How To Texture Worn-Out DBAL-B2 Laser Gun In Substance 3D Painter

Introduction

Hi everyone! My name is Deepak Gollar, and I’m a 3D Artist from India with over three years of experience in the gaming and VFX industries. My journey began with a diploma specializing in 3D modeling and texturing, which provided me with a strong foundation in digital artistry. Over the years, I’ve had the opportunity to work on a variety of exciting projects, including contributing to iRacing, a racing simulation game, as well as working on several VFX movie projects. Additionally, I’ve worked on multiple unannounced game projects, allowing me to continuously hone my skills and broaden my expertise in the field.

The Way into 3D Art

What inspired me to become a 3D Artist was my love for video games, especially titles like GTA, CS, and Call of Duty. The immersive worlds and intricate details in these games sparked my passion for creating digital art, and I decided to pursue a career in this field to bring those virtual worlds to life.

Inspiration

I’ve been really inspired by Duard Mostert’s incredible course on AAA-quality texturing and photorealism. The course provided invaluable insights and taught me new techniques that I hadn’t fully considered before. It pushed me to think about texturing in a completely different way, helping me understand how to elevate a model’s realism. Motivated by what I learned, I wanted to take it further and create my own version of a model using those techniques. Duard’s course truly inspired me to dive deeper into photorealistic texturing and challenge myself to improve my skills.

DBAL-B2 Laser project

I chose the DBAL-B2 Laser project to challenge myself and improve my skills in AAA-quality texturing. I was focused on pushing my abilities, but I also wanted to keep the project simple and efficient. From the outset, I decided to work within a clear timeframe and avoid overcomplicating the model. My goal wasn’t to make the most complex asset but to get the details and textures just right. The DBAL-B2 Laser stood out because it offered a great mix of detail and functionality, making it an ideal subject to test new techniques and push my creative boundaries.

Choosing the Right Model

The first step was selecting a model I genuinely admired. This was non-negotiable; investing hours or days into a project demands genuine interest. Additionally, I wanted the model to stand out on platforms like ArtStation, where presentation matters.

I understood the value of selecting a project that combined visual appeal with opportunities for customization. The DBAL-B2 Laser, with its sleek design and potential for creative modifications, felt like the perfect choice to challenge my skills and capture an audience’s attention.

Gathering References

A solid reference library is the backbone of any high-quality project. My search began with Google and Pinterest, with a particular emphasis on high-resolution images from the manufacturer’s website. While original blueprints would have been ideal for precision, I relied on a combination of images and firearm dimensions to ensure accuracy.

To stay organized, I created a reference board divided into categories:

• Modeling References:
  • Basic Shape: For understanding overall geometry.
  • Details: Close-up images highlighting intricate features.
• Texturing References:
  • Base Materials: Surface properties, colors, and lighting effects.
  • Damage and Wear: Scuffs, scratches, dents, and cracks for realism.
• Weathering Effects: dirt and dust for depth.

Software Used

I used several programs to create the DBAL-B2 Laser project:

• Autodesk Maya (Modeling, UV Unwrapping, and Packing): Create detailed 3D models and optimize UV layouts for seamless texturing.
• Substance 3D Painter (Texturing and Baking): Texture models, bake details, and generate essential maps for added realism.
• Quixel Bridge (Assets and Texturing): Incorporate high-quality texturing resources, scene fillers, and assets to enrich compositions.
• Marmoset Toolbag 5 (Rendering and Lighting): Apply professional lighting and rendering techniques to finalize visuals.
• PureRef (Reference): Use as a reference board to organize and visualize creative ideas.
• Adobe Photoshop (Render Compositions): Refine render compositions, adjust details, and enhance presentation quality.

Modeling

The journey of modeling the DBAL-B2 Laser began with a clear focus on the fundamentals. My first step was to capture the basic look and shape of the model. For me, building a strong foundation is essential before diving into the finer details. I approached this task with a methodical mindset, using Maya to block out the model. This phase was all about understanding the geometry, getting the proportions right, and laying the groundwork for the intricate design to come.

With the blockout complete, the next stage was where the model truly started to take shape. I transitioned to refining the details, relying heavily on close-up reference images to guide me. These images were invaluable for capturing every small feature, whether it was the placement of buttons, the subtle grooves, or the intricate shapes that give the DBAL-B2 its distinctive look.

One of the standout tools during this process was the Boolean tool in Maya. It became a game-changer, allowing me to carve out precise shapes and create clean, accurate cuts that significantly elevated the quality of the model. Each use of the Boolean tool felt like adding a layer of precision to the project, ensuring that every edge and curve aligned perfectly with my vision.

