Creating Realistic Weathered Sci-Fi Vehicle Textures In Mari

Introduction

Hello everyone! My name is Nouran. I'm a 3D Modeller and Texture Artist with 5 years of experience in film and television production. I originally focused on traditional art, but after graduating from college, my passion evolved when I discovered the world of 3D through a scholarship at ITI 3D Art School in Egypt. This journey led to three years of experience at Squids VFX Studio before I relocated to Canada.

As an organic modeller, I wanted to step outside my comfort zone and expand my skill set by diving into hard-surface modeling. The Speeder project was my way of challenging myself with something completely different, and while it definitely pushed me, it turned out to be an incredibly rewarding experience. I also took this opportunity to experiment with a new texturing technique using Mari's Node Graph workflow.

Getting Started

Concept art by Kyoung Hwan Kim:

The first thing I did was analyze the concept and break it down into main parts. This made it easier to find the right references for each part and helped me stay organized during modeling.

Since it's a sci-fi vehicle, I started by looking for real-world machines with similar shapes or functions. For me, jet engines, vintage cars, and motorcycles were the closest matches. I used these as references to collect detailed images that helped make the design feel more believable and grounded in reality.

I also watched videos to better understand how real machines work, how they're built, what materials they use, and how the parts connect and move. This helped me add more realism and logic to the fictional design.

Modeling

I began modeling each part of the asset by blocking out the basic shapes using the references I collected. My approach was to focus first on the large, primary forms, keeping them clean and simple before moving on to the smaller, more detailed areas. I used Autodesk Maya for most of the modeling and ZBrush to add details to the leather parts. 

For repetitive elements like screws and bolts, I experimented with a few different techniques before settling on Maya's MASH system, which proved to be a huge time-saver.

Topology & UVs

From the start, I focused on maintaining a clean, low topology in Maya to ensure the model remained efficient and easy to work with. I only added extra edge loops where necessary, placing them carefully to support the shapes and preserve good deformation and shading, especially around detailed areas.

For unwrapping, I used Maya's UV tools to create clean and organized UV layouts. Keeping the UVs distortion-free and well-packed was important to ensure high-quality texturing later on. I made sure to optimize the UV space and maintain consistent texel density across the different parts of the model to get the best possible results when texturing.

Once I determined the material for each part, I reorganized the UVs accordingly to make the selection process in Mari easier. I grouped similar materials together as much as possible to keep things clean and efficient.

Texturing

For texturing, I used Mari's Node Graph workflow to give me full control and flexibility. My process began with a clear concept and a strong reference board. Once I had a solid vision of the final look, I carefully analyzed the references to identify the materials required for the asset, such as metal, leather, plastic, rubber, and glass.

Next, I gathered high-quality texture resources to ensure realism and consistency across the asset. I used Mari's new Mesh Map Creation system, The Bakery, to bake essential maps like curvature, AO.

I then created separate material nodes for each type of material to keep the node graph clean and manageable. A useful tip here is to use Bake Point nodes, which help maintain performance and keep the graph responsive as the complexity increases.

For each material, I started with a simple tileable base texture to establish a foundation. I gradually built up the look by projecting textures onto the model and layering them step by step. I began with clean, intact surfaces, and then introduced material-specific wear and damage, such as edge chipping, scratches, and dents.

Once the base damage was in place, I added dirt, grunge, and general grime to give the asset a more grounded, used, and realistic appearance. These details were created using a combination of hand-painted and procedural masks, which I further refined through hand-painting and texture projection. This blend of techniques helped push the realism even further.

Finally, I generated all the necessary supporting maps, including roughness, bump, and custom masks for look development. For example, I created a dedicated rust mask so I could control it separately in Arnold. To enhance it, I made the rust appear rougher and added AI Flakes to give it a more realistic texture.

Rendering

After completing the modeling and texturing, I assembled the final scene in Maya and used Arnold Renderer for the final output. I started with an HDRI to create a natural-looking skydome environment, then introduced an additional HDRI to enhance ground reflections and realism.

To shape the mood and highlight the form, I added custom Arnold lighting, including key lights, area lights, and spotlights. For the headlights, I used a combination of spotlights and point lights to achieve a convincing automotive lighting effect. For the floor, I used Megascans textures to build a realistic and detailed surface that complemented the scene. To add a foggy effect to headlights, I used aiAtmosphereVolume to introduce soft, volumetric fog, enhancing the sense of depth and visual mood.

In post-production, I turned to DaVinci Resolve to fine-tune the overall tone. Using the Film Look Creator, I added contrast and a subtle halation effect that created a gentle glow around the highlights. I also layered in a touch of film grain and a soft vignette to enhance the cinematic quality. These final touches added texture, depth, and atmosphere, making the image feel grounded and visually engaging.

To incorporate the background in DaVinci Resolve without disrupting the fog, I included an emission pass in my AOVs during rendering. This allowed me to isolate and control the background independently in compositing, ensuring the fog remained unaffected and visually consistent. 

Conclusion

One of the main challenges in this project was stepping into hard-surface modeling after primarily working on organic assets. It required a different mindset, but it taught me a great deal about clean modeling practices. Managing complex forms while maintaining a clean topology was both challenging and satisfying.

I think the key to making appealing props is to follow a clear and simple process:

• Start with strong references: They help you design something that looks believable and realistic;
• Focus on the big shapes first: Get the overall form right before adding small details. A strong shape makes a strong prop;
• Be patient and keep practicing: Improvement takes time, and you learn the most from trying, failing, and repeating;
• Ask for feedback often: Other people can spot things you might miss and help you make your work even better.

I was also incredibly lucky to have an amazing mentor, Mahmoud Salah, a talented Lead Artist and husband who guided me through every step of the process. His support and feedback were invaluable and made a huge impact on both the quality of the project and my personal growth as an artist. I'm deeply grateful. Thank you so much, Mahmoud!

Nouran Ibrahim, 3D Modeler & Texture Artist

Interview conducted by Gloria Levine