Learn How To Texture Realistic Aged Vinyl Record Player

Introduction

Hi! My name is Andrii Chereuta, and I'm a 3D Artist specializing in hard-surface and weapon creation. I also have commercial experience in vehicle and environment art, which has given me a wide range of skills and flexibility in my workflow. My journey in 3D art began many years ago with photography as a hobby. Through photography, I developed an eye for composition, color theory, and light control, especially working with flashes to manage shadows and achieve clean, balanced colors. These skills still influence my 3D work today, helping me create believable textures and appealing renders.

After a few years of photography, I moved into 3D because I was fascinated by the idea of having complete control over my scenes and the freedom to create entire environments on my own. I started by watching motion graphics tutorials for Cinema 4D, gradually building up my skills through YouTube videos, online courses, and guidance from mentors. Over time, I discovered my true passion: creating high-quality models for game development.

The Radiola Project

I began the Radiola project about a year ago as a way to practice working with various materials, shortly after completing a few weapon portfolio pieces. This vintage record player struck a chord with me because it reminded me of my grandparents' home, where I first saw a similar model. I wanted to capture not just the object itself but also the sense of warmth and nostalgia it evoked.

This is actually the second version of the Radiola. The first one, finished a year ago, is hidden because it didn't meet my standards. The current version is a complete remake, with more accurate geometry, cleaner UVs, and a much more polished texturing process. More than just a technical exercise, it was an attempt to tell the object's story, a piece of equipment that has lived through decades of use, carrying the marks of time.

References

To achieve this, I spent a lot of time gathering references to fully understand both the materials and the kinds of wear these objects naturally acquire.

I began by searching for this specific Radiola model on Google and then moved on to other search engines. Each engine surfaces different results, and cross-searching often reveals hidden gems. I asked ChatGPT to suggest additional sources, which led me to auction sites like eBay, restoration forums, and vintage marketplaces.

I expanded my research to similar Radiola models. Even if they weren't exact matches, they provided a broader range of photos, technical documentation, and examples of authentic wear. I also relied heavily on restoration videos and before/after showcases, which provided an invaluable look at how real materials age over time.

For specific materials, research was even deeper. Identifying them wasn't always straightforward, but ChatGPT helped me determine that the wooden body was made of veneer. That led me to even more references of similar furniture, showing scratches, chipped lacquer, and subtle discoloration, all the imperfections I wanted to reproduce.

A word of caution: many AI-generated images have found their way into stock libraries. While looking for vinyl records, I found that AI content often misrepresents real-world material behavior and wear. Most platforms now flag such images, so checking for an AI-generated label can save you time.

Key takeaways for collecting references:

• Use multiple search engines and resources like auctions or forums;
• Study similar models for additional documentation and damage examples;
• Organize references by material for quick access during texturing;
• Avoid AI-generated images to ensure realism.

Modeling

I used subdivision modeling for the high-poly, which made it straightforward to generate the low-poly version. For personal projects, I now primarily work in Plasticity and ZBrush, but since this was a remake, I reused and refined the earlier model. I corrected geometry issues and completely redid the UVs to remove overlapping shells.

For portfolio work, I always prioritize unique UV layouts, as they allow for richer texturing and a more visually engaging final result. The model itself was created in Cinema 4D, with unwrapping done in RizomUV. Even though this wasn't meant for real-time use, I optimized the topology to keep it clean and efficient, making the texturing process smoother.

Texturing

I worked in Substance 3D Painter, viewing the model under the Studio Tomoco environment map. Duplicating the model to look at it from different angles and lighting helped a lot.

• Started with a scanned normal map for realistic vinyl grooves;
• The scan lacked damage and dust, so I used it for normal detail only;
• To clean the normal, I used a Passthrough layer with the Clone tool, which is essential for fixing artifacts.

How to create a Passthrough layer:

• Drag and drop a filter, delete it, rename the layer, all maps switch to Passthrough.

• Or click Add Layer, change mode to Passthrough, right-click, and select "Apply to all channels";
• Added fingerprints and used Photoshop to clone a small dust reference to cover the entire vinyl surface;
• The vinyl label consists of two parts: the base paper (visible under scratches) and the printed logo. Adding glue texture is optional, depending on how close the camera will get.

For damage masks, I used anchor points, overlay modes, blur, blur slope, and warp filters to create complex and natural-looking edge wear.

