Project Details

Modeling Process

The model was created in Blender starting from simple primitives, shaped and refined using modifiers and non-destructive workflows:

• Began with a plane for the visor base, sculpted using Loop Cuts, proportional editing (O), and mirror modifiers to achieve a symmetrical front curvature.

• Added subdivision surfaces for smooth topology and used Simple Deform with the Bend function to achieve the realistic visor wraparound shape.

• Constructed the mask frame through extrusion and solidify modifiers, forming a smooth nose bridge and layered body contour.

• Modeled the foam padding by duplicating and offsetting inner geometry, then applying a large bevel to simulate the organic softness of cushion material.

• Created the strap system using a curve modifier for natural bending and realistic tension, then modeled small plastic connectors and cylindrical fasteners to complete the assembly.

The entire mesh was optimized with clean topology and uniform edge flow, making it ready for UV unwrapping and detailed texturing.

(Screenshots 1–2 show the clean modeled geometry within Blender’s Object Mode and Edit Mode, with visible subdivision and collection organization for each part: Cushion, Mask, String, and Visor.)

Texturing Process

After UV unwrapping the model, the asset was imported into Substance Painter for material development and rendering. The texturing workflow focused on material contrast, lighting response, and tactile surface realism, using a mix of procedural and hand-painted layers:

• The frame received a green fiberglass-style base blended with subtle edge wear and curvature-driven highlights.

• The visor was treated with a custom glass shader, featuring orange tinting, reflection, and transparency maps to simulate coated ski glass optics.

• The strap used fabric weave materials with fine normal and roughness detail for believable fiber depth.

• The foam padding was assigned a soft fabric texture with a porous look to convey comfort and realistic material absorption.

(Screenshot 3 shows the Substance Painter workspace, with the layered material stack visible — including “Fiberglass Worn,” “Fabric Burlap,” and “Glass Visor” — and the full UV texture layout on the right.)

New Technique Demonstrated

This project introduced a hybrid texturing method combining procedural material generation and multi-layer hand painting to achieve cohesive, production-ready realism. By layering curvature masks with manually painted details, I was able to produce distinct surface interactions—especially the transition between plastic, glass, and fabric materials—while maintaining a unified PBR look.

This workflow allowed for fine-tuned control over reflection and wear across different surfaces, providing both artistic and technical precision.

Final Result & Takeaways

The final model integrates clean geometry, rich textures, and accurate lighting behavior—suitable for use in game engines or cinematic renders. The reflective orange visor contrasts sharply against the matte green frame and black strap, creating a visually striking centerpiece.

Through this project, I expanded my proficiency in:

• Cross-software workflows between Blender and Substance Painter

• Realistic material layering (glass, fabric, foam)

• Modifier-based modeling techniques

• Procedural wear and texture blending