Creating a Detailed Sci-Fi Rifle Using Plasticity & Blender

Introduction

My name is Maxim Buyanov, and I work as a Concept Artist in the game industry. For as long as I can remember, I have been passionate about art and creativity. As a child, I loved drawing, studying shapes, and analyzing the intricate details of the world around me.

During my second year at university, I realized that programming and statistical analysis – the subjects I was studying – were not for me. Inspired by video games and science fiction films, I decided to fully dedicate myself to world-building, bringing new ideas and visions to life. That was the beginning of my journey as a Concept Artist.

I spent all my free time drawing, often at the expense of my studies. I vividly remember skipping lectures and exams to spend hours with my graphics tablet, mastering the fundamentals of drawing and design. I started as a 2D artist, but over time, I began incorporating 3D tools into my workflow to speed up the creative process. Today, 3D modeling has become an essential part of my design pipeline.

I’m truly grateful to be working in an era where so many powerful tools are available, making it possible to bring even the most ambitious and highly detailed concepts to life.

Project EXAR RZL – 606

This project was born spontaneously, but it ultimately became the starting point for a wealth of new ideas. Right now, I’m actively developing the universe of this dark sci-fi setting, exploring new ways to implement complex design elements and delving deeper into mechanical details.

EXAR RZL – 606 is a futuristic weapon inspired by the universes of Wolfenstein and Maschinen Krieger. My goal was to depict a heavy automatic firearm with a noticeable forward-shifted center of gravity. The design incorporates engine components, rotors, and other mechanical details, giving it a massive, high-powered appearance.

When designing it, I wasn’t striving for complete technical accuracy – one of the key aspects of successful design is creating the illusion of plausibility and functionality rather than strict realism. The second crucial factor is capturing the right atmosphere. I wanted the viewer to feel the weapon’s operation, even if it’s a standalone asset. That’s why it’s essential not only to refine the details but also to consider their logical interplay, crafting a sense of real engineering – even if, in the end, it’s an illusion.

References

As with any project, I started by collecting references. This step is crucial for shaping the overall idea and atmosphere, as well as for detailing, texturing, and understanding the stylistic direction. I ended up with a fairly large number of references, so I’ve chosen to highlight the most essential ones – the ones that best capture the essence of my research.

I structured the references into distinct categories:

• Primary References – These define the overall style, mood, and character of the design.
• Mechanical Details – Interesting components that enhance the technological feel of the design.
• Ma.K.-Style Forms – Rounded and streamlined elements inspired by Maschinen Krieger, adding a unique touch to the final weapon design.

By organizing references in this way, I was able to refine the design approach and ensure coherence throughout the process.

Creation Process

I typically start with simple 2D sketches to define key elements before moving into 3D. However, for this project, I went straight into blocking since I already had a clear vision of the final result. This approach allowed me to quickly test shapes, adjust proportions, and experiment with details.

If you want to optimize your design workflow and plan to use 3D software, I highly recommend periodically revisiting 2D by making quick paint-overs on top of your concept. This helps maintain a structured approach to design, allowing for gradual refinement without excessive time investment.

For modeling, my primary tool is Plasticity – an incredibly intuitive CAD program that is perfect for hard-surface modeling. When working iteratively – from simple forms to more complex details – the process becomes not only efficient but also quite meditative. This method helps prevent unnecessary over-complication in the early stages and allows you to focus on the composition and functionality of the model.

One of Plasticity’s major advantages is its integration with Blender. Thanks to a seamless bridge, the Blender scene updates automatically with every model change. I even wrote a small script that assigns materials to objects imported from Plasticity, which significantly speeds up the workflow. This setup allows me to model in Plasticity while instantly seeing the updated version in Blender, complete with lighting and rendering. The immediate visual feedback helps catch and fix design flaws early in the process. 

Final Refinement in Blender

While Plasticity is highly convenient, it does have its limitations – especially when it comes to creating organic shapes and fine decorative elements. For the final stage of the concept, I turned to Blender. Specifically, I used it to model soft rubber tubes with subtle folds, adding depth and realism to the design.

The process was simple yet effective, taking only 5 to 10 minutes. I created a curve, adjusted its thickness, and applied a Sub-D modifier for smoothness. Then, I extruded alternating polygon rings and added a few modifiers to give the shape a more natural appearance. To finish, I switched to sculpt mode to add folds and slight deformations, giving the impression of worn yet functional equipment.

This approach allowed me to quickly and efficiently complete the concept by combining the strengths of Plasticity and Blender. Such a flexible workflow enables achieving the desired result with minimal time investment without compromising the quality or detail of the model. This demonstrates how the right combination of tools can significantly enhance the speed and convenience of a concept artist’s work.

Texturing & Rendering: Process and Optimization

The next crucial step is texturing and rendering. For this, I prefer using KeyShot, as it significantly speeds up the process thanks to its procedural materials. Instead of relying on traditional UV unwrapping, I take a different approach, eliminating the need to create a low-poly version of the model. Once the model is imported, I can immediately start working on the textures.

For this concept, I chose worn and battle-scarred materials to convincingly convey the idea that the weapon has seen numerous battles. This approach helps achieve a realistic and well-developed final look.

