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Breakdowns from the school curators: composition and perspective, colour theory, proportions, stylisation. And separately on the profession — how to build an ArtStation portfolio, what art directors ask at interviews and what an artist actually does at a game studio.
Vitaly Gomolitsky collected the snags ZBrush beginners get stuck on, with the fix for each. The model multiplies as copies across the canvas, the camera has flown off, a subtool has gone black, the floor under the object has vanished, all subtools move at once — each case has its key.
Looking at other people's work is not enough — you have to take it apart. Anna Kholomkina uses one study to show seven layers of analysis, from composition and the spread of detail to reflections, subsurface scattering and brush choice. After that a reference stops being something to copy.
Tatiana Nazhimova looks at an artist's CV through the eyes of someone who has hired. What to write when you have no commercial projects yet, which phrasings put an art director off and what they read first. A self-check list and a sample CV at the end.
Ladislava Klyarovskaya warns up front that brushes will not raise your sculpting level and should be added one at a time. Her core set is small — Dam Standard and Clay Buildup — with narrower ZBrush brushes on top: Orb, Stitches, Chain and packs for fur. Links to the free sets are at the end.
A couple of hours of preparation changes the whole course. Decide what you want from it, try the tools with your hands, match your goals against the programme, give yourself permission to make mistakes — and get a proper rest before you start. Five pieces of advice gathered over seven years of teaching.
Evgenia Chernova shows five commands worth putting on your own Photoshop shortcuts. Flip the canvas, convert the piece to black and white, lock a layer's pixels, open a duplicate window and call up smudge — with the settings path for each one.
Applied drawing differs from academic drawing by its task: it is always made for a specific product — a game, an animation, a comic, an ad, industrial design. Where it is needed today and what each field expects from an artist.
Eight places where a ZBrush beginner gets stuck on flat ground. The object will not edit, stray bodies hang in the scene, the model looks smooth at a low polygon count, the form goes doughy. The school curators explain which key fixes each case and why some actions cannot be undone.
A CG artist's income does not grow from hand speed. Studios value the willingness to keep learning, working to the pipeline, presenting finished art well, being active in the community and judging your own level honestly.
