Francisco Viloria has shared the sculpting and texturing process behind Kestra – a stylized paladin from an indie game – and explained how the shining mace was made in ZModeler.
Ezequiel Delaney has shared the ZBrush/SD workflow that was used in making of Stone Wall PBR Material project and explained why it is important to not get stuck at the idea of making a material 100% Substance Designer.
Pulkit Jain talked about the Vintage Bus Ticket Dispenser project, shared the SubDivision workflow that was used for the project, and thoroughly explained the modeling process in Maya.
Lukas Walzer told us about the production process behind Dean, explained how the unusual hand-painted look was achieved, and discussed hard surface modeling.
An Environment Artist Narcis Calin shared a breakdown of the Bell Of The Set Free project, shared the workflow, and explained how to use ZRemesher and DynaMesh in your modeling process.
Tyler Lariscy shared a breakdown of the Cute Stylized House scene, talked about asset creation, and discussed the workflow in Maya, ZBrush, Substance, and Unreal Engine.
Stéphane Charré explains what inspired the beautiful serene countryside scene, shares some tips and tricks behind asset creation, discusses the challenges of working on foliage for stylized pieces, and talks about how playing around with lighting settings can take your environment to a whole new level.
Walter Torezan Junior presents Vintage Prop 101: in a detailed breakdown, the artist explains how the initial shape of the antique phone was modeled, talks about how you can use Substance Painter to create smaller details of the props instead of only using it for texturing, and shares some great tutorials on Blender.
Annina Weber talks about the story behind the mysterious man with an intense stare, explains how every piece of the portrait was sculpted, and discusses the importance of spending a good amount of time on perfecting facial anatomy when it comes to character art.
Théo Albertini talks about the challenges of sculpting a 3D character based on a 2D concept art, explains how to create soft pencil-like strokes for stylized 3D artworks, and discusses the importance of proper lighting when designing an emotional piece.
Amelie Riviere has discussed creating a dower chest prop, explained the origins of the beautiful patterns and ornaments, and showed us how to shift between ZBrush and Blender during the working process.
Isabella Omohundro talked about making the Biker Baker project, discussed the workflow in Maya, and explained why it is important to try new techniques during production.
Otávio Libório showed us the workflow behind the Ares – God of War project and recommended some books that will help any Character Artist with anatomy.
Cloé Molinari talked about creating a stylized diorama in Maya, Substance Painter and MT4 and told us about the importance of working in SP and Marmoset at the same time.
Nikita Osmanov shared a detailed breakdown of his 3D prop Eumig Vintage Camera: modeling and UVs in Blender, baking and rendering in Marmoset Toolbag, and texture creation in Substance Painter.
Alexander Nguyen did a breakdown of his stylized scene, Naga Shrine of Rejuvenation, made during the CGMA course, discussed his approach to creating a stylized look to the assets, talked about working on the vegetation and water texture as well as shared his lighting setup.
Diana Clitan did a breakdown of her Seer character Völva sculpted and retopologized in ZBrush/Maya, textured in Substance Painter, and presented in Marmoset Toolbag.
Inka Sipola did a breakdown of her recent UE4 environment New Home and talked about modeling the buildings, texturing in Substance Painter, Designer, and Alchemist, and setting up final renders.