Old Phone

Prop Breakdown

Anatolii Kenc


Anatolii Kenc

3D Artist


Hello everyone! I'm Anatolii Kenc from Ukraine, and I'm 18 years old. I currently work as a freelance 3D Artist.
My interest in 3D graphics began in the 9th grade, where I initially experimented with creating models based solely on YouTube video tutorials.

At that time, concepts like bake, UV, texturing, sculpting, low poly, and high poly were unfamiliar to me. It wasn't until the 11th grade that I started taking 3D graphics seriously, with valuable feedback from my older brother, who is also involved in 3D graphics.

I'm grateful for his support, which significantly eased my journey into the world of 3D.


My primary objective was to practice texturing various materials such as plastic, glass, metal, and rubber. Therefore, I chose a phone model that incorporated all these materials.


  • Maya, Blender (modeling)
  • ZBrush (detailing and adding wear elements to high poly)
  • RizomUV (UV Mapping)
  • Marmoset Toolbag 4 (Bake and rendering)
  • PureRef (references)
  • Photoshop (creating alphas)
  • Luminar Neo (render post-processing)


Gathering high-quality references from multiple angles and specific elements, like insulation tape and metal plates, is crucial. More references provide a clearer vision of the final model.


High poly

I created the primary high poly in Blender, incorporating details, cracks, chips, and edge wear in ZBrush.
For the high poly stage, I utilized Crease and Subdivision Surface on certain parts.


Texture of broken plastic

I crafted the broken plastic texture using Clay brush and Trim Dynamic brushes.


Tape and broken part

I formed the base of the tape and the broken-off part in Blender, adding details in ZBrush. Custom brushes from Artstation were employed for additional ribbon details.

Low poly

The main objective was to enhance my texturing skills for portfolio purposes, without limiting the polycount.

UV Mapping

Using RizomUV in combination with the export/import addon for Maya, I created a basic UV in RizomUV.


In Maya, I manually packed large parts to achieve the highest possible UV density.

The Texel Density is set at 800px per meter, with a final texture resolution of 4096×4096 for better showcase.



Baking was performed with specific settings.



Initially, I incorporated three color variations. Subsequently, I began introducing plastic wear and tear, along with various dirt variations.

There are also three color variations on the isolated tape—lighter and darker—and variations of dirt as well.

Moving on to the lower part of the body, I first added dirt variations, followed by plastic wear and texture.

Additionally, I worked on channels, namely, diffusive gloss, normal, and others.


Rendering is a crucial stage, requiring careful presentation of texture details. I used directional and omni lights, along with specific presets.


I extend my gratitude to everyone who read this article. I hope you found something useful in this props.

Special thanks to Games Artist for providing me with the opportunity to share my skills.