LogInArchi Morra talked to us about the Old Alarm Clock project, discussing modeling and texturing a weathered clock using Blender, Marmoset Toolbag, and Substance 3D Painter.
Introduction
Hello to all 80 Level readers! I’m glad to be back here. My name is Artem Salogub, though online I usually go by Archi Morra. I’m a 3D artist specializing in weapon and prop modeling.
My journey into 3D graphics began in 2022 with ZBrush, but my passion for creativity has been with me since childhood. I’m self-taught, and while this path requires a lot of time and focus, I value the freedom it gives me in choosing methods and tools. Video games gave me huge motivation – especially open-world projects where every detail and prop matters. That’s what pushed me to start creating my own models.
Right now, I’m focusing on personal projects. For me, the priority is quality and growth. I believe even a small learning experiment can turn into a story if you put everything you’ve got into it.
Old Alarm Clock
The Old Alarm Clock project came from a test task for a well-known company. I won’t name it, but the assignment itself was very interesting. I had to choose a style, and I went with a “seen-it-all” look – it felt the richest in terms of experimentation.
Why this style? Because old objects always have character. They carry scratches, dents, the passage of time – almost like scars. A shiny new object can look pretty, but it doesn’t tell a story. An old alarm clock, on the other hand, almost speaks to you. It makes you wonder: who used it, how many times it rang, how many mornings started with its sound? And then a funny coincidence happened.
In my building, there’s a neighbor who sleeps like the dead, and his alarm clock can ring for… eight hours straight! I think everyone in the house knows that melody by heart. For me, the alarm clock is also a kind of “sacred object of hatred.” So when I was asked to model exactly that, I just laughed. It was so symbolic, I knew the project would turn out lively.
Modeling
My main modeling tool is Blender. To control scale, I used the default cube – it helped keep proportions close to the real prototype.
I follow the classic principle: “from simple to complex.” First, I blocked out the big forms – the body, legs, dial, bells. Then I gradually moved into details.
It’s important at this stage to decide what should be built in geometry and what is better left for textures. Small dents and roughness, for example, are easier to do with height maps rather than modeling them manually. This saves time and keeps the mesh clean.
Another key point was compatibility. The test required the model to smooth properly in 3вs Max using Turbosmooth. So I added supporting edges in advance, kept an eye on smooth transitions, and optimized the mesh. If you don’t think about this during modeling, you can run into problems later.
Oh, and don’t forget about workflow speed – use folders and proper naming.
Topology
I always try to keep the mesh as clean as possible. This is especially critical for round objects – otherwise, smoothing can behave unpredictably.
For unwrapping, I used UVPackmaster and UVToolkit. I aimed to keep a consistent texel density across all parts, which helps the final model look more cohesive. In the end, everything fit into a single UDIM, which made the project neater and easier to handle.
Texturing
I baked maps in Marmoset Toolbag, preparing a standard set:
- Material ID – for convenience in Substance 3D
- Position – for gradients
- Curvature – for highlighting wear and dirt
- Ambient Occlusion – for depth and natural shading
Texturing is the most enjoyable part of the process for me. I use Substance 3D Painter.
First, I assigned base materials – metal, glass, and plastic. Then I started aging the model: chipped paint, rust, dust.
The key is logical wear: scratches where the object is touched most often, dirt in recesses, and chips on edges.
I layered smart materials, generators like Curvature and AO, and combined automation with hand-painting. That mix gave me more realism and avoided the “procedural” look.
As a final touch, I added a small detail – an old price sticker someone once tried to peel off. Little things like that bring life to a model, because they instantly connect with real objects in our memory.
Rendering
I assembled the final scene in Blender as well. For lighting, I used a three-point setup:
- warm key light on the left
- cool fill light on the right
- neutral frontal light + a subtle sunlight accent
This balance helps reveal materials from multiple sides. For example, rust and dust show up best under side light.
The background was kept calm, matte, and muted to keep the focus on the clock. To give it a vintage vibe, I added some depth of field in the camera settings and placed the camera at about a 45° angle – this way the shape reads most clearly.
Post-processing was done in Photoshop: color correction, contrast, and sharpening. I don’t overload at this stage – a few light touches to make the image more expressive.
Conclusion
For me, the secret is that an object should have character. Even the simplest prop can “come alive” if it carries a story.
The challenge with the alarm clock was its very simple shape. All expressiveness had to come from textures. This taught me to pay closer attention to small details: a fingerprint here, a tiny scratch there, a little dust. It’s those little things that make a model feel alive.
Unfortunately, I didn’t pass the test task. The reason was “insufficient texture realism” (ironic, right?). But I don’t see it as a failure. On the contrary, it was a valuable experience. I understood what I needed to improve and got excellent practice. I’m sure that in the future I’ll find my team of talented artists to create great projects together.
My advice for beginners: don’t wait for the perfect moment. It doesn’t exist. Take any task, even the simplest one – real skills are born in practice. Mistakes are not defeats, they’re tools. Learn, experiment, try again.
Thank you for your attention, 80 Level – you rock!