Arsenije Čudić

3D Artist

Arsenije's career started with a friend's copy of Tekken 3. To a kid in the late 90s, those were peak graphics, and that was enough, he knew he wanted to make things in 3D. There was never a follow-up moment of realization, just stubbornness that never wore off.

He started in 3ds Max, moved to Maya through college and courses, and now works almost entirely in Blender with a well-curated stack of addons, stepping out only for texturing in Substance Painter and Affinity. His approach to performance is what he calls strategic cheating: hide what the camera can't see, fake detail with textures and shaders, and spend the polygon budget where it counts. Getting a whole scene onto a single material is, to him, a fun minigame that happens to give the scene its visual consistency.

SKILLS

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PROGRAMS

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Arsenije Čudić

3D Artist

Q&A

When I was a kid my friend showed me a game called Tekken 3. At that time, it was peak visual graphics XD and I knew right then I wanted to work on 3d graphics.

I think there wasn't a moment of realization, just pure stubbornness from the beginning.

I play my favorite games and compose or edit music for my band.

I have 3 in this order 1. “Frostmourne hungers” 2. “Im blind not def “ 3. “Jobs done”

Getting my first guitar Living by the seaside for half a year Graduating from college

All the games I love are in 3D, and from day one ,figuring out how 3D art actually gets made has been super fun. Honestly, it just looks cool.

The first time I tried to make an anime character with my own shader. It was harder than I planned. Sadly Gary(anime model) gathers dust in my 3D library.

I started with 3DsMax and switched to Maya. After I finished college and 3D courses I switched to Blender. Now my collection of addons do all the work, only texturing is done outside (Substance Painter/Affinity)

That impressive graphics matter more than great gameplay. A lot of incredible games have simple or deliberately ugly visual styles, but they work because the gameplay and story is great. Art in games exists to support the experience, not just look pretty.

It's all about strategic cheating. Based on the camera perspective, you hide what the player can't see, fake complex detail through smart textures and shaders, and allocate your polygon budget strictly to high-priority assets. Also it's a fun mini game to try and have a whole scene on one material and that constraint actually gives you the visual consistency.

I love all of them! The hardest part for me is when I don't have a clear mood board and concepts. I don't like that feeling of being lost.

I love thundercloud studio when it comes to stylization, Tim Willmsen for modular design, and the guys at Neon Giant like Dan Mihaila for heavy optimization and reusability.