This is a collection of 50+ tiled textures with scratches, specs, smudges, fingerprints, dried water deposits, hairs and dust, scanned from real surfaces.
Exceptional for shading realistic up-close detail, and also works as general purpose natural grunge maps.
The texture maps are delivered in 4096x4096 16bit TIFF, and there are 2k 8bit tiff and a 4k 8bit jpeg versions included as well.
The raw, unprocessed 8K+ full color scans are also included as an optional download. These constitute a useful texture library in and of themselves.
You can get a free sampling of the texture pack here
Here are some pointers and tips on using these textures, based on my own experiences using them for 3D and composition work:
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 it's the scratches that are more glossy.
By using the textures as bump maps, you can get some interesting and natural looking detail. For example, using the hairs/specs textures gives you the appearance of paint with trapped paint brush hairs and sand grains.
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.
Try using the fingerprint textures as anisotropy rotation/orientation maps instead of glossiness, as this in some cases more accurately emulates how thin layers of fingerprints and grease behave on glossy surfaces. This also works well for velour, suede leather and similar.
The effect is particularly clear when the camera moves and animates.
Just remember to crank the contrast of the texture to fill out the entire value range.