Juan Serrato 3D Hard Surface 2024

Introduction

Hi everyone!

My name is Juan and I have been learning Hard Surface modeling for video games since September 2023 self-taught , where I mainly focused on 3D props creation.

I'm happy to show you two of my best projects for The Rookies.

Sci-Fi Walkman

While browsing ArtStation, I came across an artist named LZZ who uploaded a series of screenshots featuring a concept art of a Walkman that caught my attention. I thought it would be a great opportunity to test my 3D skills by adapting it into a prop optimized for video games.

References

I started my project by looking for references and planning.

First of all, I cataloged many other works related to Walkmans to set a quality benchmark. I have always aimed to create objects that are as realistic as possible and suitable for inclusion in video games, so I focused on achieving that specific style.

I looked for several references from other Walkmans, including individual components, to complement the LZZ concept. I also gathered other Walkman renders and materials that I will use when texturing the object. Then, I created a PureRef file to organize all these references.

Modeling

I began the modeling process by creating a blockout in Blender, ensuring it was as detailed as possible. I focused on establishing the primary volumes that the final model would have. This step is crucial as it helped me understand the proportions of the object.

Having completed the blockout, we proceeded to create the high-poly model using subdivision modeling techniques.

Having this, I dedicated myself to putting decals in strategic areas to give more complexity to the model.

Finally, from the high-poly model, the low-poly model was derived. I utilized traditional modeling techniques and capitalized on blocking geometry. The goal was to modify the mesh to adapt to the volume with minimal geometry while preserving the overall shape.

UV

UVs are one of the most important things when making an optimized prop for any video game engine.

In this case, I opted to create two sets of UV maps: one for the shell and another for the components of the helmets.

Making the UV cuts in Blender, then refined and adjusted the distribution and tessellation in 3D Studio Max. Finally, I optimized the packaging by placing the most symmetrical parts in the same UV position for efficient use of texture space.

Textures

I consider laying down a solid foundation for good texturing as crucial, so I conducted research to define the specific properties the materials would exhibit.

The next step involved baking the textures in Marmoset Toolbag to generate maps that would reflect the volumetric information from the high-poly model onto the low-poly model. The most crucial maps I exported included ambient occlusion, curvature, normal, ID, position, and cavity maps.

I then transferred the model to Substance Painter along with the baked textures.

By creating, adjusting parameters, and refining textures through masks, I ultimately completed the model to its entirety.

Utilizing Marmoset Toolbag, I endeavored to render and pose the object, carefully considering elements such as rim lights, fill lights, and strategically placing omni lights to highlight areas of interest.

Render in Blender

Once all the previous steps were completed, the next task was to present the model by integrating it into a scene. For this purpose, I utilized Quixel Megascans to assemble a scene.

Strix Vortex VX-7

This time, in order to enhance my skills, I decided to embark on a project that was entirely my own and original. My goal was to create a military drone inspired by those featured in AAA video games.

References

Similar to the previous project, I conducted a thorough search for references using platforms like ArtStation, Pinterest, and Yandex. I explored various sci-fi gadgets to gather inspiration for creating my own unique drone design.

The result I saw from Xavier Uturria's work caught my attention, so I aimed to reproduce a similar aesthetic, albeit with less complexity in its components. My ultimate goal is to ensure that the drone is playable in the end.

Modeling

The blocking phase of this model was quite extensive, as I wasn't entirely clear on what I wanted initially. It was crucial to achieve harmony in the composition, and not all pieces initially fit or looked visually appealing. Gradually, I began structuring volumes and shapes that allowed me to transition to the high-poly phase.

During the high-poly phase, I paid attention to several factors, such as refining bevels and ensuring there were no gaps or normal errors. Once satisfied with the high-poly result, I conducted several tests with decals, utilizing 3Ds Max Studio's normal editing tool to flatten geometry, and then incorporating it into the high-poly model in Blender.

After completing this phase, I utilized parts of the blocking to create the low-poly model. Carefully modifying shapes to ensure they adapted to the high-poly model while using the minimum necessary geometry.

With a significant number of pieces, it became necessary to separate them. In highly detailed objects with many pieces, relying solely on a single cage can lead to failures. That's why I opted for this approach.

UV

The UVs have been separated into two sets, the first comprises the chassis part and the barrel, the second comprises the arms and the rest of the model.

I've followed practically the same process as the previous model, with the difference that this time I decided to optimize the mesh by assigning lower tessellation percentages in areas that won't be as visible, and higher percentages in the most important and visible areas.

Textures

In conducting a study on the materials required for this project, I primarily focused on sourcing realistic textures for bodies, glass, and metals.

After baking in Marmoset Toolbag and importing both the model and the baked textures into Substance Painter, I began texturing the model, aiming to closely resemble the references I studied in the previous step.

By creating, adjusting parameters, and refining textures through masks, I ultimately completed the model to its entirety.

Based on the snow version of the drone, which was the first one I created, I proceeded to develop the desert and Ireland versions.

Finally, I added the model and its textures to Marmoset Toolbag. I experimented with various lighting setups and achieved these results:

Animation

I was quite excited to see my creation moving and flying and to test it, I made a basic rigg and animated it in Blender.

Presentation

For presenting this project, I decided to integrate the drones into their respective climates using Photoshop instead of setting up a scene with Quixel Megascans.

These images are not my intellectual property; I have researched and selected them because I thought they would make a good background to integrate the drone into a scene.

Among the techniques I used to integrate the drone into these landscapes are blur effects in the distance, motion blur for the blades, added extra emissive elements, and ensuring the model matches the tones and saturation of the scene.

Snow Drone

Desert Drone

Ireland Drone

Conclusion

These two pieces are the result of my efforts to improve my skills as a hard surface artist. With the help of Sandro Bonfanti's mentorship, I have been able to achieve these results, and I am very happy with them.

Thank you for checking out my projects and their detailed breakdowns. You're welcome to leave a high-five, comment, or feedback below—I value any input you have!

You can get in touch with me via:

https://www.linkedin.com/in/juan-serrato-torres-714522272/

https://www.artstation.com/juanserrato97