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Mineral Reign texture Library

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Hi Sharescale


These are good questions ;) ...


When you take the photos you want the lens to face perpendicularly the plane of the material you are shooting, otherwise you will face increased DOF which will result into blurred parts in the result image and will make the tilling difficult. Ideally, all you shot in an image should be at the same distance of the lens or at least minimize as possible the distance bteween elements in a shot 

It is especially drastic when shooting in low lights in museums, because then you use a high aperture to get sme light in and teh dof is at his maximum sometimes.


You should also shoot in raw which will allow you to shoot at a realtively high speed (twice the mm of the lens in speed for instance , shooting with a 105 macro needs at least a 1/200s speed , shooting with a 80 mm needs to shoot at 1:160s, at least , this will minimize the bluring due to moving while you shoot. 

You must also take in account the best stop of your lens, usually two or three steps above the minimum step which corresponds the higher apperture eg: with the 2.8 mm Nikkor, best shoot at   5.6 if possible. 

Try not to go to high in the iso not more than 400 or 600 in low lights if you don't want the reulst to be two grainy. 

As for a nikkor 105 mm micro ideal would be f 5.6, 1/200s 400 iso.


A camera with a high sensor is desirable, but you can also shoot several images of the material and then gather 3 or 4 images together with photoshop automate photomerge, then downscale the image. This will result in more cripsy images.


Once your shot is done import it into photoshop with camera raw, adjust the exposure, the darks and highlights, and don't forget to remove camera aberrations and vignetting (this will increase the usable surface of the texture that will be usable for tiling). the idea is to have a homogenous image without shadows if possible. 


I also like to use camera raw clarity tools which makes the image a bit more crispy, removes some blurred parts, but then it enhances the wide between black and  white points. So you need to lower the white points and higher the black points at the same time to avoid flat white zones or flat black zones in the image..

Sometimes I repeat the camera raw process twice to get as close to the feeling I had of the subect I shot when I shot it, or for the purpose i'm aiming at...

Once you did this and isolated the area of the photo you want to tile, just use the filter/other/offset in photoshop, shift the verticals, adjust the lights so the sides that are close and do not match, finallydo match better, and then use the stamp tool to make the junctions more natural.

Then shift horizontally with the offset filter and repeat the process.


You hknow should have the clean base tileable image you want to keep and start creating the other maps from it.

Copy it and start doing the diffuse, you will turn metallic areas into black, and the rest as desired, keep it mind the specular map will bring the light to it, so the diffuse should feel somehow a bit flat (but no too flat though), without extreme shadow parts or burned to light parts.

Copy the original once again and start doing the specular: for map it really depends on the material you want to create. Identify the zone where you need high or low specular, but usually you need to increase the luminosity of the the image, adjust the brightness and low the saturation a bit.


Then make  the  roughness map in greyscale and identify the zones which will be rough and the zones which will be smoother. Make the rough ones to teh dars and the smoothers ones to a dark grey or higher depending on desired smootness of these areas.


For the bump maps you'll use greyscale too, start lowering the contrasts between the very dark zones and the bright zones so they almost match and then use the clarity tool of camera raw to make the texture a little more crispy.


Finally you end up creating the Displacement map, by identifying the zones of the images that will be lower and the zones which will be higher in the topology of your material. Use an aerograph brush on a multiplied layer to darken the lower zones, and an overlay and/or screen layer to brighten the higher zone. It's better to do this in several steps and not all on the same layer, to make smoother and detailed variations in your map.


Once you are satisfied with your maps, import them in your desired material should it be a c4d  material, Arnold, or like in my case Octane or any other material of your favourite renderer. Apply it on a base scene, check the result and make some adjustments on the texture  (usually consists in finessing the saturation of the specular map, adding or removing strengh of the dark and bright zones in displacement map, etc...)

And then, voilà,  you are done and you should get a nice looking material.

Of course there must be other ideas people may have in order  to process these kind of images.

I would gladly hear any suggestion on this as there are surely things I didn't think about or things I don't know.


You can also go out and start looking at nature and man build stuff, there are good textures all around ;) ...

Try also to think unorthodoxly, just don't shoot only the material you want the result for. Sometimes a pancake can make a very good base for a rough desert stone texture (no kidding). Mix different sources for original results... But keep having a look at the real thing you want to recreate, to have a direction to explore.





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Hi I am currently in the process  of building a Mineral material library. All the textures are approximatly 4000 x 4000, all tileable  and have Diffuse, Specular, Roughness, Bump and DIsplac

Hi Sharescale   These are good questions ;) ...   When you take the photos you want the lens to face perpendicularly the plane of the material you are shooting, otherwise you will

Went to Britain coast this week on the sea side to harvest some nice textures of sands and granits and other sea side rocks... Spent hours searching for the right colors paterns ands texture

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Hi everfresh thanks for being encouraging.


I have not considered yet the final price, as i have different options in mind depedning on where it will be sold and how much it will cost in taxes and % of the reseller.

it will depend on the final number of materials and variations in the collection  too.

if It's going over 120 materials I may consider splitting it in two parts to keep a low price.

i was thinking having  a ratio of something like  40/50 cents  of euro per material in the bundle

which would make something like 25/30 euros for a library of 60 materials.

(120 material is what I'm actually heading too now, but it will very likely keep growing more in the next two months).

I would really love it to be a huge comprehensiv collection in the end, 

and I have some other wonderfull materials on the way...

I must also admit it also really is a challenge to try reproducing a large variety of material in a kind...

So I'd like to know how far i can go with that, and if selling it a a few parts can help lowering the price and help me keep it growing, that may be a good way...

Please feel free to tell me what you think... 

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