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3D Artist3D Artist

3D Artist No. 131

3D Artist magazine is a luxury title for fans of 3D software and the phenomenal images that can be created. Each issue is packed with advice and inspiration for 3D devotees, all written by first-class artists. The tutorials give readers valuable insight into the techniques used by 3D professionals, while interviews and features focus on the latest projects being created by commercial studios and freelancers. 3D Artist looks at the entire 3D world, from TV and architecture design, through to film work, concept art and character development. The unique 'Workspace' mini-mag is for people training for a 3D career and shines the spotlight on 3D university and college courses, in addition to specific career advice from experts in the field, interviews with 3D studios and recruitment agencies, plus tips for anyone starting out as a freelancer. Please note: Digital versions of the magazines do not include the covermount items or supplements that you would find on printed editions.

Country:
United Kingdom
Language:
English
Publisher:
Future Publishing Ltd
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13 Issues

IN THIS ISSUE

access_time1 min.
welcome

As a 3D artist you probably have a solid core of interest that informs the tools you choose to learn as well as the techniques that lend themselves to your preferred area. That said, it’s often valuable to spread your wings, delve into different areas and increase your knowledge and skill set. We aim to inspire you to learn more and discover new opportunities, so this issue we bring you a wide range of different inspiration and tutorials. We start off with our gallery of the latest and greatest art from the community, along with some technique focus pages to help you discover new directions where you could head next. We also talk to the team at Laika to get behind-the-scenes info on The Missing Link and take a good, hard look…

access_time1 min.
3d artist

Editorial Editor Rob Redman rob.redman@futurenet.com Art Editor Newton Ribeiro Production Editor James Price Staff Writer Brad Thorne Acting Group Editor in Chief Claire Howlett Senior Art Editor Will Shum Contributors Greg Barta, James Clarke, Jonatan Mercado, Kurtis Dawe, Trevor Hogg, Pierrick Picault, Farid Ghanbari, Sebastian Mundo, Quoc Anh Pham, Eric Cunha, Elizabeth Ku-Herrero, Robert Smith, Rory Björkman, Rafael G. Moreno, Gustavo Henrique, Chris Lambert, Gael Kuchenbaum, Jarl Midelfort, Lasse Rasmussen, Cirstyn Bech-Yagher Photography James Sheppard All copyrights and trademarks are recognised and respected Advertising Media packs are available on request Commercial Director Clare Dove clare.dove@futurenet.com Senior Advertising Manager Mike Pyatt michael.pyatt@futurenet.com 01225 687538 Account Director George Lucas george.lucas@futurenet.com 01225 687311 International Head of Print Licensing Rachel Shaw Licensing@futurenet.com Subscriptions Group Marketing Director, Magazines & Memberships Sharon Todd Circulation Head of Newstrade Tim Mathers Production Head of Production Mark Constance Production Project Manager Clare Scott Advertising Production Manager Joanne Crosby Digital Editions Controller Jason Hudson Production Manager…

access_time2 min.
the expert panel

TREVOR HOGG laika.com A regular contributor to 3D Artist, Trevor Hogg returns this issue to bring you a look behind the scenes on Laika’s latest project, Missing Link, which combines stop-motion with CG. Turn to page 22. GREG BARTA scivfx.artstation.com Veteran Houdini artist Greg Barta returns to the pages of 3D Artist this issue to delve deep into Houdini to help you learn to create fabrics using various simulation tools. Turn to page 38. GAEL KERCHENBAUM weacceptyou.com Gael was part of the team behind this stunning fox animation, created using Ziva. He and some of the other team members show you their process to get the very best results. Turn to page 46. FARID GHANBARI 3fx.com Farid is the art director at 3FX Inc. with over 11 years’ experience in the CGI industry. He’s always trying to learn something new. Here…

access_time1 min.
free with your magazine

Head to bit.ly/3DA-131 to download your files Step-by-Step tutorial Master cinematic medical animations with this in-depth training Three CGAxis premium models Three models with a musical instrument-based theme Textures from 3DTotal.com Download a selection of high-quality textures Tutorial files, video files and screenshots Learn the latest techniques and toolsfrom our industry experts SIGN UP to our newsletter to get the latest news, stories and training from your favourite 3D magazine…

access_time4 min.
the gallery

Rafael G. Moheno bit.ly/2VJNfei “The goal was to achieve a realistic look without appealing to excess damage; to make it interesting not by showing it deteriorated but used. Therefore, any wearing that the textures displayed had to be subtle. As you can see on the wings in this image, realism comes from the soft variance of colour tone. I find that subtleties play a huge part in achieving a convincing result”Rafael Garcia Moheno, The Outlaw Scout, 2018 Rafael began his career in 2D classical animation in Mexico City. He is now a modeller and texture artist at Method Studios. Software Maya, Mari, V-Ray, Photoshop, Substance Painter Work in progress… Quoc Anh Pham quocanh.artstation.com “My job now mainly involves low-poly modelling for games. I love to challenge myself and learn as much as possible. After seeing a lot of…

access_time7 min.
travelling the world with missing link

With each project, the stop-motion animation ambitions of Laika get larger in scope, and its fifth endeavour, Missing Link, is no exception. Desiring to meet his long-lost relatives, a huge creature known as Mr. Link (Zach Galifianakis) recruits fearless Victorian explorer Sir Lionel Frost (Hugh Jackman) to guide him as he leaves his Pacific Northwest home for the fabled valley of Shangri-La. “I remember saying at the start, I wanted this to be as if David Lean made Around The World In 80 Days starring Laurel and Hardy,” chuckles Chris Butler, who serves as writer, director and head of story at Laika. “Traditionally, stop-motion can feel small, because in the past you were limited by the size of your sets and puppets and where you could set the camera. I wanted to…

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