As I progressed, the transformation from a simple blockout to a detailed, polished model was incredibly rewarding. Each step felt deliberate and purposeful, adding depth and character to the design. By the end of the process, the model wasn’t just a collection of geometries — it was a reflection of precision, care, and the effort I put into every detail.

UV Unwrapping

UV unwrapping might seem like a small part of the overall workflow, but for me, it holds significant weight. I’ve always seen it as a crucial step that sets the foundation for everything that follows. Using Maya’s UV Editor, I began the process by carefully straightening each of the islands. It was a task that demanded precision, as I aligned each piece with meticulous attention. This step isn’t just technical; it requires focus and patience. However, I find a certain calmness in it. It’s almost like untangling a knot, slowly watching everything fall into place as I go along.

I take great pride in ensuring my UVs are both clean and efficient. Every seam and edge placement is deliberate, with the intention of ensuring that the textures will sit naturally on the model without any distortion. Maya’s automatic packing tool was a helpful assistant throughout this process, arranging the islands in a logical manner. But even with the tool’s assistance, I still spent time fine-tuning and adjusting the layout to make sure I was maximizing the available UV space.

By the time I finished, I had a UV layout that I could truly be proud of, neat, organized, and ready for the next stage. The layout was now perfectly set up, ready to bring the model to life with textures. All the careful work I’d put into the unwrapping would soon show in the final result.

For the laser asset, I worked on a 4K texture sheet with a texel density of 191.0142 td/px. With the UVs prepared and laid out efficiently, I was excited to move forward and start texturing, confident that everything would fit seamlessly.

Texturing

Texturing was by far the most time-intensive stage of the DBAL-B2 Laser project. It’s where the model truly came to life, and my primary goal was to achieve a photorealistic look with layers of wear, grime, dust, and corrosion that felt not only visually appealing but also logical in their placement and effect.

Before diving into texturing, I prepared multiple versions of the mesh to ensure optimal lighting from every angle. This setup allowed me to see how the textures would interact with light, which was crucial for achieving realism. I used the “ACES_UE4_Log” color profile and Tomoco Studio HDRI for neutral lighting, providing a solid foundation for consistent results.

The process itself was exciting and highly rewarding. For me, texturing is more than just applying materials it’s about telling a story. I approached it as an opportunity to push my skills further and make this model stand out.

To maintain focus and consistency, I divided the creation of materials into specific stages:

1. Base Layer: Establishing the initial texture and foundation.
2. Color Variations: Adding subtle changes in tone for a more dynamic look.
3. Scratches: Including wear that made sense based on the model’s use.
4. Wear and Tear: Layering imperfections for a lived-in feel.
5. Dirt and Dust: Building layers of dirt, dust, and cavity grime for depth.

Using Substance 3D Painter, I tackled each stage with care. The biggest challenge was matching the model to my references, which required a combination of tools and techniques. For example, I used micro-detailing, micro-normal, and micro-dust effects to add depth and realism. Scratches, wear, and color variations were carefully placed to reflect natural use and exposure.

Adding Realism Through Subtle Variations

A key to making any material realistic lies in its understated variations. I added Colour and Roughness noise to create patterns that shifted subtly as the light moved across the surface. It was important to keep these variations minimal, barely noticeable, but impactful because overdoing contrast could overpower the finer details.

To enhance realism further, I used a Hi-pass filter to collect Height Map data from all the layers below. By slightly increasing the Roughness value on this mask, I emphasized the protruding areas, adding an extra layer of depth to the material.

Hand-Painted Details

For scuffs and damage, I avoided relying entirely on automated tools like the curvature or metal edge generators. Instead, I manually painted most of these details. This step required revisiting my references multiple times to capture the exact effect I wanted. With a thin, crumbly brush, I painstakingly worked on scratches, layering them until they felt authentic. Large wear marks were created using Stencil tools and then refined by hand for added character.

Dust, Dirt, and Cavity Work

Adding dust and dirt was one of the final steps and a crucial part of making the model feel grounded and believable. I used six distinct layers for dust, each with unique characteristics:

1. Regular Dust Layers: Subtle variations in size, color, and height.
2. Gray Dusting Layer: A light gray coating to tie everything together.
3. Chunky Dust: Larger, scattered particles for added depth.
4. Localized Dust and Dirt: Focused around cavity areas and other accumulations.

Each layer was carefully hand-painted to avoid a generic, repetitive look.

Overcoming Challenges

One of the biggest challenges was balancing the visibility of these layers across different platforms. What appeared too bright in Substance 3D Painter often looked too subtle in the Marmoset render. To address this, I adjusted the intensity for the final render, ensuring the textures remained striking without feeling overdone.

