3D World November 2020

3D World magazine is the world's biggest-selling monthly title for the 3D artist covering all aspects of the CG creation, inclduing animation, visual effects, vidoegames and architectural visualisation, and includes expert training in apps such as 3ds max, Maya, Cinema 4D, ZBrush, LightWave, Vue, Photoshop and After Effects. Every issue the magazine features an artist showcase, making of features and reviews of new products.

United Kingdom
Future Publishing Ltd
US$ 6,99
US$ 64,99
13 Números

en este número

1 min.
editor’s welcome

$99 Annual print and digital subscription offer – turn to page 87 to find out more Architectural visualisation is a big deal for many 3D artists. As well as being a pretty large industry in its own right, it also offers something to the hobbyist or CG enthusiast as a way to expand skills, focus on lighting, and create renders of real-world scenes that are easy to judge, compared to dragons, robots and the like. That’s why this issue we talk to Belle van der Woodsen, our cover artist, to see what is in store for you if you are interested in this field. Not only does she talk about her work but she takes time out to walk you through her process, giving you valuable insights into how to achieve stunning…

1 min.
bladerunner alley

SOFTWARE Blender, Photoshop, Affinity Photo Full-time illustrator and animator Jonathan Ball spent around three or four weeks, on and off, creating his Bladerunner Alley image. Ball was able to draw from his 15 years of experience as an artist throughout the process. “Most of my work is hardcore box modelling,” he explains, “I make everything from the basic geometry and then build in detail. As Blender doesn’t have the best cutting and welding tools I’ve had to learn ways to create industrial-looking geometry the hard way.” Ball sees the scene as a character in itself. “I love creating worlds with lots of detail and with a unified look and feel,” he adds. “Ultimately all my art is part of one giant world that exists in my head.” The process often begins with Ball creating…

1 min.
fear the process

SOFTWARE ZBrush, Marvelous Designer, Photoshop Damon Woods is the director of character art at Survios, as well as an instructor at the Gnomon School of VFX. “Growing up, the movie Space Jam was on repeat in our house,” he recalls, “so when I heard they were making a new one, it got me thinking about what an updated version of the Monstars would look like. I thought it would be a fun project to do my own take on them with today's super stars.” Woods began by gathering references on his subject matter, in this case NBA star Joel Embiid, before moving into ZBrush. “I use DynaMesh to block out the major forms and proportions, then I start on the face, blocking in the intermediate shapes to work towards a likeness. I use…

1 min.
vincent valentine recreation

SOFTWARE ZBrush, Maya, Substance Painter, Marmoset Toolbag It took 3D senior character artist Charlotte Johnson two and a half months to complete work on this game-ready asset. “Vincent Valentine was created for Retrogasm 2019 which is a global video game art competition run by Jon Troy Nickel and Layna Lazer,” explains Johnson. “You have to take an existing character from the sixth generation of console or prior and remake them with current tech we have today, within the time limit. I am honoured that he came third place amongst all the other amazing entries.” Johnson usually begins by gathering references and breaking down a concept before she gets started in ZBrush, blocking out the character’s shape with DynaMesh before giving it a supportive topology. “Once I have topology, I can go and refine…

1 min.
the bard bat

SOFTWARE PureRef, ZBrush 2020, Blender, Substance Painter, Maya, Photoshop 3D character artist Manuel De Jorge based this character on concept artist Khoa Viet’s Bard Bat design. “Since the Bard Bat's clothing is a loose object,” Jorge explains, “I realised it’s hard to deal with if the model is rigged and skinned only by bones, because it creates unusual folds and artifacts when posing the arms, shoulders, torso and neck area,” he explains. “To deal with this I decided to use pose space deformers or PSDs on some parts of the clothing, which really helps because you can sculpt the desired shape. This method helps me a lot when posing characters.” Pushing the appeal of the character’s face was a particular highlight of the process for Jorge. “On the original concept the face and…

1 min.

SOFTWARE Maya, Marvelous Designer, Redshift, Photoshop These slick images took Blizzard Entertainment senior cinematic artist Sengjoon Song two months to complete, working on and off. “I always enjoy making 3D models and renders,” he tells 3D World. “This time around I wanted to depict a culture and vibe related to racing on the street.” Techniques such as cloth simulation, procedural textures, lighting, and random model generating helped Song to achieve his stunning end result. Song emphasised time management and efficiency throughout the creative process on LRP. “There's a specific final composition and lighting I had in my mind,” he explains, “so I put a minimum effort into creating textures. In fact, it's funny that all seven characters in this piece share the same face and body textures. This was totally intentional to save…