Real talk about game art workflows, 3D modeling challenges, and what actually works when you're learning this stuff. No fluff.
Spent three hours tweaking materials only to watch everything break when you import? Been there. The problem usually isn't your modeling—it's understanding how different engines handle normals and UV maps.
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Mobile games need to run on devices from 2019. AAA PC titles want every detail visible. Same project, different platforms, completely different approaches to texture resolution. Here's what works.
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You can follow a hundred YouTube tutorials and still not understand how to actually work on a game team. The difference between knowing tools and understanding production is bigger than most courses admit.
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Everyone says "build a portfolio" but nobody explains that studios want to see process work, not just final renders. They need proof you can iterate, take feedback, and work within constraints.
Last month we had someone show us twenty beautiful character models. All posed perfectly, all lit dramatically. Great work. But when asked about poly counts or how they'd adapt for real-time? Silence. That's the gap we're trying to close.
Our next cohort kicks off in early September 2025. That timing isn't random. Game studios in North Macedonia and across the Balkans tend to ramp up hiring between October and February for the following year's projects.
Finishing training in spring 2026 means you're ready when junior positions actually open up. It's not guaranteed placement—we don't do that—but the timing helps.
You don't need to be a programmer, but understanding shaders and material systems opens doors. The artists who can bridge modeling and technical implementation? Those are the people teams actually want.
We spend more time on this than most programs because it's genuinely useful. Learning to write basic shader code or set up proper LOD systems makes you way more valuable than perfecting photorealistic renders nobody will use.
Lead Technical Artist, Former Ubisoft Sofia
Our program runs from September 2025 through April 2026. It's structured around how actual game studios work, not academic theory. Here's what that looks like.
First two months focus on getting comfortable with tools and understanding topology. Not "here's every button in Blender" but "here's what you'll actually use daily."
Months three through five simulate real project conditions. Tight deadlines, art direction changes, technical limitations. The uncomfortable but necessary stuff.
Final three months let you focus on either characters or environments while building portfolio pieces that show actual pipeline knowledge.
You'll work with other students on small game projects. Learning to sync with designers and other artists is harder than mastering any software.