Breakdown: Hyperrealistic Steam Deck With Plasticity & Substance 3D Painter

Introduction

Hello, my name is Ramiz, and I am a 3D artist from Ukraine. Today, I would like to share my experience of creating a Steam Deck model, which became my first project using a new software for me, Plasticity.

My journey into the world of 3D art began in my childhood when I was fascinated by video games. However, working in various jobs unrelated to game development, I never imagined this could become my profession. Several years passed, and after discovering the existence of a profession like a 3D artist, I decided to venture into this new field and enrolled in courses. I have worked actively in this industry for several years, constantly improving my skills. This project was an opportunity for me to try a new pipeline using Plasticity, and I want to share my experience.

References

Using a new pipeline, my goal was to create an accurate model of the Steam Deck and fully understand how to apply the new tool in my workflow. The process started with gathering references. I collected the best images of the model from different sources to understand all the nuances of its shape and materials.

I highlighted the interesting elements for convenience.

Modeling in Plasticity

Plasticity became a new challenge and an interesting experience for me. Getting started was quite difficult: the software's interface seemed unfamiliar, and the modeling process required maximum attention to detail. Even with high-quality references, some stages took more time and effort than I expected. The first week of work was especially intense: I dedicated 10-12 hours each day to the process, exploring the features of Plasticity and improving my skills. Constant practice helped not only to understand the basics but also to feel the freedom of form creation. This is how I gradually moved on to modeling the Steam Deck.

This model became my first large-scale project in Plasticity, and despite all the challenges, I was satisfied with the result. Every element of the Steam Deck looked exactly as I imagined, which was a great confirmation of my progress and a motivation to move forward.

Shading & Correction in ZBrush

To address these issues, I decided to integrate ZBrush into the process. The model was exported in FBX format using the Blender Bridge add-on, which allowed me to transfer it seamlessly for further processing.

High-Poly

In ZBrush, I used DynaMesh and Polish, these tools were key to achieving smooth surfaces and clean lines. The process required a lot of attention to detail and several iterations to smooth out complex areas while maintaining the model's primary shapes.

These corrections helped improve the geometry quality to the necessary level and prepared the model for the next stages of the pipeline. The combination of Plasticity and ZBrush was a crucial step in the project. It not only helped solve technical challenges but also significantly enhanced my skills, expanding the possibilities for creating complex, high-poly models.

For shading corrections, I used the following pipeline:

• DynaMesh – Resolution 4096

• Polish Crisp Edges – Selecting minimal values (1-2)

• Polish – Value 1

The final step of this method is DynaMesh again, resolution 4096:

To achieve the best result, this method needs to be repeated several times, selecting the required mesh. If necessary, you can mask interesting areas and simply smooth them.

Low-Poly

After completing the work on the high-poly model, I moved on to retopology. To create the low-poly geometry, I chose a manual approach in Autodesk Maya. This process allowed me to achieve maximum precision while preserving the smoothness of the shapes established in the high-poly model.

My goal was to optimize the model for real-world use without sacrificing quality. I deliberately added additional loops in key areas to ensure a more appealing look and preserve details. These loops could easily be removed if necessary.

This approach not only gave me control over the topology but also simplified the subsequent UV unwrapping process. As a result, I ended up with a low-poly model perfectly suited for the next stages of the pipeline while retaining all the important features and forms of the original design.

Why manual retopology?

1. Control over topology
2. Preservation of important details and forms of the high-poly model
3. Simplification of UV unwrapping in the next stage

UV Unwrapping

For UV unwrapping, I used RizomUV, which allowed me to achieve high precision and efficiency. With this tool, I was able to carefully align the shells and optimize the packing, ensuring the most efficient use of the texture sheet space. The unwrapping was done on a 4K sheet with a density of 114.02 tx/cm, which guarantees high texture detail and sharpness of visual elements. This approach provided the perfect balance between quality and optimization, allowing me to preserve the fine details of the model without compromising performance.

Texturing

During the texturing process, I used the Metallic/Roughness method. I always start by creating the base layer. This stage involves setting the base color and roughness, which forms the foundation for further detailing. I chose a plastic material and adjusted it according to the references. The next step was adding variations to the plastic texture. I worked on the detailing, adding small texture elements that make the material more realistic.

A key part of this process is studying references. They help understand how natural materials look and transfer their characteristics onto the model. In the final stages, I added extra details that convey the object's history, including micro-scratches, wear and tear, and other signs of usage.

Once the base plastic was ready, I began working on adding the "story" to the model: dust, dirt, and scratches. I usually prefer a manual approach, even when using generators. This allows me to carefully work on each element, giving it uniqueness and realism. Each of these elements adds depth to the model, creating a worn effect. It enables each component to seamlessly blend into the overall look, making it more convincing.

Display

I decided to create two versions of the display: one with a working screen and a game's splash screen and another with the display turned off. A third version with a broken display appeared during the rendering stage, which sparked a lot of discussions. At the community's request, I added a caption to the image, clarifying that it was a render, not a reference, but the discussions didn't stop. So, I decided to share some work-in-progress photos to explain how it was made.

I started with the base layer, adjusting the display's color and roughness. Then, I painted the frame to define the contours. After that, I added variations, including fingerprints and signs of use, to make the display look like it had been actively used. These details added realism to the model and made it more convincing.

For the display with the game splash screen, I chose an image that I slightly edited in Photoshop to achieve the desired look. After that, I created a new layer and added the image to the Base Color channel, as well as the Emissive channel, to achieve the glowing effect. This approach allowed me to create a more dynamic image that naturally blended into the overall style of the model.

For the S.T.A.L.K.E.R. game screen, I used a similar approach. First, I edited the image in Photoshop, then added it to the Base Color and Emissive channels to create the glowing effect. This helped replicate the game's atmosphere, just like for the previous display.

Broken Display

First, I fine-tuned the image in Photoshop, adjusting it to the required quality and size. Then, I created a new layer and loaded the image into the Base Color channel. For this layer, I added an Anchor Point. Next, in a new layer for each channel, I added an Anchor Point for the broken screen image. Using HSL filters and adjusting the Roughness and High levels, I fine-tuned all the parameters to achieve the desired texture quality.

And I want to share with you the reference I was guided by and from which I took the texture for the glass. I found the reference on Reddit from the user Clover_Trees, who posted a photo of their broken console. Buddy, I hope you managed to fix it!

So, on the left is my render, and on the right is the reference.

Render

For the render, I used an environment from Quixel Megascans and the HDRI Peppermint Powerplant to bring the look as close to photographic realism as possible. The lighting was carefully set up, adding some reflections and choosing a wide camera angle for a better atmosphere. To make the shot look like it was taken with a phone, I intentionally positioned it with a slight tilt for more realism. The render resolution was selected to match a smartphone format, 2252x4000, to closely match the reference.

I used the following settings for the camera:

I used a parquet from Quixel Megascans and then made some adjustments in Photoshop to ensure it looked great in the scene and blended well with the overall atmosphere.

Conclusion

This project has been a fantastic experience for me, and I'm very happy that I could bring my ideas to life. As planned, I mastered the Plasticity software, which was an important milestone in my development, and I also significantly improved my skills in texturing and rendering.

I want to express my immense gratitude to everyone who supported me along the way, helped, and gave valuable advice. Also, a huge thank you to everyone who noticed my work followed my updates, added me as a friend, or simply took the time to check it out. It means a lot to me!

I would also like to thank 80 Level for the opportunity to share this article and present my work to a wider audience.

Ramiz Asadullaiev, 3D Artist