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Félix Parent
Industrial Drafting / 3D Artist / Photogrammetry Artist
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1878 DOUBLE HAMMER SHOTGUN

This is my two weeks’ work on the 1878 SxS double hammer shotgun. Made in Maya, textured in Substance Painter, and rendered in Marmoset. This asset is game-ready and functional. For this project, I really wanted to recreate this old shotgun and push the limits of my work with optimized geometry.

To achieve realism, I rely on strong references. While exploring firearms websites, I found the 1878 Double Hammer shotgun by COLT, also known as "the club gun." Its unique design and texture challenges captivated me.

To achieve realism, I rely on strong references. While exploring firearms websites, I found the 1878 Double Hammer shotgun by COLT, also known as "the club gun." Its unique design and texture challenges captivated me.

My workflow starts with blocking, modeling shapes with primitives and combining them based on real objects. I created various parts for the stock, grip, and trigger guard, connecting them into one object that needed topology adjustments.

My workflow starts with blocking, modeling shapes with primitives and combining them based on real objects. I created various parts for the stock, grip, and trigger guard, connecting them into one object that needed topology adjustments.

I add details like screws and bolts, working in subdivision. After completing the model, I duplicate it twice: one for low poly optimization and another for high poly detailing, totaling 10,360 triangles, surprising me since I aimed for 15,000.

I add details like screws and bolts, working in subdivision. After completing the model, I duplicate it twice: one for low poly optimization and another for high poly detailing, totaling 10,360 triangles, surprising me since I aimed for 15,000.

For UVs, I chose a single tile, aiming for over 80% space usage and achieving 83% without stretching. The layout was auto-generated, and I used ID maps for quick masking in my texturing software.

For UVs, I chose a single tile, aiming for over 80% space usage and achieving 83% without stretching. The layout was auto-generated, and I used ID maps for quick masking in my texturing software.

I created textures in Substance Painter and some alphas in Photoshop. Reproducing metal was my biggest challenge; I restarted several times to capture its subtlety, using color variations and layered masks for detail.

I created textures in Substance Painter and some alphas in Photoshop. Reproducing metal was my biggest challenge; I restarted several times to capture its subtlety, using color variations and layered masks for detail.

In Marmoset Toolbag 4, I found real-time ray tracing renders incredibly fast and easy to iterate. The highlights are more realistic than in other software, and the lighting tools are impressive.

In Marmoset Toolbag 4, I found real-time ray tracing renders incredibly fast and easy to iterate. The highlights are more realistic than in other software, and the lighting tools are impressive.

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