Creating Hand-Painted Elf Portrait in 3D with Blender & Substance 3D

Building a Scroll-Driven 3D Gallery Using a Blender Camera Path with Three.js and GSAP

A step-by-step guide to building a cinematic scroll-driven 3D image gallery. The workflow starts in Blender, where a Bezier curve is drawn and exported as JSON via a Python script with coordinate-system remapping. Three.js reconstructs the curve using CatmullRomCurve3, distributes 500 image planes along it with randomized lateral and depth offsets, and renders the scene with fog for depth. GSAP's Observer plugin captures scroll input across wheel, touch, and pointer devices, while gsap.quickTo() smoothly animates the camera along the path. A per-frame focus system scales nearby planes up to 14× using a cubic proximity function, also driven by quickTo() to avoid creating new tweens every frame. Additional features include animated path switching between five curves and an auto-scroll dolly mode.

Sculpting an Intriguing and Mysterious Worship Leader

Character artist Mattéo Contant shares his workflow for creating the Worship Leader character from the Migration student project at New3dge. He covers the full pipeline: blocking out the puffer jacket in ZBrush, using Marvelous Designer for a clean sculpting base, retopologizing in Maya with RizomUV for UV unwrapping at ~110k triangles, and texturing in Substance 3D Painter with heavy wear-and-tear detail. The most technically demanding element was a custom procedural shader in Unreal Engine using Fresnel effects and anisotropy to achieve a satin-like sheen on the jacket, enabling color variation across scene positions. Clothing simulation using Unreal Engine's Rigid Body node proved the biggest challenge due to multi-layer interpenetration issues.

How to Model & Texture a Cursed Knight with Melancholic Vibes

Senior character artist Gábor Meggyesi breaks down his Cursed Knight project, a Souls-like inspired character. The workflow covers armor modeling in Maya and ZBrush using Dynamic Subdivision and custom IMM brushes, hair grooming with Ornatrix, retopology in TopoGun 3, UV unwrapping in RizomUV, and complex layered texturing in Substance 3D Painter with metal, rust, and moss materials. Final lookdev and rendering were done in Unreal Engine 5.7 with multiple light rigs, Post Process Volumes, and cinematic camera settings.

3D Character Artist Shares a Jinx Fan Art Made with ZBrush & Blender

3D character artist Eugene Roienko recreated Jinx from Arcane season 2 using ZBrush, Substance 3D Painter, Blender, RizomUV, and Maya. Starting from a sphere with no base mesh, he sculpted stylized proportions from scratch. To achieve the iconic Arcane look, he used Blender's hair particle system with a custom shader for a 2D appearance, and rendered separate passes (albedo, AO, hard shadows, emission) composited in Photoshop rather than relying on traditional 3D rendering.

Check Out This Flapple Poison-Type 3D Reimagining Made in Blender

3D artist Amed Alexander Bueno Rodríguez created an animated reimagining of Pokémon's Flapple as a Poison-type character using Blender, ZBrush, Substance 3D Painter, and Nuke. The project draws on Pokédex lore, replacing the mud bomb move with a purple liquid to reflect the Poison-type visual identity. Two rendered camera angles and process videos are shared.

Sculpting a Digital Athlete: Capturing Stefanos Tsitsipas Beyond the Court

A detailed breakdown of the 3D production pipeline used to create a digital character of tennis player Stefanos Tsitsipas for an interactive website. The workflow covers photogrammetry scanning with ~70 cameras, UV optimization to consolidate multiple textures into a single set for WebGL, rigging via Mixamo, cloth simulation in Marvelous Designer, hair sculpting in ZBrush, texture baking with Redshift and Substance Painter, and animation optimization using shape keys. Key challenges included compressing a 14-day production into a tight schedule, replicating Tsitsipas' serve motion frame-by-frame, and exporting optimized animated models with cloth simulation for real-time WebGL rendering.

Do Wavy Walls Really Use Fewer Bricks? I Tested It in Blender

Một nhà phát triển đã sử dụng Blender's geometry nodes để mô phỏng thủ tục tường crinkle crankle (uốn lượn) nhằm kiểm chứng hai tuyên bố: tường uốn lượn dùng ít gạch hơn tường thẳng và chịu lực va chạm ngang tốt hơn. Kết quả, tường uốn lượn dùng chỉ 55% số gạch so với tường thẳng dày đôi ở chiều dài 100m, nhưng cả hai đều bị phá hủy trong mô phỏng va chạm bằng vật thể nặng 150kg và 300kg, dù tường uốn lượn có vùng hư hại nhỏ hơn. Tệp Blender được công khai chia sẻ.

Những kiến trúc serpentine thực tế tiết kiệm vật liệu và cải thiện độ bền trong các tình huống va chạm, giúp các nhà thiết kế và lập trình viên game hiểu rõ hơn về cách tối ưu hóa thiết kế vật lý trong mô phỏng 3D.