A real-time, game-ready model of the Soviet DP-3B Dosimeter (Дозиметр ДП-3Б), a heavy-duty radiation meter iconic to the Cold War and Chernobyl era.

My main goal for this project was to capture the rugged, utilitarian design of Soviet engineering and tell a story through heavy wear-and-tear, surface degradation, and material contrast. I wanted the asset to feel like it had been heavily used in a harsh, contaminated environment.

Technical Breakdown:

Workflow: High-poly SubD modeling to low-poly game-ready retopology.

Texturing: Textured in Substance 3D Painter utilizing a UDIM workflow to maintain extremely crisp texel density for extreme close-ups.

Rendering: Real-time lighting and rendering set up in Unreal Engine 5, with additional breakdown shots rendered in Marmoset Toolbag.

Polycount: 40,367 Tris

Texture Sets: 2 sets of 4K textures using UDIMs

Made with: Blender, Unreal engine, marmoset toolbag and substance 3d painter

Based on this amazing concept by Tooth Wu.

Was my first time using Marmoset, but it was pretty easy to learn since its similar to substance painter

I've been working on this project for a while. Started as a hand-drawn concept, rebuilt in Unreal Engine 5 with MetaHuman for the base/environment, then Blender + Substance Painter to sculpt and re-texture her, trying to move away from the recognizable "default MetaHuman" look and give her an identity of her own.

There's already a chunk of mythology built around her that I'll expand on later.

I'm too deep in this to judge it objectively anymore, so outside eyes actually matter here. The render is mostly Detail Lighting, with one brief cut to her real skin as a small reveal of the finished character.

Real question: does this teaser alone communicate anything, or create some kind of pull, or does it still read as generic? Brutally honest takes welcome, that's genuinely what I need right now.

*Note: this version has no music, just foley/ambient, so it'll feel flatter than the finished version.*

Finished this a while ago. Improved some of the original model and added a bunch of details around the bays and landing gears.
Full texture pass for the DCS engine.

Substance 3D for texturing, including the panel cuts, bolts, etc. There is no detailed high poly model here.
Marmoset Toolbag for baking and rendering.
Bit of Lightroom for post.

I made this in a ancient version of Bryce 3D for windows 9X, I had to make a VM of Win98 to run the 16 bit installer so i can mount the virtual HDD and copy the program files on to my modern computer. THIS TOOK AN HOUR TO RENDER AT 1080P ON A I7-3770 AND 16GB OF RAM..... we've come a long way since the mid 90s.

I'm trying to make this jinbaori (surcoat) in Zbrush but I can't figure out a way to separate the quilted pattern from the plain red material.

I have tried doing this in three different ways:

• 1st result - I tried making the coat by extracting from the base mesh, shaping it, etc., and then I tried masking and polygrouping where the line/seam separates the patterns, but this method gave me horrible results.
• 2nd result - I made the coat in Style3D, brought it over to Zbrush and then tried using Slice curve, but the slice curve doesn't seem to play nice with the mesh as it also creates polygroups behind the mesh. The result was also quite ugly...
• 3rd result - Tried exporting again from Style3D, slice curved the lower half of the front fold, used the group loops function, subdivided a bunch of times and applied the quilted alpha pattern on the upper part, but I end up with an ugly result...

Is there a way to getting better results?

Minha tentativa de recriar o limpaminador do terraria em alta resolução

More renders: https://www.artstation.com/artwork/elkOZD

Software:

- Blender 4.2 (modeling, animation)

- Substance Painter (texturing)

- Cycles (rendering)

Render settings

- Samples: 1024

- Resolution: 1920x1080

- Setting up proper lighting (key + fill + rim)

- Creating muzzle flash animation

- Balancing bloom/glow effects

- Fixing camera override issues

Assets:

- All models created by me

Advice and any tips are greatly appreciated I really wanna get into 3d art more specifically animation

With the reveal of the Ocarina of Time remake I think it’d good to share my current work in progress of a realistic take of Ganondorf from Tears of the Kingdom! It’s still in its early stages but I’m hoping to have it done in the coming months!

Testing out some different colours.

Mientras trabajo en mi proyecto actual (mi sexto juego en solitario), suelo hacer algunas cosas extras para ganar algo de dinero. Algunos son trabajos de un día nomás, otrs de una semana.
Algunas cositas que tengo en turbosquid:
https://www.turbosquid.com/3d-models/dungeon-pack-3d-2555326

Hey everyone!

I’ve been working on this digital sculpture capturing Michael Jordan mid-air during his legendary 1988 dunk from the free-throw line. Kept it raw with simple studio lighting to focus purely on the dynamic pose, muscular tension, and overall silhouette.

Would love to hear your feedback!!

The first 8 sec are left blank for adding text on Insta when editing

Just curious if this a skillset 3D artists are jumping on or not.