This Free Maya Plug-In Simplifies Photo References & Camera Matching

How To Paint Realistic Sculptures In ZBrush Using PolyPaint

Sherif Dawoud shares a step-by-step video tutorial on painting realistic 3D sculptures in ZBrush using PolyPaint. The process demonstrates how to achieve natural-looking skin tones and textures, optionally using a custom ZBrush realistic skin clay material pack. Additional related tutorials on polypainting hands and other character art topics are also referenced.

Tutorial: Build Full Dungeon Crawler In Godot

The GameDev Tavern has launched a free 20-hour YouTube series teaching intermediate game developers how to build a complete 3D dungeon crawler called Goblins' Den in Godot from scratch. Spanning 20 episodes released on a MWF schedule, the course covers node-based state machines, composition models, ragdoll physics, shaders, pathfinding, lighting, and level design. All assets — textures, models, rigs, animations, music, and sound effects — are created within the course itself. The full project code and assets are available on GitHub under the MIT License.

glTF 2.1—beyond single 3D assets – Jon Peddie Research

Nhóm làm việc định dạng 3D của Khronos đang phát triển glTF 2.1, phiên bản tương thích ngược nhằm hỗ trợ các cảnh 3D lớn, phức hợp thay vì chỉ tài sản đơn lẻ. Tính năng mới bao gồm biểu đồ cảnh đa tệp chuẩn hóa, phân vùng không gian, hệ thống LOD, streaming tiến triển và tích hợp khái niệm 3D Tiles từ OGC, phục vụ digital twins, BIM, thành phố thông minh và môi trường cộng tác quy mô lớn. Đặc tả được phát triển công khai trên GitHub và cộng đồng có thể đóng góp phản hồi, với thảo luận dự kiến tại glTF Ecosystem Forum trong SIGGRAPH 2026.

Lập trình viên cần đọc bài này để hiểu cách mở rộng glTF 2.1 thành công cho các ứng dụng 3D lớn như game, kiến trúc số, hoặc các môi trường thực tế ảo phân tán, giúp tối ưu hóa hiệu suất và tương thích cho các dự án quy mô lớn.

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.

How Prehistoric Planet: Ice Age Recreated Extinct Creatures with VFX

Prehistoric Planet: Ice Age, the third season of the BBC Studios docuseries, required VFX and animation for over 40 scientifically accurate extinct creatures. Framestore and Practice Creations collaborated on the production, using physical puppets on real-world locations to plan timing, framing, and focus before shooting clean plates. Puppets were built to be lightweight and durable enough for extreme environments like Mongolian steppes and Iceland. The workflow involved a 'puppet pass' to establish natural performance and spontaneity before the digital creatures were composited in.