Babushkin Pot

Prop Breakdown

Muhammad Abduhalilov

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Muhammad Abduhalilov

3D Artist

Introduction

Hello, my name is Muhammad Abduhalilov. I am a self-taught 3D Artist from Uzbekistan. Currently, I am working as a 3D artist at Valko Games Studios.
I specialize in creating props and environment assets.

Software

  • Maya – Modeling, UV unwrapping
  • Zbrush – Detailing
  • Marmoset – Rendering and Baking
  • Substance Painter – Texturing
  • PureRef – Reference board
  • Photoshop

Goal

The original purpose of this project was to challenge myself. I aimed to study real-life textures and objects to better understand their construction and to experiment with different tools and techniques. This would help me develop my observation skills and creativity.

Reference Gathering

I created a list of references that I had collected. There were a lot of ideas, but I decided to focus on the Russian bedon. It is simple but has an attractive shape and interesting details. So, I started gathering high-quality references from multiple angles and specific elements. This would help me maintain proper proportions, details, and overall fidelity to the real-life object. It’s also important to keep reference images organized by separating them into groups.

Here you can see my reference board:

ReferenceBoard

Modelling

For modeling, I usually use Maya. The modeling process wasn’t that difficult since it has very simple shapes. I used the subdivision modeling technique. Before starting any subdivision modeling project, it is important to have a clear plan in mind. Consider the overall shape, details, and proportions of the model you want to create. I always try to keep it simple, starting with basic shapes and gradually adding details as needed. Avoid adding too many edge loops or vertices, as this can make the model difficult to work with and lead to a loss of control over the shape. Practice and experiment! Subdivision modeling is a skill that takes time and practice to master. Experiment with different techniques, tools, and approaches to discover what works best for you and refine your skills over time. Practice is key to becoming proficient in subdivision modeling.

The final model looks like this:

High Poly

I used ZBrush to detail the high poly model. Damaging the surface was my personal decision; it was done to add some interest to the model. However, in real life, it could be really difficult to damage the container since it has a strong material surface and is from the Soviet Union. The detailing involved brushes like TrimDynamic, ClayTube, some custom wood vein brushes for wood, and extra damage alphas for damage.

Low Poly

Since this project was done for different purposes, perfect optimized topology was not the main goal. The main objective was to enhance my texturing skills for my portfolio without limiting the polycount. In this case, I didn’t worry about topology and polycount. Just double subdivision levels were enough to get a decent result.

Here you can see the model before and after applying the smooth tool:

UVs and Baking

UV unwrapping was done in Maya. For this model, I used one 4k texture set and packed everything inside Maya.

UV

In my previous article, I talked about my baking process and showcased all settings in detail. You can check it out here and here.

Texturing

Texturing is one of my favorite and most enjoyable parts. I wanted to spend more time and put all my effort into this stage. I planned to make it look like someone used this bedon to boil milk and soups and didn’t clean it. It was a bit difficult to find the exact reference I wanted, so I tried to mix a bunch of interesting references.

Before jumping to Substance Painter, I made custom stencils and material masks in Photoshop. If you don’t know how to convert texture images into masks, I recommend you check out this tutorial on YouTube from Artruism here.

Material Masks

Before importing my model into Painter, I quickly duplicated and flipped the mesh to different angles so we could texture it correctly under the light.

ExtraAlphas
MeshforSubstance

Base Material and Flower Painting

For the base material, I used a simple fill layer with white color and adjusted the roughness value a bit.

To paint the flower, I used a technique from FastTrack Tutorials here. It’s a very powerful method that I use in my daily workflow to paint stickers and decals. I strongly recommend you check it out. I brought my material masks over to Substance Painter as a texture mask. I created a simple layer, turned on the projection mode, and then dragged the texture to the base color channel and the alpha mask to the paint layer.

Then I started painting.

Flower Paint Video

There is one important thing to know: we cannot control the roughness and other channels after painting. To do that, we need anchor points. After finishing the painting, I removed the unnecessary parts and added levels to add more contrast to the base color. I also adjusted the roughness value by using anchor points.

Gradient

For the gradient, I used a position generator and duplicated it a few times to make different variations.

Color Variations

Next, I added a fill layer to make color variations. In this case, cloud grunge was the perfect choice.

Rusty Edge Wear For rust, I found a really cool material in the Quixel Library.

RustMaterial

After importing the material, I adjusted the normal intensity. Then, I used a custom scratched generator to get a burned-out look.

Below I also made some clean ups.

MaskGenerator

Extra Details

I added some extra details using different custom stencils and material masks that I prepared in Photoshop. I used the same method to paint them as I showed above.

After painting, I added some color and contrast filters to the base color and changed the blending modes of the layers in both the base color channel and roughness channels throughout the process.

Here is the result:

Some Scratches

Another good addition was fine scratches.

Inside

In the next step, I added rust material from Quixel and broke it with mask generators and grunges. I used different layering methods like multiply and subtract to get a worn-out look.

Detailing

The last step was detailing the surface. I layered up dirt, leakages, and water drops to get a realistic result. The Megascan library was my go-to for high-quality grunges. The objective here was to achieve abundant roughness variation.

SurfaceDetailing

After achieving the desired look, we can start working with wood.

Wood

Wood is one of the most satisfying materials to create and the hardest as well. For wood, I used a smart material that I made while watching this tutorial here.

WoodSmartMat

I added an anchor point to the base wood layer and then adjusted the roughness and height using it. Then, I started adding some small height details and color variations by changing blending modes to get a better result.

Detailing the Wood

Next, I added position to the left and right sides to get a burned look. Then, I used different generators and filters (metal edge, curvature, sharpen, warp, dirt, and position). I broke them with grunges and used different layering methods like screen, overlay, and multiply.

FinalOutput

Rendering

I use Marmoset Toolbag for rendering. For the first scene, I created a simple plane in Maya, unwrapped it, and exported it to Marmoset to apply material later. Next, I got some materials and assets from the Quixel Library and made a simple scene inside Marmoset Toolbag. For lighting, I used only HDRI, no additional lights.

Below is the first scene, camera settings and rendering settings.

Second Scene

For other scenes, I changed the HDRI and added extra additional omni lights.

I made the other render scenes using the same scene and HDRI, just applied different textures to the plane.

Final Touching

To finish, in Photoshop, I adjusted the exposure, contrast, and clarity using the Camera Raw Filter. I always leave this to Photoshop because you have more control and don’t have to worry during the rendering process. Afterward, I imported a few dust textures and changed the blending mode to Soft Light and Difference, also decreasing the opacity value.

Conclusion

Practice consistently! Like any skill, 3D art requires consistent practice to improve. Set aside dedicated time each day to work on your projects and experiment with different techniques.

Experiment and explore! Don’t be afraid to try different tools and techniques in your 3D software. Trying new things can help you discover your unique style and improve your skills.

I hope you enjoyed this article, and maybe you learned something for yourself. Thank you all for reading about my process!

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