Mastering CGI – Material and Brush Collection

Surface Collection 2.0 Brushes Pack
Surface Collection 2.0
3D Collective – Texture Pack 01
David Gruwier Surface Imperfections 4k jpeg 8bit

all from http://www.masteringcgi.com.au

Surface Collection 2.0 Brushes Pack

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

3D Collective – Texture Pack 01

239 premium textures including:
•Fingers and Smudges
•Dirt Masks
•Scratches
• Dust
•Utility Masks
•Extra Textures

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.
下面的译文仅作参考(请以上面的英文说明为准)

包括:

表面收集2.0刷包
2.0表面集合
三维集体-纹理包装01
David Gruwier表面不完美4k jpeg 8bit

所有从http://www.masteringcgi.com.au

表面收集2.0刷包

这个包包括60个最高质量的材质和76个高分辨率的刷/邮票,用于纹理绘画应用,如Mari和Zbrush。
每样东西都是4K,手工整理(基于镜头连续性的贴片,没有使用邮票)
包包括:

灰尘

指纹
小污点
——大的污点
擦痕
泥土色地图

如何使用:
作为光泽度或各向异性的地图,为玻璃、金属和塑料等反射表面添加现实的表面变化
凹凸贴图,比简单的噪音更有机和自然
窗户、显示器、镜子和其他表面的额外细节要求额外的现实主义
叠放在镜头的照明弹和强光的合成,模仿一个脏镜头(原始扫描特别适合这个)
掩模和叠加,在任何阶段的阴影或合成中引入有趣的变化
用于alphas /画笔和纹理画的源材料。
所提供的刷子可以直接装入Zbrush alphas或Mari paintbrush面膜

他们是如何制造的?
克莱门特的第一个纹理包的成功使得他可以升级他的相机和设备,尽管这带来了更清晰的纹理,但这一次最大的不同是瓷砖。大多数艺术家会选择克隆或者修复,但克莱门特却手工蒙面,手工整理,导致了零质量损失和更加无缝的重复,这是任何基于triplanar的工作流程中的关键因素。


这个包的漂亮之处在于,Clemant已经将纹理变成了可用的刷子,比如Zbrush,Mudbox和Mari,让你在如何使用地图上拥有完全的灵活性。
现在你可以通过程序纹理的纹理在mari和无缝地在顶部添加更多的具体的特征。选项是无穷无尽的。

2.0表面集合

这个包包括60个最高质量的材质和76个高分辨率的刷/邮票,用于纹理绘画应用,如Mari和Zbrush。
每样东西都是4K,手工整理(基于镜头连续性的贴片,没有使用邮票)

包包括:

灰尘
损坏
指纹
小污点
大面积的污渍
擦痕
泥土色地图

三维集体-纹理包装01

239年优质材质包括:
•手指和污迹
•污垢面具
•划痕
•尘埃
•实用面具
•额外的纹理

泥土的面具
有了这些地图,你可以在每一个层次上增加你所有材料的变化或随机性,包括漫射色、反射amountt、反射光泽度和anistropic高光。这些类型的地图是创造任何材料的基石,格兰特亲自将它们用于所有项目和未来的课程。他们是绝对必要的!

手指和屁股
当我们想要在我们的玻璃、塑料或金属材料的反射中加入微小的变化时,这些类型的纹理是理想的,帮助我们创造一个人使用这些物体的错觉。使用这些类型的地图时,成功的关键之一是微妙,太明显,效果会看起来很脏,会使你的图像变得更加糟糕,但在适当的程度上,它们是提高我们材料的真实性的极佳工具。
条纹和芯片
多亏了这些地图的高分辨率,你可以在你的材料中包含一些细节,否则很难实现,比如在漆面上的小瑕疵,在更复杂的金属或镜面表面上的油漆晶片。

灰尘和杂质
灰尘通常负责许多材料的视觉外观,通过这些纹理你可以模拟它对所有类型表面的影响。由于纹理的高分辨率,这些灰尘的微小细节被完美地保存在这些面具中,你可以看到在他的最新的网络研讨会中,Grant是如何使用这种纹理的(对顾客免费)

效用面具
这些类型的面具或alphas是非常有用的模拟效果,如水坑,粗糙度,高频浮雕等。它们也可以帮助混合一些地图或材料或当分发物品与一些分散的软件。

额外的纹理
在这个类别中,你会发现那些不是直接污垢的材质,但我认为很重要的是,在这个包装里有8K的面具来模拟汽车涂料中的“雪花”,或者在雪地里,正常的碳纤维和其他的地图上。

