Structured programs built around how 3D game production actually works — not how it looks in a textbook.
Each program below covers a specific slice of the pipeline. Pick the one that fits where you are right now, and move from there at your own pace.
Two focused tracks — each with a clear scope and honest pricing.
Game Design
A structured course covering core 3D game design concepts — spatial thinking, asset creation, level design, and engine workflow — for those starting with no prior experience in game development.
Game Design
An intermediate course focused on creating polished 3D game environments — covering modular asset systems, texture workflows, performance optimisation, and the design decisions that make spaces feel believable.
Each track at Trintaflow is built from a specific problem in 3D game production — not from a general curriculum template. The content follows the order in which decisions actually get made during development, from concept to exported asset.
Expect to work with real software, real file formats, and real constraints. The programs do not simulate a studio environment — they use the same tools and workflows that production pipelines use. Progress depends on how much time you put in, not on a fixed schedule.
Read the program description carefully — each one targets a different part of the pipeline. Starting with the wrong track wastes time.
Sessions build on each other. Skipping ahead usually means coming back to fill in gaps later, which takes longer overall.
Feedback is specific and tied to the brief. You will know exactly what to fix and why, not just that something looks off.
Unedited accounts of what the programs were actually like to work through.
Spent about four months on the modelling track. The part that surprised me was how much time we spent on topology decisions — not just making things look right, but understanding why certain edge flows cause problems downstream in rigging. Nobody had explained that connection to me clearly before.
Came in knowing Blender reasonably well but had never touched a real-time pipeline before. The lighting and shading program forced me to think about performance budgets alongside visual quality — which is not something you naturally consider when you are only working in offline renders. Took me longer than I expected, but the outcome was worth it.
Reach out directly — the program pages have full breakdowns of what is covered, what software you will need, and what the workload looks like week by week. If something is still unclear after reading, write to us.