Super Famicom Nintendo

Prop Breakdown




Hard-Surface Artist


Hello, my name is Hendy, I’m 21 years old, and I’ve been self-taught for around 2 years now, I used to learn programming before changing my career path.
My current goal this year is to create 3 great props for my portfolio so hopefully, I can get into this 3D industry.


After modeling several guns, I felt the need to make something different, so after a while of deliberating I decided to make this Super Famicom Nintendo. I wanted the prop to be in a non-brand new condition but rather used or something similar.

To improve my modeling and texturing skills, I challenged myself to create the inside of the prop as well.


  • 3DS Max
  • ZBrush
  • RizomUV
  • Marmoset Toolbag
  • Substance Painter
  • Marvelous Designer


Since it is a well-known brand, I have no problem searching for reference images. I can visit the forum to search for references, or I can search for them in online stores or auctions like eBay, Amazon, etc.
For the inside, I visited YouTube and searched for the video of it being disassembled or cleaned.

After I gathered all I needed, I started making the blockout.


Modelling & Blockout

I start by placing an image reference on a plane and then I start to block it out using basic shapes like cylinders or boxes.
I tried to make the proportions correct for the other parts as well and after I felt happy about it, I could begin to add the extra-details.


Once the blockout is complete, I can begin creating detail by adding shapes and combining them with Proboolean/Boolean.
Starting with the large detail and working down to the small detail. You can find how I did this particular technique, in my last article.


After the highpoly is complete, I begin to create low poly; usually, I just remove some edges, so it’s not too much work, then I remove any holes, screws, or things, similar.
I tried to make it as optimized as possible while still maintaining the shape of the props.

UV Unwrapping

Since I already had the UVs from before, I simply used RizomUV to straighten the UV island before packing everything using UV-Packer to save time.


For baking, I chose Marmoset Toolbag 4, Marmoset is a great tool for baking because it displays the results right away, so you can double-check your render, and ensure everything is correct.

Here are my bake settings:


Once everything is ready, it’s time to begin texturing the props.
For the props, I wanted to make them look kind of old in the sense that they had been used for many years.

I first set up my props as shown below:


This is so, I can see the texture from various angles. I then set the environment map to Studio Tomoco and set the tone mapping to ACES.
I then create a scene in Marmoset to see the texture there. For the layer, I use this as the reference.

For the PCB texture, I used an image from the internet and then used projection in Substance Painter to paint it.

I used the same technique for the cartridge game sticker.


For rendering, I use Marmoset Toolbag 4, again. I set up a new folder with a new scene so I can always come back if something is wrong or doesn’t feel right.

For the lighting, it’s just a simple setup with a gray background and the same HDRI from Substance Painter.



Thank you very much for taking the time to read this article. Keep in mind that I’ve never been in the 3D industry before, so there may be some unnecessary steps, or there is a faster technique to reach the same results that I’m unaware of, so just take this as reference.

Once again, special thanks to Wardog, TWR, and DinustyEmpire for sharing some cool tips and tricks.

And thank you very much to GamesArtist for offering this opportunity again; it keeps me motivated to keep improving, thank you.