3D World August 2021

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.

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País:
United Kingdom
Idioma:
English
Editor:
Future Publishing Ltd
Periodicidad:
Monthly
US$ 6,99
US$ 64,99
13 Números

en este número

1 min.
welcome

COVER ARTIST Sebastien Hue SOFTWARE Gravity Sketch VR, Cinema 4D, Octane Render, Photoshop This month we have a stand-out cover artist, who teaches you his process for developing character art using 3D and 2D combined to create stunning concepts. Continuing the character theme I give you a run-through on Epic’s wonderful new Metahuman Creator, a fantastic and intuitive tool designed to help you add photorealistic human characters to your scenes. In other training we show you the importance of good topology, how to set up a procedural fire in Blender and how your art and story work together. If you are looking for more inspiration than practical advice we have you covered with our behind-the-scenes look at Lovecraft Country, and in the first part of our new series we explore the wonderful work of Blue Zoo. Follow…

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1 min.
simoun

ARTIST Bernardo Oliveira SOFTWARE ZBrush, Maya, Mari, Substance Painter, Marvelous Designer, Arnold, Photoshop Based on an illustration by Ekaterina Burmak for the Pathfinder Adventure Card Game, character artist Bernardo Oliveira started working on his 3D recreation of the character in 2019, returning to finish it in early 2021. Oliveira created the character’s garments in Marvelous Designer. “It’s important to do some research to get better results,” he says, “so at this stage I like to get some real references of similar garments.” After blocking out the character and creating the garments, Oliveira used Maya to retopologise each mesh and work on UVs before jumping back into ZBrush for detailing and posing. “I like to go back to Marvelous to simulate the garment again and get better folds with the base mesh in the correct pose,” he…

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1 min.
deacons of the deep

ARTIST Robert Roeder SOFTWARE Maya, ZBrush, Substance Designer, Substance Painter, Unreal Engine 3D environment artist Robert Roeder spent roughly seven months creating this atmospheric ode to Dark Souls III. “When I started this project in October 2020 I was still in the process of interviewing for a new position and kept working on it after I joined, trying to chip away at it in small steps every day after work and finished it at the beginning of May 2021,” he tells 3D World. “From the start of this project I knew that it would involve a very large amount of work for one person,” he adds, “not just by the size of the environment itself but also the number of bespoke props.” This led him to use and reuse tileable textures and kit pieces such…

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1 min.
shaman

ARTIST Marina Llorente SOFTWARE ZBrush, Substance Painter, Maya, Arnold, XGen, Photoshop It took 3D modeller Marina Llorente one month to take this Far Cry Primal fan art from a simple sphere in ZBrush to a finished render in Maya. “I always try to find a balance between the time I spend creating the parts that compose the final project and their quality, always prioritising the quality of more significant features, but not forgetting about the secondary ones,” Llorente tells 3D World. She adds that it would be a pity for a single bad component to ruin the entire character. This was Llorente’s first time using displacement maps, which allowed her to keep a low and clean topology whilst achieving a highly detailed end result. “I spent a lot more time working on the fine skin…

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1 min.
french countryside house

ARTIST Vincent Boichut SOFTWARE Maya, Substance Painter, Photoshop, Unreal Engine Freelance 3D artist Vincent Boichut based this piece on an original concept by artist Jenny Mati. He primarily used Maya to model the environment’s assets and vegetation, Substance Painter and Photoshop for texturing and Unreal Engine to render in real time. Boichut utilised Runtime Virtual Texturing inside UE, allowing his assets to blend into the surrounding landscape. “I also used the Niagara particles system in Unreal for the falling leaves and chimney smoke effect,” he adds. Boichut’s approach to lighting the scene was simple yet effective. “It’s basically one yellow-tinted directional light, to give that warm and cosy atmosphere you can feel at the end of the summer here in France,” he explains. “I switched the Shadow Filter Sharpen to 1 for my directional light; it…

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1 min.
cloud lamp

ARTIST Karl Larsson SOFTWARE Cinema 4D, Octane Render, Photoshop Karl Larsson works across advertising photography and 3D visuals, and this dreamy interior took him just two days to create. “I used a lighting technique that I had to figure out myself,” he tells 3D World. “The tricky part was making the cloud lamp glow. For this, I used IES lights with a focused spotlight. I didn’t want the cloud light to disturb the lighting in the room so I turned off cast shadows. With this setting I was able to light the cloud from behind through the back wall.” When starting a 3D project, Larsson often begins by building an empty room. “I usually don’t have any idea of what the final image will look like at this point,” he adds. He continues to test…

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