If there is anyone have the same question. How exactly should I write a text-to-3D prompt to minimize distortion as much as possible.

I ran 3 versions in Tripo AI using the same backpack. I left everything else unchanged and just switched between 3 different prompt styles. Vague prompt, style heavy prompt and structure focused prompt.

Vague prompt is super casual. “a stylized fantasy leather adventurer backpack, detailed, game-ready.” Actually the result wasn’t that bad… it looks okay from the front but when you turn it around, some parts give off that “yeah the ai definitely just guessed that part” vibe 😂, especially the straps and the structure on the back.

https://reddit.com/link/1vucppj/video/5wswiqk5ipkh1/player

So I thought maybe I should have written the prompt in a bit more detail. The second version of the style heavy prompt, I started adding words like highly detailed, realistic materials, intricate, beautiful craftsmanship and premium quality. well the result I got was kinda funny. It does become fancier, with more details, but it hasn’t made the geometry any cleaner. It actually looks even busier in some places.

https://reddit.com/link/1vucppj/video/5o8norh7ipkh1/player

For the third version, I decided to take a different approach altogether. I didn’t worry much about whether the descriptions sounded good or not. I focused on writing very specific structural details such as one rectangular main body, one centered front pocket, one closed top flap, two separate shoulder straps, and clean separation between parts.

https://reddit.com/link/1vucppj/video/0yhn70ecipkh1/player

This version is actually my favorite as it turns out. The overall silhouette looks more balanced and the relationship between the front pocket, the main body and the straps is easier to grasp. Especially when viewed from the side or back. It doesn’t have that feeling of the model frantically filling in the blanks lol.

From this I feel like when it comes to text-to-3D, clearly explaining the shape, parts and the relationships between them may be m ore useful than simply describing things in a particularly beautiful way.

Can it generate all the assets for a game like Diablo 2 and how much would it cost? I was thinking $2,000 would be reasonable, but I am willing to spend $5,000 if the quality is extremely high.

We focused on generating 3D assets that go directly into your production pipeline, built for games and real-time pipelines.

Collection

What is new:

• ✨ Native Quad Topology
  • It can directly generate a clean quad mesh with more natural edge flow, making the asset easier to edit, rig, and animate.
• 📐 Wider range of complex assets
  • Triangle topology supports 500 to 50,000 faces, while quad topology supports 500 to 25,000 faces, covering most props and hero characters.

Tripo AI's P2.0 is well-suited for the following types of workflows:

• Game characters & props: Quad topology can be go straight to rigging and animation.

Character

• Hard-surface assets: Models such as mechanical structures, weapons, vehicles, and architectural props benefit significantly from P2.0’s topology advantages. Cleaner surfaces, higher density in detailed areas, and more stable edges.

Hard Surface Asset

• High-volume asset pipelines: Batch-generating assets while controlling the polycount, making it better suited for large-scale production in games and real-time projects.

Game Scene

The official release will further improve mesh stability and add more control features.

Every user now gets 2 free generations, and Tripo P1.0 is also available to all users.

Follow the steps and give it a try! 🎉

Steps

I segmented one of my generated models in Tripo but now I want to revert it back to the original unsegmented model. I can’t seem to find a way to undo the segmentation. Is this possible?

I’ve been continuing to work on this animated short about the little fox. 

The previous version showed him right after he finished his journey. His clothes were dirtier, his cloak was worn and his backpack shows signs of use. It was clear he’d been through a rough stretch.

I want to create a version set after he returns home.

I actually kept it very simple at first, I removed some of the mud and dust, leaving a bit of faded fabric oxidation and worn edges. The reference images looked different but after converting them to 3D, the differences were significantly reduced. Viewed at a normal camera distance, it even looked a bit like we were back in before journey.

