Mossy Log

Prop Breakdown

Smolievskaia Ekaterina


Smolievskaia Ekaterina

3D Artist


Hi! I am Smolievskaya Katya and discovered 3d a year ago.
Before that, I received a secondary art education as a painter.


It all started with the fact that I wanted to get into a game studio, but there was no suitable portfolio then. On Pinterest, I came across a magical reference with a log

The decision to do it was made instantly and I immediately got to work.


I did the blocking in a blender. He wasn’t outstanding and looked quite simple.


After that, I moved the model to Zbrush. It was with this model that the study of this program began (as well as all subsequent ones, which I will talk about later). It was a path of mistakes and endless edits, but this is the most pleasant stage for me.

A big problem for me was the creation of moss, as it later had to be re-topped, and a lot of leaves prevented this. It was decided to add imitation leaves in places and add fluffy textures. After a couple of days, the final sculpture was ready.


Retopology, UVs & Baking

This was my first experience in retopology for me. I did it the same way in a blender, without using addons. The process is quite meditative and after a couple of hours, everything was
ready. The final polycount: 7036 tris.

I also did the UVs in Blender, the packaging process was very similar to Tetris, in which you need to fold all the islands as compactly as possible and 80 percent of the map was filled.
Next, I transferred the highpoly and lowpoly to the Marmoset Toolbag and baked the normal map.


It all started with a basic color fill in Photoshop, and then I started painting in 3DCoat. To avoid the fear of a clean slate, I first painted one mushroom. It seems not as scary as it initially seemed. Then I started the wood. I started painting with the lightest areas so that there were no black spots in the shade, and gradually moved to darker areas.

P.S. An important tip is not to use one color, try to diversify your work with an abundance of spots of different colors, but keep in mind that warm colors should be added on light areas, and cold ones on dark ones, this gives liveliness.

To see my mistakes, I periodically left painting some areas and moved on to others, constantly filling the model with color.
I was afraid to start the moss because I had no idea how it would look on the final model. I left it at the very end when everything else was already done. I started with large color areas, gradually working through each individual segment. To make it more interesting to draw and examine, I left a couple of emoticons on the moss, as well as a cute message to everyone who looks at the color map.


In the end, it turned out quite nicely, which I did not expect from myself. Then I drew transparency maps for grass and earth and realized that there were not enough fireflies, I added them, as well as a glow map.

The moss turned out to be too flat, so it was decided to add volume to it with the help of plains, which I cut out of the texture sections and drew a transparency map. At this point, the texturing stage was completed.


Lighting and Rendering

For lighting, I chose one of the standard HDRI cards in the Marmoset Toolbag. In the render itself, I used the standard settings. In my opinion, it turned out quite nicely.



Having published the model on ArtStation, I could not imagine that everyone would like it so much and views would grow so rapidly.

Many thanks to GamesArtist for contacting me with an offer to write an article <3

Thank you very much to these people, for your help and feedback throughout the work: