This pack includes 60 of the highest quality textures and 76 High resolution brushes / stamps for use with texture painting apps like Mari and Zbrush.
Everything is 4K and manually tiled (tiling based on shots continuity, no stamp used)
The pack includes:
-Dust
-Damage
-Fingerprints
-Small Stains
-Large Stains
-Wipe Marks
-Dirt Color Maps
How to use them:
As glossiness or anisotropy maps, to add realistic surface variations to reflective surfaces such as glass, metal and plastic
Bump maps, for something more organic and natural than simple noise
Extra detail on windows, monitors, mirrors and other surfaces that require that extra glint of realism
Overlays on lens flares and glare in compositing, to emulate a dirty lens (the raw scans are especially suited for this)
Mask and overlays to introduce interesting variation in any stage of shading or compositing
Source material for alphas/brushes and for texture painting.
The brushes provided can be loaded directly into Zbrush alphas or Mari paintbrush masks
How were they made?
The success from Clements first texture pack allowed him to upgrade his camera and equipment and although this has resulted in much crisper textures, the biggest difference this time around is the tiling. Most artists will resort to cloning or heal brushing the tiling away however Clement has hand masked and tiled them manually, resulting in zero quality loss and much more seamless repetition, a key factor in any triplanar shader based workflow.
Brushes
The beauty with this pack is Clemant has turned the textures into useable brushes for software like Zbrush, Mudbox and Mari giving you complete flexibility over how you use the maps.
Now you can procedurally texture a model inside mari and seamlessly add more specific features over the top with the brushes. The options are endless.
Surface Collection 2.0
This pack includes 60 of the highest quality textures and 76 High resolution brushes / stamps for use with texture painting apps like Mari and Zbrush.
Everything is 4K and manually tiled (tiling based on shots continuity, no stamp used)
The pack includes:
Dust
Damage
Fingerprints
Small Stains
Large Stains
Wipe Marks
Dirt Color Maps
DIRT MASKS
With these maps you can add variation or randomness to all your materials at every level including the diffuse color, reflection amountt, reflection glossiness and anistropic highlights. These types of maps are the cornerstone of creating any material and grant personally uses them on all projects and future lessons. They are absolutely essential!
FINGERS AND BLOTS
These type of textures are ideal when we want to add small variations in the reflections of our glass, plastic or metallic materials, helping us to create the illusion that someone has used these objects. One of the keys to success when using these type of maps is subtlety, go too obvious and the effect can look dirty and worsen your images, but used in their proper measure, they are excellent for increasing the realism of our materials.
STRIPES AND CHIPS
Thanks to the high resolution of these maps, you can include details in your materials that would otherwise be very difficult to achieve such as small imperfections on the surface of the varnishes, paint chips on the more complex metallic or specular surfaces.
DUST AND IMPURITIES
Dust is often responsible for the visual appearance of many materials, with these textures you can simulate its effect on all types of surfaces. Thanks to the high resolution of the textures the tiny details of the dust are perfectly preserved in these masks and you can see how Grant utilises textures like this in his latest webinars (free for customers)
UTILITY MASKS
These type of masks or alphas are very useful to simulate effects such as water puddles, roughness, high frequency reliefs, etc. They can also be helpful when mixing several maps or materials or when distributing items with some scatter software.
EXTRA TEXTURES
In this category you will find the textures that are not directly dirt masks but which I have considered important to include in this pack as 8K masks to simulate ?Flakes? in vehicle paint or in the snow, normal carbon fiber and other maps .
100% BORDERLESS ?SEAMLESS?
All the textures in the pack are 100% ?seamless? and hand tiled, which allows us to repeat our masks without danger of seams or edges marked in our material, so that we can focus on the creative part of creating materials. By combining these maps with triplanar mapping inside engines such as V-Ray, a single 8k texture can be used without obvious repetition on surfaces much larger than the maps themselves.