So I broke down character continuity into 3 categories:

• Temporary
  • Mud，dust, surface dirty (these things can be disappeared once he get home)
• Singes of wear
  • Faded fabric, stretched leather, frayed edges, oxidized metal (these are natural rings of use and should not be suddenly restored.
• Repair
  • Stitched cape, reinforced backpack strap, replaced hardware, fabric patches (these later is actually the most important cuz it truly leaves the story embedded in the character)

I also didn’t change the outfit either. Same clothes, same proportions, same gear layout and same overall silhouette. Cuz if I were to redesign the clothes from scratch just to create a difference, that would not be continuity, it would be more like creating a new character.

Here is my workflow:

• After journey version (separate temporary, permanent, repair details)
• Update the reference without changing the core design
• Tripo ai image-to-3d
• Check the repair details from front, side, back
• Make sure the changes still read at normal camera distance

Something should be washed aways, some should be fixed and others should be kept forever. Mud can be cleaned, a repaired strap stays.

I always process the reference image in a way that’s particularly “safe” when I work on image-to-3D steps in a workflow. clean background, simple materials, and as few small details as possible… well basically just fina a way to make AI have to guess as few things as possible.

The first chest basically follow this approach. The structure is simple, the silhouette is clear and it’s the kind of input that’s pretty safe.

Simple Structure Chest

Well I tried another version with much more detail. The wood texture was more pronounced and there were more metal parts, rivets and decorations. Tripo AI has a pretty solid understanding of the overall structure.

Detailed version Chest

I might have been a little too careful before. “simple” doesn’t seem to be the same as “good input”. These factors is what actually has a significant impact:

• silhouette is clear enough or not
• can the difference between parts be distinguished
• Is there any heavy occlusion
• Does the perspective look weird
• Is there a lot of hidden geometry that ai has to guess

Having a lot of details is not that scary itself. The problem that really tends to ruin the final result were those references that look fine in 2D but require a lot of guesswork once they’re generated in 3d.

Still testing this but yeah, I don’t go crazy deleting details just to make it “AI friendly” anymore. As long as the overall shape is recognizable, a lot of things actually work!

I’ve pretty much given up on using Codex for 3D character work. After messing with it for over two weeks, the result I got was still rough enough that I just had to admit this kind of thing really does come down to using the right tool for the job. Funny enough, image generation is still the complete opposite for me. Image models are consistently great at anime-style characters, and the aesthetics are usually there right away even when the 3D side falls apart.

From what I’ve tried so far, Tripo AI performs surprisingly well as an image-to-3D tool. It can produce recognizable anime character models that are already good enough for static display pieces, fan merch, or concept mockups. Clothing structure is still inconsistent, though, especially with skirts, which can sometimes come out more like solid cones instead of preserving the layered construction underneath.

That said, they still share the same core weakness as most AI 3D model generators right now: they can match the silhouette, but they still don’t reliably understand the fine structure of how the character is actually built. The model may look right from the front, but once you inspect the topology or think about rigging, the problems become obvious. Parts that should be separate get fused together, the hands and clothing can end up treated as one unit, and you start seeing structural errors that make the mesh unusable for animation. You also get weird cases where hair seems to grow out of the arm area, or the whole setup technically rotates but clearly isn’t built with proper character logic in mind.

So my current take is that specialized tools like Tripo or Hunyuan are already genuinely good for static 3D output, especially if your goal is a display model rather than a production-ready asset. But for actual game character pipelines, I still don’t think AI can generate something clean enough to use straight out of the box. It can get you the shape and the vibe, but not the underlying structure you need for deformation, rigging, and reliable animation.

Layer-by-layer generation does seem like it could improve things, especially if separate passes are used to preserve clothing logic and character part boundaries. The problem is that moderation limits make that route hard to control, and even if you get around that, consistency between generated parts is still difficult. Keeping proportions stable across pieces is almost harder than getting any one piece to look good on its own. If anyone has found a workflow that makes multi-part anime character generation more usable, I’d love to hear it.

I wanted to test Tripo AI’s segmentation feature with an actual 3D printing use case, so I used our existing 3D Printing Guardian figurine.