100%的无边界的“无缝”
所有的纹理都是100%的“无缝”和手工整理,这使得我们可以重复我们的面具,没有危险的接缝或边缘标记在我们的材料,这样我们可以集中在创造材料的创造性部分。通过将这些地图与内部引擎(如v – ray)中的三平面映射结合起来,可以在比地图本身更大的表面上使用一个8k纹理。

高分辨率的纹理
当我们有纹理非常精细的细节,例如在材料表面的划痕或小标记时,必须有高分辨率的图像。这是创建这个包的最大挑战之一,我们决定使用4K和8K地图(取决于细节),以确保所有细节都存在于我们的纹理中,我们可以在我们的材料中成功地使用它们。

创造你自己的面具组合
因为所有的纹理都是100%无缝的,你可以无缝地组合它们以得到更多的变化。将划痕与污迹相结合,在Photoshop中或直接在渲染引擎中添加或删除不同纹理的纹理,可能性是巨大的。

David Gruwier表面不完美4k jpeg 8bit

表面缺陷是50 +手整理的面膜材质的精华,在3D中创造出逼真的材质。所有的扫描从真实的表面,由大卫格鲁威尔创造并由格兰特沃里克亲自使用。

包装包括-灰尘,划痕,液体污渍,裂缝,垃圾,生锈,指纹和阿尔法

纹理映射在4096×4096 16位TIFF格式,还有一个2 k和4 k 8位版本包括更轻量级的工作。

原始的、未处理的8K +全彩色扫描也包括作为可选的下载(这些组成了一个有用的纹理库)

如何使用:
作为光泽度或各向异性的地图,为玻璃、金属和塑料等反射表面添加现实的表面缺陷
凹凸贴图,比简单的噪音更有机和自然
窗户、显示器、镜子和其他表面的额外细节要求额外的现实主义
叠放在镜头的照明弹和强光的合成,模仿一个脏镜头(原始扫描特别适合这个)
掩模和叠加,在任何阶段的阴影或合成中引入有趣的变化
用于alphas /画笔和纹理画的源材料。

他们是如何制造的?
这些纹理是通过扫描各种玻璃、金属、塑料和其他表面的照片/胶片扫描仪来制作的。扫描被转换成灰度,在Photoshop中手工整理,然后缩放到4k。这都是在16位中完成的,以便在转换和缩小位图时保留额外的颜色信息。在tiling过程中,大卫知道格兰特将会在未来的课程中使用地图。

提示
以下是一些关于使用这些材质的提示和建议,基于大卫使用它们进行3D和作曲的经验:

反相图
根据渲染引擎和着色器,您可能需要反转映射。例如,如果你的渲染引擎使用一个光泽度值(像Vray)而不是粗糙值(像Arnold),那么你需要将指纹图谱转化为黑色的指纹。
当你创造性地使用材料时,也要记住这一点。

例如,抛光的金属可能需要比周围材料更粗糙和光滑的刮痕。但砂磨砂,哑光金属表面可能看起来更好用一个倒立的地图,这样划痕更有光泽。

凹凸细节
尝试使用地图作为凹凸细节。你可以得到一些有趣的外观,例如,通过使用规格/头发纹理,创造出带有被捕获的铅笔毛和沙粒的颜料的外观

调整纹理
调整渲染引擎内部的纹理
不要害怕使用重新映射节点、输出、过滤器或软件的等维值映射或颜色校正功能来控制对比度和黑/白点。如果需要的话,我经常使用一个节点来反转映射,一个用来控制纹理的对比曲线,然后是最后一个重新映射黑白点,以满足我需要的任何光泽度值。

使用混合材料或类似的方法来创建多层反射。例如,对于一个现实的光滑表面,你通常想要一层清洁的,光滑的反射,然后另一层粗糙,肮脏的反射。
你也可以试着将整个材料与一种漫反射材料混合使用,用干燥的水把它作为面膜。

在现实世界中,扫描的宽度在10 – 15厘米之间,但许多纹理都是通用的,可以在更大的范围内工作。我用过它们,从小型玩具火车,到汽车,甚至是一艘巨大的宇宙飞船和月球景观。

各向异性了
尝试使用指纹纹理作为各向异性旋转/方位图而不是光泽度,这样更精确地模拟了指纹和油脂在光滑表面的薄层。当相机移动和动画时,这一点变得尤为明显。
这也适用于天鹅绒、绒面革和类似的产品。只要记住把纹理的对比度调到整个值范围就行了。
下载链接/百度网盘
链接: https://pan.baidu.com/s/1dFk23Yh 密码: sidi