HIGH RESOLUTION TEXTURES
When we have textures with very fine details such as scratches or small marks on the surface of a material, it is essential to have high resolution images. This has been one of the great challenges in creating this pack, where we decided to use 4K and 8K maps (depending on the details) to ensure that all details are present in our textures and we can use them successfully in our materials.
CREATE YOUR OWN COMBINATION OF MASKS
As all textures are 100% seamless you can combine them seamlessly to get even more variations. Combine scratches with smudges, add or subtract various textures with different blending modes in Photoshop or directly inside your render engine, the possibilities are huge.
David Gruwier Surface Imperfections 4k jpeg 8bit
Surface Imperfections is a premium collection of 50+ hand tiled mask textures essential for creating realistic materials in 3D. All scanned from real surfaces and created by David Gruwier and personally used by Grant Warwick.
The pack includes ?Dust, Scratches, Liquid Stains, Cracks, Grunge, Rust, Fingerprints and Alphas
The texture maps are delivered in 4096?4096 16bit TIFF format, and there?s a 2k and 4k 8bit version included for more lightweight work.
The raw, unprocessed 8K+ full color scans are also included as an optional download (These constitute a useful texture library in and of themselves)
How to use them:
As glossiness or anisotropy maps, to add realistic surface imperfections to reflective surfaces such as glass, metal and plastic
Bump maps, for something more organic and natural than simple noise
Extra detail on windows, monitors, mirrors and other surfaces that require that extra glint of realism
Overlays on lens flares and glare in compositing, to emulate a dirty lens (the raw scans are especially suited for this)
Mask and overlays to introduce interesting variation in any stage of shading or compositing
Source material for alphas/brushes and for texture painting.
How were they made?
The textures were made by scanning various glass, metal, plastic and other surfaces in a photo/film scanner. The scans were converted to greyscale, manually tiled in Photoshop, then scaled down to 4k. This was all done in 16bit to preserve extra color information when converting and down-scaling the bitmaps. Extreme care was taken during the tiling process as David knew Grant would be working with the maps in future courses.
TIPS
Here are some pointers and tips on using these textures, based on David?s experiences using them for 3D and composition work:
Inverting Maps
Depending on the render engine and shader, you might need to invert the maps. For example, if your render engine uses a glossiness value (like Vray) instead of a roughness value (like Arnold), you want to invert the fingerprint maps so that fingerprints show up as black on white.
Keep this in mind when working creatively with materials as well.
For example, polished metal might need scratches that appear rougher and less glossy than the surrounding material. But a sanded, matte metal finish might look better with an inverted map, so that the scratches are more glossy.
Bump Detail
Try using the maps as bump detail. You can get some interesting looks, for example creating the appearance of paint with trapped pencil hairs and sand grains grains, by using the specs/hair textures
Adjust textures inside your render engine
Don?t be afraid to liberally use remap nodes, outputs, filters or your software?s equivilant value mapping or color correction feature to control the contrast and black/white points. I often use one node to invert the map if needed, one to control the contrast curve of the texture, then a last one to remap the black and white points to whatever glossiness values I need.
Use a blend material or similar to create multiple layers of reflections. For example, for a realistic glossy surface, you generally want one layer of mostly clean, glossy reflection, then another layer of rough, dirty reflections.
You can also try blending the whole material with a diffuse material using the dried water desposit maps as masks.
The scans are between 10-15 cm wide in real world units, but many of the textures are generic enough to work on much larger scales. I?ve used them on everything from tiny toy trains, to cars and even a gigantic spaceship and a moon landscape.
Anisotropic Highlights
Try using the fingerprint textures as anisotropy rotation/orientation maps instead of glossiness, as this more accurately emulates how thin layers of fingerprints and grease behave on glossy surfaces. This becomes particularly obvious when the camera moves and animates.
This also works well for velour, suede leather and similar. Just remember to crank the contrast of the texture to fill out the entire value range.
https://rg.to/folder/4547272/Mastering CGI Material and Brush Collection L.html
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Torrent plz !
Hi, someone can share a torrent or mega link please ?