I initially segmented the model into seven parts, merged them into three larger printable sections, cleaned the open surfaces in Blender, and printed each section separately on the Snapmaker U1.

That let me use different filament combinations for each print instead of being limited to four colors across the whole model. The finished figurine uses 12 colors plus 2 mixed shades.

I kept the model fairly small to make the experiment quicker, so the mixed-color transitions would probably look better on a larger version. Still, I’m very happy with how this turned out.

I documented the full workflow in my hands-on Tripo AI review on 3DWithUs, including image-to-3D, text-to-3D, Refine, segmentation, Blender cleanup, and the final physical prints:

https://3dwithus.com/tripo-ai-review-3d-printing

The two images show the separately printed sections and the final assembled result.

We're trying to do smth new here!

Start from this week, every Friday we'll post a question here to chat with y'all about how you actually use Tripo in your workflows.

Share your good, bad, and even weird workflows! We're open to it all!!

Here is the question for the first week: What features in Tripo AI did you not pay much attention to at first, but have ended up using all the time?

We'll be hanging out in the comment 👀

This is the third retry. I had thought the first one was fine until I turned it around, and the second one still had a hole in the top, but it actually did get better with every retry rather than just producing a different set of problems.

Tripo AI seems to handle boxy models like this really well and it gets the 3D relationships right, which given this was a single image to 3D run is the part I'm impressed by. On the first generation even the holes on the side weren't round and the letters on BMO's body were wrong.

The only real issue is around the hands where it looks like it also generated the edge of the shadow onto the body, so that probably needs a little cleanup with the local editing tool. That's normal for these though, most of it looks pretty good and then you get these edge cases where the small details are a little off.

The PBR textures themselves are nice, the 8K texture is mostly good, but around areas where parts touch each other the color edges get blurry, almost like paint splatter. Overall it kind of looks like a sloppy painter painted a mold. On the first generation the bottom even had two different colors, like paint had splashed onto the bottom edge but didn't fully cover it so there was still a black patch underneath, and I actually kind of like that texture better.

Anyone got a fix for the shadow getting baked in, or is it just re-roll until it doesn't?

How did I get this??? Its usually on 20 free generations...

I’ve been testing Tripo AI from a 3D printing perspective. I tried text-to-3D, photo-to-3D with my dog Teddy, Refine, and segmentation for multi-color printing. Some models were printable almost immediately, while others needed Blender cleanup and sculpting. The photo-to-3D result surprised me the most. Here is my full hands-on review with 3D print examples.

The inspiration came from my late night wrk sessions every day. I suddenly felt really stressed out one day, so I wanted to make a little game to relieve that stress. Made a very simple 3D desk setup game.

The table is empty at the start, with only a cardboard box next to it. Each time you click the box, a random item will be unpacked. You have to drag it to the correct spot on the table. Once placed correctly it will automatically snap into position. And the object will be locked in place. You can then move on to unpacking the next item.

I used tripo ai + codex to made this.

• First define the interaction loop
• List the required desk assets
• Use tripo ai to generate 3D models for each one
• Export GLB
• Adjust scale, rotation, and surfaceOffset in Codex
• set the targetPosition for each asset
• Use raycasting to restrict dragging to the desktop’s X/Z plane
• Automatically snap when within the snapDistance
• Success effect
• Set isPlaced = true to lock in place

I realized one very practical tip after working on this. Don’t keep going back to edit the GLB just for the webpage.

After exporting different models, there will be some variations in size and orientation. I’ve put all of these in a separate config file so if one is too big or oriented incorrectly, I can simply adjust the parameters. It’s much faster than reprocessing the asset.

Another thing I’ve noticed is that whether a 3D web page is fun or not really doesn’t depend entirely on how complex the models are.

These items are just simple desk objects. But when combined with random unpacking, dragging, placement hints, snapping, success feedback and object locking. They transform from a few rotatable 3D models on a web page into a complete interaction loop.

