BLENDER 的材質與花
紋

主題：
世界 WORLD 的材質設定
選 Shading 中的 World
Button

Shading World
按下 Mist/Star/Physics 中的
Star
按下 F12 ，看到星空背景
設定 Star Dist = 6 讓星星變
多
課程： BLENDER 的成像設
定

主題：設定靜態背景圖
作者：金門技術學院 - 陳鍾誠
選 Scene (F10)
按 Output/BackBuf 設定背景
圖
選取背景圖
按下 BackBuf 後的小方塊，會打
勾
按下 F12 看成相結果
參考文獻
 The ‘World’ buttons within Blender -
By Maigrot Michel
 http://www.linuxgraphic.org/section3d/blender/
課程： BLENDER 的材質與花
紋

主題：材質的選項
Render Pipeline : Halo
Render Pipeline : Wire
Render Pipeline : Zinvert
參考文獻
 Mastering Shadows by
Olivier SARAJA
 http://www.linuxgraphic.org/section3d/blender/
第三堂課
BLENDER 的材質與燈光

主題一：材質的設定
(MATERIAL SETTING)
作者：金門技術學院 - 陳鍾誠
材質與紋路
 Preview
 Links &
 Material 材質
 Specular 反射 ( 鏡 )
 Diffuse ( 擴散、散射 )

 Sufsurface Scattering
 預覽 連結 材質 陰影 子面散射 花紋
(Previe (Links (Materi (Shader (Subsurface (Textu
w) ) al) s) Scattering) re)

呈像效果 鏡面與透明
反射與散射
(Render (Mirror &
(Ramps) Transparency)
Pipeline)
預覽 (Preview)
連結與呈像效果 (Links &
Pipeline)
材質名稱

光暈
(Hal
o)

綁線 陰影
(Wire) (Shadbu
f)
 材質與光線 (Material &
Ramps)

散射顏色
Diffuse
Color 顏色
反射顏色 R : Red,
Specular G : Green
Color B : Blue
鏡射顏色
Mirror Color
透明度
RGB 顏色模 HSV 顏色模 (Alpha)
式 式
陰影、鏡面、透明度與散射
(Shader 、 Mirror 、 Transparency 、 Subsurface
Scattering)

光亮度
Speculari
ty
(glossy)

平滑度
Hard
Specularity
(Flat)
 Wardlso
 Toon : 紅樁

 Spec : 鏡
 Hard : 硬度
花紋
Preliminaries
 As well as anything related to raytracing
with Blender, because of the
supplementary calculus time required by
your computer, raytracing is only an
option that you should feel free to
activate and deactivate. This is done by
the mean of the Scene menu (F10 key).
The Render tab shows a button labeled
Ray you will have to activate in order to
use raytracing in your pictures. If you do
so, you can deactivate the EnvMap
反射
 THE MIRROR TRANSP TAB
 Thistab is divided into two parts, the first
one being about reflection (Ray Mirror) and
the second being about transparency(Ray
Transp). We will pay attention to the first
one, here. When activating the Ray Mirror
button, you can make use of reflection
options for the shader of your object. Its
surface will reflect its environment at
rendering time; the other buttons and
sliders are here to help you controling this
reflectiveness.
 RayMir:
 By default, this value is set to 0.00, which is
no reflection at all. By increasing this value
up to the maximum (1.00), your object will
have the same reflectivity as a perfectly
polished mirror. Please note that the
reflected colors are strictly those of the
original environment, whatever is the base
color of your object.
 Depth:
 Inour reality, reflecting objects located
near each other will reflect themselves up
to infinity, and it is possible to spot in the
reflects of one, the reflects of the others.
Unfortunately, this behavior will require an
infinite time of calculus to reproduce. Most
of the time, you only need a recursivity
level of two or three to get visually
attractive results; because of this, the
default value is set to 2. Beware: if you
foolishly increase the value of this
parameter, you will suffer from from
 Fresnel:
 Let's undertake a small experimentation in order to
understand this parameter. After a rainy day, go out and
stand over a puddle of water. You can see the ground
under the puddle. Now, please kneel just in front of the
puddle, your face close to the ground, and look again at
the puddle of water. The liquid surface part which is
closer to you lets you see the ground, but if you move
your glance toward the other end of the puddle, then the
ground is gradually masked until all you see id the
reflection of the sky. This is the Fresnel effect, and this
option sets how much of the surface is effected by it;
with a 0.0 value, the surface is 100% reflective, even if
the casual observer is glancing from above, and with a
1.0 value, it shows only the natural shader of the object.
 Fac
 Thisoption sets the intensity of the Fresnel
effect.
 Fresnel effect example
 The animated picture below shows many
reflecting objects: two spheres and a cube,
but most of all, a transparent water plane
on which we will apply the Fresnel
Parameters: Fresnel 1.00 and Fac: 1.50. It
shows quite well the Fresnel effect: when
the angle of view of the camera is close to
the angle of the horizontal plane, then we
can only barely spot the ground and on the
counterpart, we see easily the reflection of
the sky on the liquid. But when the camera
is at the apex of the water plane, it's mainly
 Colored reflections
 Inthe Shading menu (F5 key), the
Material tab lets you define the color
effects of three distincts properties: Col
simply colors your object; Spe rather gives
a hue to the specular spots on the object;
finally, Mir gives a slight color to the
reflexion of the object. By default, Mir is
pure white, which is quite perfect for
chrome effects.
 This way, if you'd prefer that your object
looks like gold rather than chrome, then
you will have to adjust the Col, Spe and
Mir properties more accordingly for such
a material.

 The result is rather obvious:

第三堂課
BLENDER 的材質與燈光

主題二：紋路的設定
(TEXTURE SETTING)
作者：金門技術學院 - 陳鍾誠
課程： BLENDER 的材質與花
紋

主題：陰影 (SHADOWS)
作者：金門技術學院 - 陳鍾誠
參考文獻
 Mastering Shadows by
Olivier SARAJA
 http://www.linuxgraphic.org/section3d/blender/
第三堂課
BLENDER 的材質與燈光

主題三：燈光的設定
作者：金門技術學院 - 陳鍾誠
第三堂課
BLENDER 的材質與燈光

主題四：相機的設定
作者：金門技術學院 - 陳鍾誠
第三堂課
BLENDER 的材質與燈光

主題五：背景環境的設定
(WORLD SETTING)
作者：金門技術學院 - 陳鍾誠
第三堂課
BLENDER 的材質與燈光

主題六：成像的設定
(RENDER WINDOW
SETTING)
作者：金門技術學院 - 陳鍾誠
第三堂課
BLENDER 的材質與燈光

主題七：光跡追蹤法
(RAYTRACING)
作者：金門技術學院 - 陳鍾誠
參考文獻
 http://www.linuxgraphic.org/section3d/blend

 MATERIALS WITHIN BLENDER - By

Olivier Saraja
 http://www.linuxgraphic.org/section3d/blender/

 MODELLING A GLASS - By
Olivier Saraja
 http://www.linuxgraphic.org/section3d/blender/

 MATERIAL INDICES - By