Huion Kamvas 13 Gen 3 Review – Can It Handle 3D Sculpting?

When it comes to choosing a display tablet for 3D work, size, resolution, and pen performance all play a huge role. So when I got my hands on the Huion Kamvas 13 Gen 3, I had one big question: Can a budget-friendly, 13-inch tablet handle serious 3D sculpting and texturing?

To find out, I put it through its paces in ZBrush, sculpting Warwick from Arcane. Here’s what worked, what didn’t, and whether this tablet is a good choice for 3D artists.

First Impressions – Compact, Well-Built, and Matte Screen Goodness

Right out of the box, the Kamvas 13 Gen 3 feels well-built for its price. It’s lightweight and compact, making it super portable. The 13.3-inch display runs at 1920x1080 resolution, which is standard for entry-level tablets. It’s also noticeably more vibrant than older models, covering 99% of the sRGB and Rec.709 color gamuts—a plus for anyone doing texture work.

One of the first things I noticed was the matte screen texture. Huion calls this their Canvas Glass technology, and it’s designed to reduce glare and provide a more paper-like feel. I was pleasantly surprised by how nice it felt—just the right amount of friction for a natural drawing experience. I didn’t even need to wear the usual drawing glove.

Setup was easy, too. Calibration was quick, and like most display tablets, you can set up custom profiles for different software, which is useful when switching between sculpting, texturing, and painting.

Sculpting Test – How Does It Handle in ZBrush?

For this test, I sculpted Warwick from Arcane, which meant a lot of fine detailing—fur, scars, and mechanical elements. Here’s where things got interesting.

Pen Performance – Surprisingly Good

Huion’s latest PenTech 4.0 technology delivers a battery-free pen with three customizable side buttons and a dust-proof grip. It felt smooth, precise, and responsive, with no noticeable lag. Pressure sensitivity worked well, especially for organic sculpting. Compared to my Xencelabs pen, I actually liked the extra third button—it’s small, but having one more shortcut is always helpful.

Screen Resolution – 1080p Feels Tight for Sculpting

This is where I ran into some issues. 1920x1080 on a 13-inch screen sounds fine on paper, but in reality, I found myself constantly zooming in and out to see details properly. For sculpting in ZBrush, especially when working on fine textures, I really missed having 4K resolution. If you’re used to working on a higher-res screen, this will be noticeable.

Tablet Size – A Bit Cramped for 3D Work

The 13.3-inch display might work well for 2D artists, but for sculpting, it felt too small. I had to constantly adjust my workspace to see everything clearly, which slowed down my workflow. If this tablet were touchscreen, I could justify the smaller size, but without that feature, it’s just not ideal for sculpting.

Shortcuts and Dial Controllers – Not Enough for 3D

The Kamvas 13 comes with two dial controllers and five press keys, all customizable. These work great for 2D workflows, but for 3D? Not as much. As a sculptor, I rely on a ton of shortcuts, and five buttons just aren’t enough. I ended up ignoring them and sticking with my keyboard instead.

The radial menu built into the pen is a nice feature—it gives you six quick shortcuts—but I found it a bit limited. Ideally, it would allow for more than six commands and let you rename them instead of just assigning shortcuts.

Final Verdict – Who Is This Tablet For?

The Huion Kamvas 13 Gen 3 is a solid display tablet, but is it good for 3D artists? Here’s the breakdown:

Who Should Consider It?

✅ Beginners on a budget – If you’re just starting with digital sculpting and need an affordable tablet, this is a great option.✅ Artists who need a portable setup – If you travel or work on the go, the compact size is a plus.✅ 2D artists and texture painters – The vibrant colors and matte screen make it a strong choice for 2D work and texture painting.

Who Should Look Elsewhere?

❌ Serious 3D artists – The 1080p resolution and small screen make detailed sculpting harder. If you work with high-res assets, consider a larger or 4K display.❌ Artists who need a touchscreen – If you like to rotate, pinch, and zoom directly on the screen, this isn’t the tablet for you.❌ Shortcut-heavy workflows – The limited buttons and radial menu aren’t enough for complex 3D workflows.

Final Thoughts

At $250, the Huion Kamvas 13 Gen 3 is a good entry-level option for digital artists, especially for 2D work and texture painting. However, for 3D sculpting, the low resolution, small size, and lack of touchscreen make it a bit frustrating.

Would I use this as my daily 3D sculpting tablet? No. But if you’re a beginner, working on a budget, or need a portable second screen for sculpting and texturing on the go, it could be a worthwhile option.

Let me know—would you use a 13-inch tablet for 3D work? Or do you need a bigger screen to stay productive?

Step-by-Step Tutorial: Wrapping Models and Transferring Textures Using Faceform Wrap

This tutorial will guide you through the process of wrapping 3D models and transferring textures using Faceform Wrap. This technique is commonly used by professionals to streamline their workflow and achieve high-quality results. Let’s dive into the detailed steps!

https://youtu.be/813BCbIwGiE?si=xQdcYeScwGBEXyEw

Step 1: Load Your Geometry

Start by loading the first geometry. In this case, we will use the Lucy Liu model. Navigate to the viewport 3D tab and select the visualizer model under the editor. You’ll find options for turning the wireframe on and off, which can be useful for visualization. To rename your geometry, press F2 over the geometry node.

Step 2: Load the Second Geometry

Next, load the second geometry, which will be the XYZ face geometry. This model is beneficial because it comes with a variety of baked maps that we will transfer later. After loading, quickly rename it to XYZ for easy reference.

Step 3: Create Splines for the Wrapping Process

Now, create a new node called “Select Points with Splines”. This node is preferred over the older “Select by Points” because it makes the wrapping process smoother. Ensure to keep it topological, as both meshes are topologically symmetrical. This is crucial for the wrapping process.

