Glock Edition 19

Prop Breakdown

Gonzalo Bermúdez Berdión


Gonzalo Bermúdez Berdión

Hard-Surface Artist


A little artistic taste and a lot of work.


The reason I started this project was because of my passion for guns, in particular pistols.

The purpose of this work was to create my own Glock, which I have taken as a reference mainly the fifth generation. I wanted to raise the level of texturing and rendering using some techniques that I share below.


For this project, I used:

Fusion 360
Substance Painter
Marmoset Toolbag



The first thing is always the same “REFERENCES” even if it sounds like a cliché, this step is super important, in my experience as an artist I have made many mistakes, of which a high percentage have been due to lack of research.

The previous step to open my reference program (in this case Pureref) is to read about the object and how it works, in this case, it is easy to find videos of people using a Glock, shooting, disassembling it, etc. Then I start to collect real images of each part of the gun (I avoid using 3d references).


High poly

In this case, I have used Fusion360, once in the program for me it is very important to insert some references in each view in the case of having it and scale them to the exact size, for this we can use the option “calibrate” in Canvases.

I like to start with the largest piece, personally, it helps me to stay highly motivated throughout the process.


Once I have the piece completely modeled as I want it, I can jump to Zbrush to smooth it, leaving the high poly much softer, so that our bake is more grateful with the curves of the model.


Regarding this step, it is important to keep homogeneity with the rest of the pieces, I usually tend to smooth the biggest piece first as a reference. The smoothing can be more aggressive the further we are going to see the object in the game.

Low poly

 In this step I have decided to go one step further and take the fusion solid to MoI. Where I can optimize piece by piece my low, selecting the amount of polygons that we need and once removed, we go to clean the low poly.


The reason why I don’t export directly an OBJ from fusion is because of the possibility of exporting in NGons.

Once I have everything out of moi, I move on to Maya where I like to work with lows and UVs.

For the UVs process, I start by determining the hard edges. On a hard surface, it is easy because we can use angle smoothing tools. In this case, with 45 degrees I have achieved the desired result in my low poly. Once we have the hard edges we can do an automatic UVs and fix what we don’t like.

A very recommended option is to pass the UVs through Rizom, since we can achieve incredible packings by adding interactions. In this case I have not used it, since it was a portfolio piece it did not require the same packing as a real production.


 In this process, the organization is very important.

The first thing is to name well all our objects in Maya, besides the layers, I like to have the pieces of the low in groups with the appropriate name and match the high. Sometimes we have only one object for three of the high, so it is important to use well-named groups.


For example, if my trigger has 2 pieces of high and only one of low where I have stitched both:

I have used only one texture set, but if we want we can use as many as we wish to, in this final step it is essential to have kept the texel density to avoid unpleasantness in the textures.

Once in marmoset, I start with a bake at low res, to check if the cages do their job, in case of having screws or other impressions on the plane, I use the screw brush to correct them.

In this case, the bake came out as I expected, thanks to the order I had kept in the previous steps.



 The texture is the essential part of the prop, for me is the fun part, where you can give life and tell a story. At this point, I usually make up a story and try to reason what kind of damage the weapon would have in my story. In this step, I typically go back to the reference phase, in case I didn’t take them from the beginning.

For this weapon I had clear that I wanted to give extra care to the damage and dirt, I always start with a brand new, once I have the correct definition materials I am looking for perfectly created, I group them, keep the order and proceed with the layers of dirt, then I insert the damage. In this case, I have played with a very subtle but well-contrasted roughness to mark the dirt without shyness. An oil stain is not homogeneous but it is not blurred either.

I like to work constantly with levels and when it comes to setting a dirt material, for example, I don’t skimp on layers, many times to get the result I want it takes me a lot of trial and error, here you can see how I play with the type of blending layers, an essential part for me when I start to improve the textures.


When the textures start to work for me, I start to give more personality to the asset, marking it as if it was a scar on the face. It’s not always right and we don’t always want to do it, but many times we want to make our asset stand out and it’s a pretty simple way to do it, in this case, I wanted to exaggerate the roughness variation in the barrel part was enough for me.


Render and lighting

“Essence is always important, this time I don’t want anyone to underestimate the power of this famous 9mm pistol” (yes sir, we are nerds).

The main shot of the scene was not determined until I started to try to place the weapons facing each other, at this stage I try to be as artistic as possible and let myself go with my sense of aesthetics, as for the technical I always have it clear for these cases, a good ring of light that separates the weapon from the background, the rest of the lights are a bit freestyle in my case. I wanted to transmit danger and power for my gun with the render and that’s why the low-angle view. I used a 120 mm field of view, really this is a decision that I take according to the size of the gun.

In this project, I have not used ray tracing because I wanted better control of the light, but I consider this a more personal decision and taste.


Final Touch

 This step could be enough for a whole article, but this is not a postproduction article and this is not a movie, but really the power of postprocessing is infinite.

Of course, we should try to get the best possible quality out of our textures and renders, but we can continually enhance our work. We open photoshop and continue:

On this occasion, I worked with the Levels previously, which gives me light and contrast. this step will have better results the better our lighting is.

Sometimes I use the camera filter and play with its intensity, which gives me a little gradient map to pack the image without being aggressive.

Finally if necessary I use camera raw to finish adjusting the image, although it is usually not needed.