Using Custom Alpha Maps

Before creating the primary material, I focused on custom Alpha Maps, which I quickly painted in Photoshop. These maps can be applied as a planar projection directly onto the base material, adding a distinct texture. This method is particularly effective for introducing subtle scratches and wear on metal or plastic surfaces.

For this project, I ended up creating a large number of Alpha Maps, yet the method remained fast and efficient in achieving the desired look. I apply these textures via the label channel of the primary material container, allowing them to overlay all other layers while maintaining precise control over their impact on the final appearance of the object.

Base Material

The core material is relatively simple in structure. For the base color, I use a seamless tiled texture – in this case, a painted metal texture – to introduce slight surface variation and color depth. Next, I apply Roughness and Bump Maps, which are sourced as JPEG textures from open libraries. This main material node is then plugged into the surface channel of the material container.

Additional Layers

The remaining texture details are achieved by layering additional elements on top of the base material, connecting them through the label channel. Managing the material hierarchy is crucial at this stage- since overlaying layers can unintentionally obscure key design features, careful control is necessary.

To precisely apply textures, I use Alpha Maps, assigning them to the opacity channel of the corresponding material. This ensures that textures appear only in designated areas. A similar approach can be used for grunge textures: by plugging a Grunge Map into a Color to Number node, adjusting its contrast, and then routing the processed image into the opacity channel of the desired material, I can create detailed wear effects. The material itself is then applied as a label within the base container.

This method offers a high degree of flexibility and precision, allowing me to quickly adapt materials to the needs of the concept without the tedious process of manually painting detailed texture maps.

Rubber Texturing

Using the rubber tubing as an example, I’ll demonstrate how I enhance details to achieve a realistic look. In almost every case, I rely on ambient occlusion (AO) and Curvature Maps to create dust buildup in crevices and wear along edges. These effects play a crucial role in enhancing material realism by emphasizing wear, aging, and surface imperfections.

For this project, I applied the same approach. To introduce more visual variation, I blended AO and Curvature Maps with grunge and scratch textures using a Color Composite node. This technique provides finer control over the wear level, allowing for richer and more dynamic surface details.

Additionally, I fed the scratch texture into the bump channel of the base material, which helps add depth and surface definition. Using bump mapping is an efficient way to convey micro-relief without the need for complex geometry, significantly saving time during the detailing process.

Metal Texturing

The approach to metal texturing follows the same principles but requires more complex fine-tuning, as metallic surfaces demand precise handling of highlights and reflections.

To add scratches, I combined multiple curvature nodes with different settings:

• The first curvature node has a small radius and high intensity, emphasizing sharp edges and creating localized, pronounced scratches.
• The second curvature node has a large radius and lower intensity, generating soft, shallow scratches on smooth, rounded areas.

This combination helps achieve a natural distribution of wear, making the surface feel realistically aged.

Instead of a Bump Map, I used a Normal Map sourced online. It fit my project well, as it contained fine details that enhanced the perceived texture of the metal. KeyShot’s flexibility allows easy switching between Bump and Normal Maps, making material adjustments more dynamic and efficient. This feature lets me experiment with different texture variations, selecting the most suitable one for each specific scene.

Lighting

For basic lighting setup, I always use an HDRI Map combined with additional light sources. The primary goal is to enhance the model’s volume and maintain a clear silhouette. To achieve this, I use:

• A rim light to outline the shape and emphasize its contours.
• A main light positioned to illuminate the upper right side of the object, adding depth and visual interest.

This setup creates stronger contrast, drawing attention to key details and improving overall readability.

One of KeyShot’s standout features is its ability to direct light placement by simply clicking on the model. This significantly speeds up the lighting adjustment process, allowing for precise control over illuminated areas and enhancing the final visual impact of the render. This intuitive tool makes workflow more efficient, especially when preparing presentation renders.

Alternative Lighting Methods in KeyShot

KeyShot also supports an alternative lighting approach using physical light sources such as Spotlight, IES Light, and Area Light. This method requires more computational power, but it allows for more realistic shadows and lighting, especially when working with complex materials. For example, it helps produce accurate cast shadows and sharp reflections, which are particularly important for metal, glass, and plastic visualization.

Additionally, this lighting method provides control over parameters such as radius, blur, and edge sharpness – features that are especially useful when working with soft materials, where precise light distribution is crucial. I applied this method for environment-based renders, aiming for a more atmospheric and visually compelling composition. However, I didn’t completely discard the HDRI Map; instead, I kept it minimally visible, allowing it to subtly fill the scene with ambient light, preventing excessive darkness or overly harsh contrasts.

Final Thoughts & Learning Resources

In my last video, I provided a detailed breakdown of how I positioned the light sources to achieve a well-balanced and visually pleasing result.

Although the project itself didn’t take too long, I had to balance it with my full-time work, so the entire process spanned about two weeks, working 1-2 hours per day.

For learning resources, I highly recommend:

• Alexei Kolb’s Plasticity course on ArtStation
• Pixel Fondue’s YouTube channel, which offers concise and effective tutorials on essential tools
  
  

Finally, I’d like to sincerely thank the 80 Level team for giving me the opportunity to share my experience. I hope you found some valuable insights here!

If you have any additional questions, feel free to reach out to me via ArtStation or LinkedIn – I’d be happy to help!

Maxim Buyanov, Senior Concept Artist