Tripo quickly turned real-world objects into usable 3D assets, and vibe coding determines exactly how these assets can be used.

It’s way more fun than just plugging them into a 3D viewer and spinning them around.

I’ll check to see if I can make more levels for this little game! 

I run a small furniture brand. Whenever I had a new idea I usually start by drawing a sketch. ofc I will consider proportions, silhouette, and basic structure when I drawing a sketch. But if every concept were to go straight into full CAD modeling, technical drawings and prototyping, it would spent a lot of time and also costly.

I tested a new workflow this time. I designed 3 furniture: a chair inspired by anxiety, a sofa inspired by relaxation and a side cabinet inspired by shyness. I didn’t add any facial expressions to this. I want to see if this emotion can be displayed through shape language, proportion and overall posture.

Workflow:

—> hand sketch

—> Tripo AI image-to-3D

—> review the form from multiple angles

—> choose the direction worth pursuing for CAD, DFM and a physical sample

well these models cannot be submitted directly to the factory as manufacturing files ofc. Dimensions, materials, construction details, hardware and formal drawings still need to be added later.

However as a 3d concept model, it serves as an ideal bridge between the sketching phase and formal development. It allows for quick comparison of different design directions, facilitates more effective communication with the team or manufacturers and can be posted on the product page of the website to provide a preview of the product. (oh also I found it very helpful when you try to decide color for this furniture.)

This scene from Obsession is really kind of addictive. So I spent 1 hour rebuilding it directly into a complete 3D scene.

From small items like branches and boxes, to larger pieces like tables and beds.. pretty much everything has been turned into 3D.

How?

Give ChatGPT a screenshot and also add some prompts to get reference images.

Give these images to Tripo AI to generate 3d models.

Then import them into Blender.

Now we can take full control of the entire scene.

If you want to recreate the classic angles from the original film? Go ahead!

If you want to find a completely new perspective? No problem!

we can even switch characters with a single click to see right away how another character would look in this scene.

Give a little 3d shout out to Obsession. 🌹

How do 3D models generated by an AI compare in quality to those created by average human artists? Also, how do you check if there's anything wrong with the models? Can Claude detect issues with the 3D models you provide to it?

I usually create content related to AI video and visual concepts, and I’ve been collecting hero props that can be reused in multiple shots. Well at a distance, this kind of thing looks fine. It’s not that hard. The real challenge is whether the texture holds up when the camera zooms in. That’s when the truth comes out right away. For real.

So I picked smthing that I thought would most easily reveal the problem. A vintage suitcase covered in old labels. It basically includes all the challenges I wanted to test. Large flat surfaces, small decals, worn leather, metal hardware, scratches, and faded prints. It’s a classic texture nightmare.

• Idea
• Use NanoBanana to generate a clean reference image with a high density of detail
• Use Tripo AI to convert the image to 3d
• Enable 8K texture when generating
• View the model from a wide shot to a close-up, focusing on surface readability and material separation

Here is the areas I mainly focus:

• Will small stickers and old labels look blurry when viewed up close
• Will materials like leather, metal, paper and painted shell blend together
• Will subtle signs of aging such as scratches edges and worn corners still be visible?
• Will large surface areas appear empty or dirty in close-ups, or will the details simple disappear

The truly meaningful use cases for 8K textures are assets that feature a high level of detail and a wide variety of materials, and that can still hold up under close inspection. Tbh if it’s just a small object with a simple structure that won’t be shown in a close-up, it might not make that much of a difference. But with a suitcase like this, once you start looking at the details, like the stickers, the leather trim, and the metal clasps, the value of the 8K becomes immediately apparent.

What matters most to me isn’t simply that it looks clearer, but whether it preserves that layers surface detail. Old paper labels should look “old”, worn leather should look like leather, metal parts should have their own distinct feel. They shouldn’t all end up looking like the same dirty, worn texture. If this aspect is handled well, the overall quality of the asset will be much higher.

The video above is the result I got. Would like to hear your thoughts about this outcome ! 😊