Creating complex material metal

Sometimes it is necessary to create a material just for the camera angle, so that from the camera the material looks realistic and interesting.

First, let's create two simple metal materials, but with different settings.
To do this, open the Corona bitmap and load the dirt texture into it. This texture should preferably be contrasting and bright. We open it and invert it.

Next, we create a regular Corona material. We set the diffusion to 0 - that is, black. Reflection at 1, Glossinas reflection at 0.95, and Fresnel IOR at 80.

We get the usual metal material, without much realism yet.

Let's apply this material to our object in the scene to see what it looks like.

Let's now take the dirt map and plug it into the glossinas metal reflex. You probably remember that now the numerical value of the glossiness reflex doesn't work, only the texture of the dirt works. If we find the MAPS tab in the metal properties and the glossiness reflect line, then changing the number 100 to 50 will give us a simultaneous effect on the reflection of both the mud texture and the numerical value, at a ratio of 50 to 50.

If that's not enough, the texture effect on the reflection can be reduced to 35%, for example. You can also make the color of the reflection itself gray.
Create a Noise card and add it to the Bump slot of our metal.

As you know, there is no perfectly flat surface, so the reflections need to be distorted. You can also reduce or increase the size in the Noise parameters for the desired effect of distorted reflections. in addition, you can change the Bump parameter in the material maps to 0.1, for example.

Now we'll create another metal material, which we'll mix with the first one.

So, we re-create the regular Corona mtl. We set the diffuse to 0, the reflections to 1, and the IOR value to 80.

This time for the second metal we will use a black and white texture that looks like metal. For example, like this.

Let's put it on the glossinas reflect.
As in the first metal, we will set the numerical value of glossiness to 0.95, and in the material maps we will set it to 50 percent.

An important point: when we mix the two metals and apply them to the 3D object in the scene, we will need to use the UVW Map modifier for each metal separately. On the object in the end there should be two of them.

UVW Map modifiers will need to be configured by channel, also assigning each texture in the metal materials its own channel number. Then one modifier will work for one texture, and the second modifier will work for the second texture.

Let's adjust the roughnesses on the object so that they run lengthwise, and set the size and method of texture mapping separately.

See the instructions for how to do this.

The second metal can be made a little more matte than the first.

Use the color correction map to increase the contrast of our texture.

(In general, try to use contrasting black and white textures for your projects and material creation. It's handy.)

As with the first metal, let's make the reflection color gray.

Now, using the Corona leyer mtl, let's blend the two metals.
This isn't the only way to create a realistic metal, but it's one way that you might find useful.

Let's create a Corona Leyer Mtl, connect the glossy metal to the Base Material slot, and connect the matte metal to the Leyer 1 slot.
We assign the Corona Layer Mtl to our 3d object in the scene.
The matte metal is now 100 percent covered on top of the glossy metal.
In the Corona leyer mtl settings in the leyer 1 slot, let's set the numerical value to 50%.

Now the metal material on the object looks more realistic - with roughness, distortion, matte areas and glossy areas.
You can adjust and experiment as much as you like, it all depends on your imagination and task.

Have a good rendering!
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