3D Art & Animation
for Games
What the program covers
Polygon modelling, UV unwrapping, PBR texturing, rigging, and keyframe animation — the full pipeline a studio actually uses, not a curated highlight reel.
Each lecture builds on the previous one. By the end you have a character asset that runs, idles, and could slot into a real-time engine without embarrassment.
Topology rules, edge flow logic, and why a bad mesh topology will haunt every step downstream.
PBR material creation in Substance Painter — albedo, roughness, metallic, and normal maps that read correctly under any engine lighting.
Weight painting, IK chains, and the graph editor — turning a static mesh into something that moves with intention.
No prior 3D experience
The first four lectures move deliberately. You learn to read a 3D viewport before you model anything. Frustration is expected; confusion is addressed in each session's Q&A segment.
By lecture six most beginners have a clean low-poly prop ready for texturing. Slow start, steady climb.
Filling the gaps in your pipeline
If you can already model but struggle with rigging or animation, the program lets you move quickly through familiar ground. The later lectures are where most intermediate artists find the real value.
Specifically: deformation weight painting and the animation graph editor tend to be the sections that get revisited most.
"I spent three years getting topology wrong before I understood why it matters. These lectures skip that detour."
"PBR is not complicated. It just requires understanding what each channel actually does."
"A rig that fights you during animation is a rig that was not thought through. We design rigs with the animator in mind."
"Getting your asset into the engine and seeing it run is the moment everything clicks. We get there together."
Lectures are recorded and available on demand. There is no fixed schedule — you watch when your time allows, and revisit any session as many times as you need.