Ideas for Renderings

Before finalizing the project, I didn’t have a clear vision of how I wanted to present the model. To keep my options open, I gathered a variety of ideas and inspirations. This section became a collection of anything that could help with different angles, lighting setups, and render styles. It gave me the flexibility to experiment and find the best way to showcase the model’s details in an engaging and visually appealing way.

Lighting and Rendering

I use Marmoset Toolbag 5 for lighting and rendering, which I believe is key to showcasing my work effectively. Even if the modeling and texturing are top-notch, without proper lighting and presentation, the final result can lose its impact and fail to engage viewers in the same way.

For each project, I start by setting up my camera and render settings. I have a few go-to settings that consistently work well for me, but I always encourage experimentation to better understand how different configurations can affect the composition and the mood of the shot. Through trial and error, I’ve learned that certain lighting setups may not always work as expected, but they are an important part of the learning process. Rejected setups help me refine my approach and achieve the best possible outcome.

Next, I focus on the scene setup. I begin by carefully arranging all the key assets in the scene and choosing the camera angle for the shot. This step is crucial because the right angle can dramatically enhance the visual story I’m trying to tell. Then, I add supporting models, such as guns, wood crates, and concrete walls. These props are not just there for decoration – they serve a functional purpose, too. They help break up light reflections and add complexity to the composition, making the scene feel more dynamic.

Once the assets are in place, I experiment with different lighting setups from the same camera angle. I adjust the placement of the supporting models and lighting to create a more balanced and attractive composition. Through this iterative process, I refine the scene until I’m satisfied with the final look.

Post Processing

Distortion (Chromatic Aberration)

Whenever I work on a scene, one effect I always rely on is chromatic aberration. It’s a subtle touch, but it adds a level of imperfection that makes a noticeable difference. I think of it as adding a slight red and blue hue around the edges of the objects in the scene. This distortion, while small, gives the silhouettes of the objects a unique visual flair, making the overall scene feel more dynamic and interesting. It’s not an effect that screams for attention but rather one that enhances the scene in a way that draws the viewer’s eye without them even realizing why. This small addition often helps to elevate the mood and make the render feel more alive.

Sharpness

When I work on a scene, one of the first things I focus on is sharpness. As the name suggests, it’s all about making the micro details pop. Just by sharpening those little elements, you can see a clear difference in how the scene looks. It’s like adding a bit of life to something that might have felt flat. In the comparison, you can easily notice how much sharper and more defined everything looks once the sharpness is applied. It’s that extra little push that makes all the details come forward.

Vignette

Next, I use a vignette to guide the viewer’s attention to where I want them to focus. It’s like framing a picture by darkening the edges of the scene, the center becomes more noticeable. This helps highlight the main subject, making it the focal point. It’s a technique that draws the eye naturally to the area I want to showcase the most, making the whole render feel more polished and appealing. The vignette essentially acts as a visual cue for the viewer’s eye to follow, and that’s what makes the scene feel more structured and dynamic.

Grain

Lastly, I add grain to the scene. This might seem like a small detail, but it adds an imperfection that makes the render feel more realistic. It’s like when you take a photo with a camera, and you see that subtle noise or grain in the image, it gives the picture a sense of authenticity. I love adding this little touch because it makes the scene feel more natural and less “perfect.” But it’s all about balance – too much grain can distract from the main image, so I always keep it subtle. A little goes a long way, and it’s this subtlety that truly makes the scene feel grounded.

Field of view

When setting up a scene in Marmoset Toolbag, one of my favorite tricks is switching to a short lens for the field of view. Why? Because it gives a wider and more comprehensive view of the asset, ensuring that even the smallest details are visible. Compared to the default lens settings, the short lens adds a level of focus that really makes the asset shine. For me, it’s one of those small adjustments that can make a big difference in creating a visually appealing render.

Post Effects

For this project, I relied on ACES tone mapping for the lighting setup. Since I textured everything in the ACES color profile in Substance 3D Painter, this choice allowed me to carry over the same look and feel into my render. The lighting aligns perfectly with the textures, ensuring consistency and capturing the vision I had in Painter. It’s a workflow I’ve come to trust for getting the best results.

Clarity also plays a significant role in achieving the desired level of detail. Increasing clarity adds sharpness and depth to the scene, enhancing its overall appeal. At the default setting, the render can sometimes feel a bit dull, as seen in the second image. By tweaking this parameter subtly, I can give the render that extra edge. But like all adjustments, it requires a balanced approach too much clarity can overpower the details, so I always focus on maintaining subtlety.

Curve

The curve settings can be accessed in the Post Process tab at the top right corner.

