LogIn3D Sculptor and Educator Pablo Munoz Gomez joins our series of celebratory stories by sharing his perspective on the digital art industry's evolution over the past ten years.
What have you been up to since we last spoke? What projects have you been working on recently?
Pablo: It's been a pretty exciting stretch! Most recently, I've been focused on expanding my online academy, a learning platform for 3D Artists where I teach my workflows. I also had an amazing experience working with Archetype Entertainment, helping them develop creature concepts for the upcoming game Exodus.
Alongside that, I've done a few collaborations with Adobe and Wacom, creating training material. I've also been diving deeper into worldbuilding projects through the live workshops I run with students of The Extra Mile course, turning character sketches into 3D concepts and collectible pieces. It's been a nice balance between teaching, creating, and experimenting with new tools.
When did you first start creating art, and what initially inspired you to become a Digital Artist? Where do you find inspiration now?
Pablo: I've been drawing since I was a kid, but the digital side of things really started around 2005 when I began exploring 3D animation as a career in Costa Rica. That's where I first tried ZBrush and the idea of sculpting digitally. Back then, the tools felt a bit like magic. Today, I still find inspiration in a mix of things like nature, insects, high fashion, and of course, other artists' work. I'm not sure I even have a defined style. Maybe it has evolved into something more whimsical. I enjoy a wide range of subjects, so I jump between creepy diabolical creatures, sci-fi heroes, and stylized cute concepts. I think the evolution has been about embracing that variety and not getting stuck on a particular theme.
How do you think the industry has changed over the past decade – for better and for the worse?
Pablo: The access to tools, learning, and community is incredible now. A decade ago, resources were scattered and gated, lots of DVDs but hard to find. Today, you can learn from artists all over the world instantly. That said, the pressure to stay relevant has grown, especially with how fast tech and AI are moving. I do feel some nostalgia for the slower, more focused workflows before constant updates and feature drops became the norm. Back then, every tool felt like a game-changer. Now it can sometimes feel like a race to keep up.
Ten years ago, it was a different game to produce an image, I remember back at uni booking half of the computer lab to set up a render farm to produce a single render for my final semester delivery. It is crazy to see the jump in speed and quality with the things you can produce in real-time rendering in tools like Unreal or Marmoset. You can get cinematic-quality results on the fly.
The integration between tools has also improved massively, baking maps, painting materials, setting up rigs, it's all faster and more intuitive than before, I think. Tools like Substance 3D or Blender have come a long way in terms of user experience and performance. And now with AI and procedural workflows creeping in, there's a lot more room to iterate, experiment, and break traditional pipelines.
Looking back on your artistic journey over the past decade, what standout moments come to mind? What year would you call the most challenging and the most successful?
Pablo: A big milestone for me was the launch of my online academy and with it my The Extra Mile course, and seeing how it's helped artists grow, not just technically, but creatively. That's been one of my proudest contributions.
The most challenging year? Probably the first year of the pandemic. Like many, I had to rethink my priorities, shift my focus, and figure out how to sustain both creativity and income in a really weird time, but it also taught me a lot about myself. The most successful? Honestly, it might be this past year, between launching new projects, growing the community, and balancing fatherhood, it's felt like everything is clicking into place. Definitely a lot more work and more pressure, but all in a positive way, I think.
Lastly, what are your hopes for Digital Artists and Game Developers in 2025 and beyond?
Pablo: I'd love to see more focus on 'deep dives' from different artists with a range of skills, not just what's trending, but what moves people. I hope artists keep experimenting and embracing their own voice, and that studios create space for that too. For the 80 Level team: thanks for supporting the community for a whole decade! Here's to more in-depth features, more artist spotlights, and continuing to inspire the next generation of creatives.