3D model of a vehicle found on Pinterest; I am now looking to create an environment around it.

Title: "Where the Sky Meets Stillness"...
Your thoughts?

Hey, so I am posting this to start a light discussion here. Lately due to the market situation, I feel 3D art industry (gaming and vfx) has become very confusing. Due to mass lay offs seniors are now working on mid level 3D roles, and mid level folks have to settle with whatever they get, sorry for the juniors.. I feel this has impacted how people review portfolio these days. Everybody wants to see extremely polished pieces, almost on the level of AAA games. Anything under that is straight up rejected and scrutinized. I don't know if I make any sense, but everything looks quite uncertain for all the mid level and junior level artists. As it's difficult to match the level of detail with some senior artist who has 10+ years of experience. Where do you really draw the line as a person who is hiring or reviewing portfolios for 3D artists? Any thoughts?

Is this bad or can I keep working

Recreated an illustration in blender

Original by Goosusette on twitter and bluesky

Guys could you review my portfolio and critique my projects in this post's comments?

I wanna improve the quality of my works and the presentation of them,it would help.

Portfolio: https://www.artstation.com/gio_balavadze7

I'm confused about which render to pick.

I got a bit burned out on my main project, so I decided to find a cool reference and give it a try hahaha. This is my interpretation of Zeen Chin work! NULL I'm not sure if I'll finish it, though.

Steam Workshop:

( https://steamcommunity.com/sharedfiles/filedetails/?id=3817397362)

I am trying something new to showcase my 3d models, but i do not know if it's good enough, if you got the time please write your honest feedback.
I mainly work in blender.

This is my first 3d model. I just started yesterday because my engineering class is making us learn onshape. I decided to make a small 12 key piano keychain. It’s not the best because the black keys aren’t perfect copies, and I’m not putting in the effort to separate all the white keys, but it still took me some effort. I’m not looking for criticism, after all I have no clue what the terms y’all might use even mean.

A faster GPU is supposed to mean shorter renders. In practice, the render that took an hour still takes an hour. It’s just 4K now, with more samples, larger textures and three lighting versions you wouldn’t have attempted before. Cloud rendering makes this even funnier. The moment more computing power becomes available, the definition of like good enough quietly moves further away. I’m starting to think more compute doesn’t buy 3D artists extra time. It just gives us permission to become pickier.

Does anyone actually use faster hardware to finish earlier, or do we all immediately spend the saved time making the machine suffer again?

🇺🇸: You can listen to the video in English through the video settings panel. Blender version 5.2 introduces a new node called "Get Geometry Component," which allows you to select a component of an object to work with.

I'm following a course but can't quite seem to get the knuckles looking right. I feel like it's the part between the fingers, I just don't know what to change

Hey, guys! I'm currently working on a piece for my portfolio, and I want to add more detail to the clothes, so if anyone could tell me where I can find these brushes, I'd really appreciate it.

Thanks in advance for your help 🫶🏼

How hard is it to learn this kind of modeling ? How many time i need to do this kind of thing from 0 ?

Working on a utility vest for a character and I’m trying to lock down my pipeline for the fabric detail before I go further. The screenshot shows the current state of the weave in ZBrush at high subdivision, with the pocket stitching and the seam lines.

How I do it right now:
I sculpt the fabric displacement directly in ZBrush, using a mix of alphas and manual cleanup around the seams, pockets and folds. Then I bake it down to a normal/displacement map on the low-poly mesh. The upside is that the weave follows the folds and the stretch of the garment, so it looks natural around the chest and the pocket flaps. The downsides are a heavy scene, long project times, and the weave scale drifting between pieces (the vest, the sleeves and the pockets don’t always match).

What I’m considering:
Doing the fabric detail in Substance Painter with tileable height maps and alphas instead, and keeping only the large forms and wrinkles in ZBrush. That would keep the scale consistent and make it easy to change later, but I worry it will look flat and “stamped” without the stretching and compression you get from sculpting.

What I’d like to know:

• Do you sculpt the fabric weave in ZBrush and bake it, or do it in Substance Painter?
• If you do both, where do you split it? For example, wrinkles in ZBrush and the micro-weave in Painter?
• How do you keep weave scale consistent across different garment pieces?
• How do you handle UV stretch and seams with tileable fabric maps?
• For game characters, do you bake displacement to normal maps only, or keep real displacement or tessellation?

Would love to hear your pipelines, and any workflow videos or breakdowns are welcome too. Thanks!