The Journey of Creating the Nintendo Game Boy 1989 with Handy Boy

Introduction

Hello! My name is Danko Maksym. I'm a 29-year-old 3D Game Props and Environment Artist from Kyiv. I entered the world of 3D art during a pivotal period of change in my life – switching careers was not only a challenge but also a fresh start. Determined to deepen my expertise in 3D, I began with the 3D Base course at ArtCraft School, where I gained the foundational knowledge necessary to embark on this journey.

After completing the courses, I started looking for work. In the process, I met Dmytro Androsovych, who shared his personal experience with me and taught me the essential aspects of 3D modeling. Thanks to his guidance and mentorship, I was able to significantly expand my skills and knowledge in creating game-ready models. Currently, I am involved in creating 3D weapon models for an unreleased dieselpunk game.

Getting Started

I started the Nintendo GAME BOY project as a personal initiative for my portfolio. I already had an earlier model of this console that I created during my training in the course. The idea of remaking an old piece allowed me to breathe new life into it, adding color and expressive details that highlight my development in 3D modeling.

Additionally, it was important for me to test a new modeling method, as almost the entire model was created in Plasticity, specifically the high poly and unoptimized low poly versions. This experience proved to be valuable, and I now use this method regularly.

In the process, I decided to maintain the console's appearance as slightly "worn" but not completely "destroyed" by time. I wanted to portray a console that retained its features while still showing signs of active use. I added small details that would emphasize its individuality: ink marks, coffee stains, and stickers – all of which give the model character and a sense of personal history.

I carefully selected references, focusing on clear images of the console and its accessory's shape and texture, as well as signs of natural wear. This allowed me to gain a deeper understanding of the structure and appearance of the device, along with all its subtle details.

Modeling

During the modeling process, I used Plasticity. Its interface and flexibility in creating and editing models significantly helped me save time in the modeling phase.

To further save time, I didn't create repeating objects like buttons, speakers, and switches from scratch; instead, I duplicated them, accelerating the process.

I utilized Blender to optimize the low-poly model. While optimizing it, I removed many unnecessary polygons, knowing that this would not affect the visual quality.

The main UV layout for each object was created in Rizom:

Then, I exported it back to Blender, where the UDIM format was established:

Each object has its own UV map and textures, allowing for high-quality detailing and refinement.

Texturing

For texturing, I used Substance 3D Painter and PureRef, where I had supporting references. They helped me capture unique wear details in the textures. I also had a pre-prepared model in Marmoset Toolbag, in which I could visualize the final texturing results since the render would be done in that program.

I started texturing by creating a completely custom smart material for plastic, as it was important for me to develop it from scratch for future use. The layer hierarchy is set up to start with the base color and its variations, followed by a layer for dirt, dust, etc., and finally, a wear layer consisting of large and small scratches.

When creating the plastic material, it was essential for me to show wear in logical places. I focused on areas where dust and dirt would accumulate, smudges on the console, side scuffs from the accessory as if it were being taken on and off in real life, and scratches on the buttons and the rear power element.

To create stickers, I utilized the pre-made smart material Sticker Creator, which saved me time and simplified the process.

Rendering & Post-Processing

I used Marmoset Toolbag 5 to finalize the model, as it is the perfect program for rendering 3D objects. I paid special attention to the lighting sources to create an atmosphere that aligned with the project's concept. In the render, I used several light sources, including key light, fill light, and backlight, to achieve realistic illumination and highlight the model's details.

To enhance the model's realism, I also adjusted the reflection and refraction of the glass on the accessory, ensuring it looked lively and realistic, providing the model with an additional magnifying effect, like a lens.

In the post-processing stage, I used Adobe Lightroom, where I applied a custom filter I created specifically for the console to adjust parameters such as contrast and saturation, achieving a more expressive image. I also focused on the lighting and shadows to make them softer and more natural. This allowed me to emphasize the details and make the model more visually appealing to the audience.

Conclusion

I believe that the key to creating appealing props lies in accurately conveying shapes, skillfully building, and applying textures. All these elements must harmoniously blend with the overall concept of the model. It's important to not only pay attention to the details but also consider how each element interacts with one another to create a cohesive and expressive object.

During the project, I encountered challenges due to a lack of good references for texturing the console. In some areas, I had to use logic and apply wear to the plastic based on assumptions about where it might occur. This required more time and effort than I expected.

For aspiring 3D artists, I strongly recommend not being lazy in modeling and studying references in detail. This is essential for creating a successful model and will determine how you present it during the modeling and texturing stages. Never abandon a started model; diligently follow your established plan. You may not get it right on the first try, but that's okay. Practice, gain experience, and in the end, you will succeed!

"Do it right, and everything will be alright," – Maksym Danko.

Maksym Danko, 3D Game Props / Environment Artist

Interview conducted by Gloria Levine