Back Panel Texturing

• Started with a cork, a natural material, for a solid base;
• Used Substance 3D Sampler to generate textures from photos of the real Radiola's back panel, capturing authentic text and damage;
• Added cardboard textures, various noise patterns, and water stains for realistic weathering;
• Made final color corrections and used the Sharpen filter (added as a Passthrough layer) carefully to avoid over-sharpening but make details pop.

Small details like holes and metal parts are textured photos, placed precisely, and given height for realism. Special holes in the panel help mask flat textures.

Wood

This part of the Radiola took the most time, and for a good reason: it covers the largest surface area of the model, so every nuance matters.

I began with a base American Cherry wood material (yes, I'm not above using a good preset for a quick start). From there, I stacked multiple layers of wood grain, each adding complexity and character to the surface. With the base complete, it was time for imperfections, the real storytellers of aged wood. First came the oil stains, creating subtle variations in roughness.

Then I added dust, followed by color shifts: imperfections visible not just up close but even from a distance. Finally, layers of weathering brought everything together, embedding decades of history into the surface. This stage is all about details that come alive under different conditions. Under flat lighting, the base color dominates, but as soon as light hits at an angle, the roughness variations sparkle like tiny gems.

My goal was for every viewing distance to offer something new:

• Close-ups reveal fine dust and delicate scratches;
• Medium range highlights subtle discolorations and wear;
• From afar, broad stains, faded lacquer, and large-scale color variations tell the story of a well-loved, timeworn object.

After adding a few more finishing touches and variation passes, the wood finally came to life, carrying both the texture and the history I aimed to capture.

Rendering

Lighting can make or break your render. Even the most detailed model will look flat and lifeless under poor lighting, while a modest model can come alive with a thoughtful setup. Flat, front-facing light often makes 3D assets look "cheap," removing all sense of depth. The right lighting, on the other hand, turns your prop into a story, shaping forms, emphasizing textures, and guiding the viewer's eye.

I usually start with a classic three-point lighting setup as a foundation. I recommend checking out Marmoset's Toolbag lighting tutorial or even product photography guides, as the principles apply directly to 3D. It's a proven way to get a cinematic look, and from there, I begin experimenting. I rotate lights 360°, change their intensity and color temperature, and observe how the surfaces react. Every material has its sweet spot: subtle roughness variations and micro-details become visible only at certain grazing angles. Adding lights one at a time, even temporarily turning others off, helps me understand the contribution of each source. It's a bit like sculpting with light, and sometimes the best compositions appear by accident during this process.

Camera movement and perspective are just as important. I constantly rotate the camera, seeking angles that emphasize the most interesting parts of the model. A well-placed rim light can add depth, separating the prop from the background and hinting at the story behind it.

When assembling a scene for presentation, props require careful curation. High-quality scans are tempting, but if they look sharper or more detailed than your model, they’ll draw the viewer’s attention away. A slight depth-of-field blur can reduce that contrast and keep the focus on your asset. Conversely, low-resolution props or pixelated surfaces can ruin the entire shot, no matter how good the main model is.

In post-production within Marmoset Toolbag, I use a gentle S-curve to boost contrast and experiment with Clarity and Sharpen sliders to make fine details pop. The key is moderation: overdo it, and your render will start looking artificial and over-processed.

Ultimately, great lighting isn't about following strict rules, it's about telling a story with your model. Move the lights, change the angles, and don't be afraid to improvise. Sometimes the perfect shot isn't the one you planned, but the one you discover along the way.

Conclusion

My biggest advice for beginners? Keep it simple. Don't start with a massive spaceship or a giant mech, go for something small, like a screwdriver or even a bolt. A tiny project lets you go through the full workflow without burning out halfway. Finishing a piece from start to finish gives you that all-important sense of accomplishment and builds real confidence.

We all want to jump into making something epic, but mistakes are part of the process, and fixing a huge, complex model can drain all your energy. Smaller projects are your training ground, letting you make mistakes, learn, and still finish strong.

And yes, references. Lots of them. Gathering references can feel like a chore, and the temptation to dive straight into modeling is real, but without them, you'll miss countless subtle details. Real objects are best, but don't limit yourself to one set of photos. Mix and match the best parts from different references to create something that feels even more authentic than the originals. Trust me, start small, embrace references, and save the "massive sci-fi mech of your dreams" for later. That's how you build both skills and confidence, one finished project at a time.

Andrii Chereuta, Weapon/Hard-Surface Artist

Interview conducted by Emma Collins