Building Skills That Actually Matter
We started in 2018 with a simple idea—teach 3D modeling the way studios actually work.
Most courses dump software tutorials on you and call it training. But we've seen too many students struggle when they hit real projects. So we built something different. Our approach focuses on the messy, challenging parts of game development that nobody talks about.
How We Got Here
Every program we run comes from lessons we learned the hard way. Here's the journey that shaped our teaching approach.
Early 2018
Started With One Question
A local indie studio asked if we could train their new hires. They were frustrated with candidates who knew Blender but couldn't optimize models for actual game engines. We spent three months building a curriculum that prioritized production pipelines over feature lists. That first cohort of eight students became the foundation for everything else.
Mid 2020
Remote Changed Everything
When everyone went home in 2020, we had to rethink how practical training works online. Turns out, screen sharing and breakout rooms can't replace looking over someone's shoulder when they're stuck on UV mapping. We developed asynchronous video reviews and one-on-one debugging sessions. By autumn, our remote format was actually working better for some students than in-person had been.
2022-2023
Expanded Beyond Basics
Students kept asking about character rigging and environment design. We brought in specialists who actually ship games for a living. Our advanced tracks launched in late 2022, and by 2023 we were running three concurrent programs. Keeping quality consistent across different skill levels was harder than expected, but we figured it out through tons of iteration and student feedback.
2025 & Forward
Focus On Real Projects
This year we're doubling down on portfolio development. Every student now works on at least one full game asset pack from concept to final export. We've partnered with four regional studios to provide mentorship and realistic project briefs. Our autumn 2025 program starts in September, and we're already planning more specialized tracks for 2026 based on where the industry's actually heading.
Who Actually Teaches Here
Our instructors spend their days working on real games, then share what they're learning with students. No full-time academics here—just people who still get their hands dirty with production work.
Borjan Krstevski
Lead Technical Instructor
Spent six years doing environment art for mobile games before he started teaching. Borjan's good at breaking down why your topology matters for performance, not just how it looks. He still freelances on VR projects, which means his workflow tips are current and actually tested. His feedback can be blunt, but students appreciate the honesty once they realize he's trying to save them time.
Cveta Dimitrova
Character & Animation Specialist
Cveta came from character work in advertising before switching to games in 2019. She runs our advanced rigging modules and has this talent for explaining joint hierarchies without making your brain hurt. Currently working on an indie RPG project, which gives her plenty of real examples to share. Students say her office hours are where complex problems suddenly make sense.
Problems We Actually Solve
Students hit the same obstacles over and over. We've built specific solutions for the most common frustrations people face when learning game art.
Your Models Look Good But Run Terrible
You've nailed the visual details but the frame rate drops when it loads. This happens because optimization isn't intuitive—what looks fine in Blender might kill performance in Unity.
We teach poly reduction, LOD workflows, and texture atlasing from week two. Every project includes performance budgets so you learn to balance quality with technical constraints before it becomes a crisis.
UV Mapping Still Makes No Sense
Every tutorial glosses over UV unwrapping, then suddenly you're supposed to understand seam placement and texture packing. The whole process feels arbitrary and frustrating.
We spend focused time on UV strategy, showing you multiple approaches for different asset types. You'll practice unwrapping the same model three different ways to understand why certain methods work better for specific use cases.
Building Portfolio Pieces That Nobody Needs
You've created fantasy swords and stylized characters, but studios want to see props, environments, and assets that fit actual game styles. Your portfolio doesn't match what employers are looking for.
Our project briefs come from real production scenarios. You'll build modular environment kits, optimized characters with full texture sets, and props designed for specific art directions. We review everything from a hiring manager's perspective.