Sony Dualshock 2 Controller

Prop Breakdown

Konstantin Kan


Konstantin Kan

3D Artist


Hi everyone! My name is Konstantin Kan. I am 19 years old and live in Saint Petersburg, Russia.

I started studying 3D modeling two years ago, and realized that I wanted to develop in this direction. Until now, I managed to gain experience in creating props.


The goal of this project was to practice texturing and rendering in a realistic setting, applying the knowledge gained from tutorials and personal experience.

When creating textures, attention was paid to presenting the controller’s history in every possible way.


  • PureRef – Gathering references
  • Blender – High poly, optimizing mesh, UV, rendering
  • Zbrush – High poly
  • Marmoset Toolbag – Baking
  • Substance Painter – Texturing
  • Photoshop – Post-processing, Creating Alphas


The controller is popular, so it was not difficult to find references, they can mostly be found in online stores, of course, there were replicas, but they did not differ visually from the original controller.


High poly

I used a blender to create the blockout. After which I started making shapes from primitives and using the GoB plugin, I transferred all the meshes to Zbrush to do Live Boolean operations, polish and export back to Blender.

I implemented high poly modeling to capture the intricate details and then optimized the model, creating an optimized version suitable for UVs and rendering.

I wasn’t focused on creating a game asset in this project, so I wasn’t limited to polygons, which means I could maintain mesh resolution in complex model parts.


I implemented high poly modeling to capture the intricate details and then optimized the model, creating an optimized version suitable for UVs and rendering.

I wasn’t focused on creating a game-ready asset in this project, so I wasn’t limited to polygons, so I could maintain mesh resolution in complex parts of the model.


At this stage, I placed seams in sharp corners and in places where the controller connection seams are located.

I made two texture sets for greater texel density. I packaged it using the Uvpackmaster addon and exported all the meshes for baking textures.


For baking, I used Marmoset Toolbag, and for props, I usually use these settings.


The rest of the maps can be baked directly into Substance painter.


And now we have reached the texturing stage. First of all, I import all the baked cards and bake the missing ones.

After that, I edit the scene. I usually set these settings, then change something else as needed.

Regarding the HDRi, most of the time I use these three, gradually switching depending on what I need, a neutral color or natural light and so on.

After that, I start with assigning materials, such as metal, rubber and plastic. On the controller, most of the parts are plastic, with different colors and levels of roughness.

I also decided to add emission to one part that acts as a light bulb.


After that, I add decals such as logo, text, symbols and group them all into one folder and assign an anchor point to them to further work with generators that will take information about the height of the raised decals, for example, those letters L and R.


Next, I decided to add some duct tape and a sticker. I highly recommend using anchors for this.

Thanks to them, you can easily add overlap of one layer to another, volume, folds, as well as shadow around the decal through the highpass filter.


Here, I have already started adding a variation in the color of the plastic, as well as a variation in the roughness. Here you can do the following. Take a similar color from the source material and apply a mask with a grunge, you can make 4 layers with different levels of saturation.

More saturated layers are best used in certain areas in limited quantities. Those layers that almost merge with the source material can be distributed throughout the model. If necessary, you can adjust the opacity of the layers.

This way you can achieve variety and make the texture less “boring”.


Now the interesting part is the history of the item. Here I experimented with dirt and thought about how to implement this or that situation that could happen with the controller, for example, if the owner often used the controller but did not maintain it, this can be shown by various abrasions on the sticks and buttons.

Or the owner was a slob and this can be shown by traces of greasy fingerprints, food crumbs, or coffee stains. Maybe the owner has a cat that once scratched the controller’s body.

There are a lot of options and I decided to use many situations.


After that I usually adjust the colors by adding filters and those are the ones I usually use.


And in the end, we have this:



I wanted to do the final render in Blender on a Сycles render engine.

I didn’t bother too much with the light, I placed two planes, assigned an emissive material to them and hid the visibility of the object so that only the light emitted from them remained.


Plus, for reflection, I added HDRi, which comes with Blender.


The scene is ultimately simple:

As it was completed, I added all the necessary camera angles and rendered all the images.

When rendering images, it is important to show the model from all angles, how the light falls on objects in the scene and how this affects their appearance, it is also important to show close-up points of interest, this way you can achieve high-quality and attractive visual content.

Also, camera settings play an important role in rendering, which includes choosing the viewing angle and focal length and controlling the depth of field.

The post process in Photoshop consists of minor changes to the picture, namely adding sharpness, contrast and saturation. The main thing here is not to overdo it with the settings.

And here’s the result.


I plan to further develop in this direction and study new methods and techniques for creating models, and I hope that I have helped you at least a little to become better.

When modeling or doing anything else, I advise you to just enjoy the process and praise yourself for every success, even if it’s small, you still rise higher.

I would like to thank the Games Artist Team for their offer to write an article and share my experience in creating props. It’s an honor for me to be here.

I also want to thank everyone for supporting me with your activity.