As shown in the comparison, a flat curve creates a dull render. By adjusting the curve slightly, we can achieve a more dynamic and colorful result. I typically use a small “S” curve, which consistently provides great output for me. Larger curves or significant adjustments can disrupt the lighting mood and detail, so it’s best to keep it within reasonable limits.

Additionally, at the bottom left of the curve panel, you’ll find a set of presets that let you adjust the mood of the lighting, such as warm, cool, matrix, or vintage. I haven't used any of these myself because, despite testing several, none of them worked well with my scene setup.

Advice for Beginners

When starting out in game art, one of the most valuable pieces of advice I can give is to focus heavily on references right from the beginning. Whether you’re working on modeling, texturing, lighting, rendering, or presentation, gathering a wide range of references is crucial. Dive deep into studying them analysing shapes, materials, lighting angles, and even how objects are showcased in professional portfolios. This foundation will guide you throughout the project and ensure your work feels grounded and realistic.

As you begin modeling, always be open to feedback. Share your progress with other artists, mentors, friends, or even industry professionals. Constructive feedback is one of the most powerful tools for growth, and you’d be surprised how much you can learn from a fresh perspective. Don’t hesitate to ask for help or advice it’s not a sign of weakness but a step toward improvement.

The journey of learning is endless, and the more open you are to feedback and new knowledge, the faster you’ll grow. So, take that leap, stay curious, and focus on constantly improving your skills. Remember, every great artist started somewhere, and with dedication and the right mindset, you’ll keep leveling up.

My Learnings from This Project

During the DBAL-B2 Laser project, I learned a lot about the intricacies of 3D art, particularly the importance of detail and planning. From the start, I realized how small features like buttons, grooves, and wear patterns could make a model feel realistic and lifelike. I focused on getting these details right, knowing that they were the key to capturing the model’s true essence.

One of the first lessons was the power of references. I gathered high-quality images and studied them carefully, understanding how light and materials interact in real life. These references helped me stay accurate and also guided my texturing process, which I broke down into clear stages. I started with a solid base layer, then slowly added color variations, scratches, and wear to build depth and realism. It wasn’t just about applying textures; it was about telling a story through those details and showing wear and tear over time.

Through the process, I also saw how UV unwrapping is more than just a technical step; it’s crucial for ensuring that textures sit correctly and look seamless. Taking my time to perfect the UVs made a huge difference when it came to applying the textures later.

Lighting played a huge role in bringing the model to life. Using Marmoset Toolbag 5, I experimented with different setups, adjusting until I found the perfect way to highlight the details I had worked so hard on. This taught me how lighting could elevate the presentation of the model, making it feel more realistic.

Finally, I learned the value of time management and feedback. I set a clear timeline to avoid overcomplicating the model and used feedback from other artists to refine my work. This project showed me that no piece is ever finished without proper revision, and it’s the little adjustments that turn a good model into a great one.

Overall, the project taught me how to balance all the technical and creative elements of 3D art, from modeling and texturing to lighting and presentation, and how all these details come together to create a realistic, polished final result.

Conclusion

Be confident and take action! Mastery doesn’t happen overnight, but with time, dedication, and persistence, you will refine your skills and eventually share your knowledge with others. Remember, nothing is impossible. The first step is always the hardest, but starting is the key to growth. Challenges will arise, but they are invaluable learning experiences that shape your journey. This mindset is what sets successful individuals apart from the rest.

As an artist, I know how challenging it can be when you’re stuck or need guidance to improve your skills. That’s why I’m part of a wonderful Discord server that’s full of talented and experienced artists from the gaming industry. Everyone there is incredibly kind and supportive, and they’re always ready to provide feedback, guidance, and motivation to help you grow as an artist. Whether you’re working on modeling, texturing, lighting, rendering, or even presentation, there’s always someone willing to assist and share their expertise. If you ever find yourself in need of help or inspiration, I encourage you to join this amazing community.

If you’d like to join this supportive community, here’s the Discord link. It’s a space where artists come together to learn, share, and grow. Looking forward to seeing you there!

I didn’t create this gun model; it was made by Ilya Curichenkow. I included it in my renders to enhance the presentation of my DBAL-B2 laser model.

Thank you, Rajan Verma, for your valuable feedback and guidance. It’s been a game-changer for improving my render quality.

I am deeply thankful to Gloria Levine and the 80 Level team for this incredible opportunity to share my project. Your platform means so much to creators like me, and I’m grateful to everyone who took the time to read the breakdown I hope it was both informative and enjoyable!

Deepak Gollar, 3D Artist

Interview conducted by Gloria Levine