3DWay: Original 3D Artists

Sergio Suarez explores environment art through systems that artists can change and reuse. His personal Unreal Engine project leads into a discussion of materials, vertex painting, procedural variation and designing shaders as useful tools.We also discuss the differences between personal work and large-team production, and how his own portfolio priorities changed with experience. The screen-shared examples come from his personal project, alongside reflections on working within large teams.FOLLOW

Visual note: Some screen-shared artwork in this video may appear brighter or more washed out than intended. Please see the linked original artwork and trailer for Francesco’s intended colors and detail.Original steak artwork: https://jackfurneri.artstation.com/projects/9Ev4WaRedwood: https://jackfurneri.artstation.com/projects/2BDB1gThis steak wasn't sculpted by hand. Francesco Furneri built its form and surface procedurally in Substance 3D Designer, using height information to displace a

Reyner Sumarriva explores how he turns cultural references and game-inspired ideas into editable materials. The conversation moves from his Peruvian-inspired mask to a personal Diablo II environment study, Chavín-inspired stone carvings, flowers and material controls in Substance Designer.Alongside the finished work, Reyner explains exposed parameters, readable control names and comments that preserve the reason behind a graph decision. His AI discussion focuses on control and editability, while the

How does a picture become a story? Artist and author Arthur J. Dorety III joins Alex Fridlyand to discuss how dragon illustrations grew into Tales of Urath. They explore reused models, posing, lighting, render times, maps, composition and the practical work of self-publishing.Arthur distinguishes his original Book 1 artwork, made with Poser and Vue before he used AI, from his later AI experiments. He also explains the exception to his shared dragon-mesh workflow and confirms that the later books are

Travis Sindewald explains a procedural-material workflow that combines 3D geometry and simulation in Houdini with baking, cleanup and finishing in Substance Designer. The conversation follows reusable tools, a wall of books made for The Elder Scrolls Online, and a Flood Fill example that closes gaps between color regions.We also discuss learning under deadlines, building a portfolio and the role of a referral in his own first-job story. Travis explains where setup, computation, baking and manual

Sarah Malcom talks through her route into environment art, studying at Gnomon, studio and contract work, and building Wizard Cleaning Simulator with the team at Three Frog Studio.The project walkthrough shows a development build and the team's planning board. Sarah explains how shared references, a realistic budget, communication and a weekly view of the work help a small team make decisions. She also reflects on uncertainty between jobs and learning from collaborators. The footage records work

Artur Artinian shows how cultural references, composition and lighting give a 3D environment meaning. His Path of Pomegranates scene leads into a practical discussion of reference boards, modular pieces, unique props and planning light through a Photoshop value study.We also explore his smaller interior project and the choices behind presenting an environment-art portfolio. Artur credits teacher Jon Arellano for the lighting-planning approach and distinguishes a portfolio image from a

How do you make your portfolio fit the role you want while keeping the work that makes it yours? Environment artist Kendrick Russell talks through that balance, his route from game modding into professional work, and rebuilding his creative focus after layoffs.The conversation also looks closely at his environment art: what individual lights contribute, how composition directs attention, and why experimenting with skyboxes and shapes can lead to useful surprises.FOLLOW KENDRICKKendrick's