[Wood] Oak Textures

Oak is the default hardwood in most of the world, which means viewers have an unusually precise sense of what it should look like and an unusually good ability to spot when it is wrong. Two features do most of the identifying work. The first is the open pore structure: oak is ring-porous, so each growth ring begins with a band of large vessels that read as fine dark dashes running along the grain, and they stay visible through any finish. The second is ray fleck, the shimmering figure that only appears when a board is quarter sawn. How a log is cut changes the pattern completely, and that is the axis most texture work ignores.

License

Free for personal and commercial use. No attribution required. Commercial games, film, broadcast, print, architectural visualization and client work are all permitted. No credit, no backlink, no permission request needed. You may not resell or redistribute the texture files themselves as a texture pack.

What's in this collection

• Plain sawn boards — the common cut with sweeping cathedral figure and prominent pore lines. Flooring, furniture, panelling, general interior work.
• Quarter and rift sawn — straight parallel grain with the distinctive silvery ray fleck. Craftsman furniture, high-end joinery, cabinetry, heritage interiors.
• Fumed and stained — ammonia-darkened and oil-finished surfaces where the pores take colour far more strongly than the surrounding wood. Dark furniture, period interiors, contemporary flooring.
• Reclaimed and weathered — silvered exterior boards, nail holes, saw marks and split ends. Beams, barn conversions, rustic settings, aged props.

All tiles are seamless in both directions and delivered at high resolution.

Where oak is used

Architectural visualization. Oak flooring and joinery appear in a very large share of residential interiors, and because clients frequently choose a specific cut and finish, the render has to represent that choice accurately.

Game environments. Medieval, rustic and period settings are built from oak beams, doors, barrels and furniture, where the grain direction and the end grain do most of the work.

Product and furniture visualisation. Furniture renders are shot close and lit hard, and the pore lines are the first thing that betrays a generic wood texture.

Film and television. Period sets rely on oak panelling and beams, and digital extensions must match practical timber under the same lighting.

How to use these in Blender

1. Connect the colour map to Base Color with Metallic at 0, and drive Roughness from the map. Oiled oak sits around 0.4 while lacquered flooring drops below 0.2, and the pores stay rougher than the surrounding wood in both cases.
2. Use a Bump node keyed to the pore lines only. This is the single most valuable thing you can do for oak, because those open vessels are physically recessed and catch light along their length.
3. Add Coat Weight for varnished and lacquered surfaces so the gloss sits above the grain rather than being part of it.
4. Give end grain a separate material with much higher roughness and darker colour, since cut ends absorb far more finish than face grain.

How to use these in Unreal Engine 5

1. Import colour with sRGB on and roughness, normal and mask maps with sRGB off.
2. Offset UVs per plank and rotate a small number of them 180 degrees so a floor does not repeat visibly, but never rotate 90 degrees because that puts the grain across the board.
3. Use a clear coat material for lacquered floors and standard lit for oiled surfaces; the difference between the two is large enough that one material rarely covers both.
4. Add a subtle per-plank colour variation. Real oak boards come from different parts of different trees and always vary slightly in tone across a floor.

How to use these in Unity

1. Use URP/Lit with Metallic at 0 and a smoothness map so pores and finished surface separate under directional light.
2. Set tiling from real plank dimensions. Oak flooring comes in known widths, and boards scaled too wide immediately read as laminate.
3. Enable Detail Normal Map at high tiling to keep the pore texture alive when a camera or player is close to the floor.
4. Add a Reflection Probe for lacquered surfaces, since a glossy floor reflects the room and looks dead without one.

Tips for oak specifically

Keep the pores visible through the finish. Oak is an open-pored timber, so even a thick lacquer leaves the vessel lines readable as fine dark dashes. A perfectly smooth oak surface with no pore texture reads as a printed melamine board, which is exactly the material real oak is usually being chosen instead of.

Run the grain along the length. Timber is cut from a trunk, so grain always follows the long axis of a board, a beam or a table leg. Grain running across a plank or wrapping around a corner is one of the most immediately obvious modelling errors, and it usually comes from a box-mapped UV that nobody checked.

Decide the cut before you texture. Plain sawn oak has bold cathedral arches, quarter sawn has straight lines with ray fleck, and the two look like different species. Mixing both patterns across one piece of furniture is not something a joiner would ever do, and anyone who works with wood will notice it instantly.

Browse the collection

Wood textures are organized into volumes, each containing multiple packs. New volumes are added continuously.

View the full Wood collection →

Related: Leather textures, Tile textures.