When creating splines, pay attention to the order and direction in which you create them. Typically, for heads, splines should be created for the eyelids, nasolabial fold, the Vermilion border (mouth), ears, and neck. This setup usually provides enough control for the wrapping process.

If you happen to place the splines incorrectly, don’t worry; you can reshape them later. It’s important to ensure that both geometries have the same number of splines, which can be checked in the visual editor.

Step 4: Pair the Points

Create a “Point to Pairs” node to link both geometries together. This step will help you verify that both geometries are aligned correctly.

Step 5: Fast Wrapping Node

Next, create a “Fast Wrapping” node. You might wonder why to use a fast wrapping node instead of the standard one. Based on experience, fast wrapping tends to produce a better initial result, which can then be refined further.

Step 6: Fix Artifacts with the Brush Node

After wrapping, use the “Brush Node” to fix any small artifacts that may have occurred during the wrapping process. Adjust the radius of the brush to suit your needs. The two main brushes to use are the “Relax Projection” and “Move Projection”. These will help address any topology issues effectively.

Step 7: Create a Final Wrapping Node

Create a wrapping node to finalize the geometry. In this node, set up the input and output without selecting by points. This will help fix any small intersections and relax the geometry further.

Step 8: Transfer the Textures

Now, it’s time to transfer the textures. Create a “Transfer Texture” node. In this setup, invert the inputs where the first input will be the XYZ head, and the second input will be your newly wrapped base mesh. Load the albedo map on top of the XYZ head.

To isolate and view the transfer result, hit control and display the node. You may need to adjust the resolution; while the XYZ maps come in 16K, for efficiency, set it to 4K for quicker transfers.

Step 9: Extrapolate Image Node

If you notice any empty spaces in the texture transfer, you can fix that by creating an “Extrapolate Image” node. This will help fill in the gaps effectively.

Step 10: Duplicate and Finalize the Transfer

Duplicate the initial geometry and place it at the end of your chain. Set the image input to your transferred textures. At this point, you may notice some errors, particularly around the eyelids. To address this, create a “Blend Shape” node.

Load the blend shape geometry, which typically includes a closed-eye version. Set the first input to the open eyelid and the second to the closed version. A blend shape value of 0.5 is recommended for optimal texture transfer.

Step 11: Final Adjustments

Make sure to reconnect your nodes properly and address any remaining topology issues manually. Spend extra time on tricky areas like the eyelids, as they often require more attention.

Step 12: Save Your Work

Once everything looks good, create a “Save Image” node to finalize your template. Name it appropriately and compute the current frame. You can choose different formats depending on the source image you’re using.

Conclusion

With this process, you now have a professional template ready for use. Faceform Wrap simplifies the workflow of wrapping models and transferring textures, making it a top choice for artists aiming for efficiency and quality. If you’re looking to enhance your 3D modeling skills, using Faceform Wrap is definitely the way to go!

YOUTUBE TUTORIAL: https://www.youtube.com/watch?v=BrfkZ7fUN-s

When I first started sculpting in ZBrush, one of the hardest things for me was figuring out how to block out the basic shapes of a head. I used to get caught up in the details way too early, and it always made things harder down the line. Over time, I learned that focusing on the foundation first is the key to smoother, faster results. Now, blocking out a head is one of my favorite steps, and I want to share a few tips that have really helped me refine my process.

1️⃣ Start with a solid base:Setting up a clean base mesh early on makes the rest of the sculpting process way easier and more efficient.

2️⃣ Focus on major forms first:Before jumping into details, I always start by defining the large shapes to give the head its overall structure.

3️⃣ Block out key facial features:Getting the basic shapes of the eyes, nose, and mouth in place early helps with proportions and flow later on.

4️⃣ Refine and adjust proportions:Once the blockout is done, it's time to go back and fine-tune everything, making sure all features are in harmony.

This approach keeps the workflow smooth and ensures a strong sculpting foundation. Feel free to share your own tips in the comments!

#ZBrush #3DArt #DigitalSculpting #BlockoutTechniques #ProTips #3DModeling

Wanted to share my first 3D character in Blender. I started my journey from Blender Guru's iconic Donut tutorial, I'll walk you through my step-by-step process of self-teaching and mastering Blender.  From mastering the fundamentals to crafting my own girl 3D model with unique toon shading techniques and using Blender Grease Pencil. 

All in 13 days. 

This video is packed with insights and tips for beginners eager to explore Blender.

2 months ago I had my very last Wacom Driver issue: Driver not found. Im sure you know what I am talking about!

So I decided to jump into the market on the search of a new Drawing tablet. My requests:

- Reliable

- good price

- Pen sensitivity

I've been working with the nw XenceLabs tablet for the last 2 months and I am very suprised with the results. Here you can find my personal review on this tablet. Hope you enjoy it!

Hey everyone,

I just released this video showcasing how to sculpt hair inside Zbrush using the Hair IMM  brush 2.0 that you can download.

 Let me know if you find it useful!

https://youtu.be/BzPPd0ifdAM?si=tAo_wsmwF8lVQUV8

Hi everyone,

I had several requests about how I would approach an Stylized sculpt, so I decided to put myself together and create a Step by Step tutorial for anyone to follow. I made sure this works for everyone, either beginners or professionals...so anyone would benefit from it!

Still images: https://www.artstation.com/artwork/lDkY6O

Hope you guys find it useful and let me know anything!

Best,

Marlon

Decided to release my Lizard reptile Alpha pack for Zbrush for free, along with a tutorial on how to use it. This is from a project I did a while ago for National Geographic ad, where I had to sculpt all the high frequency detail. Hope you guys find it useful!

Base model was created by the master Rafa Zabala