3D World September 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.

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

en este número

1 min.

A key part of a project’s workflow is nailing the look development, which informs many of the following stages. Continuing our series on super star studio Blue Zoo, this month we delve into their lookdev process, to discover how they approach this task. We even have a wonderful cover from them with notes from team members, showing one of the ways they communicate details to each other. Elsewhere this issue we have a fantastic character tutorial from Scott Denton, demonstrating how to create a stunning Martian with a lovely retro feel. If video games is more your area then take a look at our pipeline piece on the lovely art of Unbound: Worlds Apart. As always our Q&A panel solve your CG woes, including how to create beaches in Blender and how to…

1 min.
the lost island

SOFTWARE Blender, Quick Tools, Graswald Pro This futuristic environment took freelance concept artist Fabio Montorzi just a couple of days to complete. “My intention was to create that feel between real and cartoonish, because I intensely loved the anime from which I drew inspiration – Conan, The Boy In Future from Nippon Animation in 1978,” Montorzi tells 3D World. “I particularly enjoyed trying to achieve that result.” Montorzi has many years’ experience modelling, texturing and rendering luxury furniture, which he drew from when working on complex shapes. The process usually begins with the search for references, before Montorzi makes quick sketches in Photoshop or on his iPad. “I often build a raw 3D scene with textures and materials so I can explore different lighting and framing scenarios,” he explains. “At this stage, I…

1 min.

SOFTWARE ZBrush, Maya, Substance Painter, Arnold This charming cavewoman sculpt was created for CGMA’s ‘Stylized Characters in 3D’ course with mentor Hannah Kang, and is based on a concept by illustrator, animator and video game concept artist Philippe G. Ramsay. 3D artist Camilla Scala spent the eight-week duration of the course working on the character. “Thanks to the CGMA course I was able to improve my personal work pipeline and deepen my knowledge of anatomy as applicable to cartoon models,” Scala tells 3D World. Scala discovered new brushes in ZBrush such as SK_ClayFill and fur brush packs and utilised the ACES colour management system for the first time. “Developed under the auspices of the Academy of Motion Picture Arts and Sciences, ACES is a free, expandable, device-independent colour management and image sharing system,”…

1 min.

SOFTWARE ZBrush, Maya, Substance Painter, Arnold, Nuke Character artist J Hill was inspired by dark fantasy to create this fearsome orc. “The initial idea was a mash-up of The Lord Of The Rings and Warcraft cinematics, two things I’m a big fan of,” he explains. “This project was an excuse to delve into that world, study the costuming and materials used in the films, and just have fun making an orc.” “The main workflow was creating a high-poly model in ZBrush,” Hill explains, “which included HD Geometry for sculpting skin details, generating meshes with ZRemesher, UV mapping them, then baking maps and texturing in Substance Painter to render in Arnold.” New additions to Hill’s workflow included using the UDIM workflow in Substance Painter and compositing in Nuke. One of the more troubling aspects of…

1 min.
tales from the deep

SOFTWARE Maya, ZBrush, Substance Painter, Marvelous Designer, Redshift Look development artist Rory Björkman spent around three weeks working on this detailed scene. “After the main planning is done I enjoy just getting lost in my imagination and placing the objects about the scene to tell the story,” he tells 3D World. Björkman’s process begins with gathering reference and inspiration, foregoing the internet in favour of books and real-world objects such as antiques. “For example, if an old sword has a nice handle I can reimagine that handle being a part of a robot, extracting its design elements or textures for a new purpose,” he adds. “The scene is a composite of hard-surface objects made in Maya, some scanned materials and textures with organic surfaces in ZBrush, tied together in Substance Designer with complementary…

1 min.
serene bathroom

SOFTWARE Blender, Marvelous Designer, LuxCoreRender, Corona Image Editor “I really enjoy going into a project with just a basic idea and as I work it evolves and develops,” explains Paweł Pecherzewski, a 3D artist based in Warsaw, Poland. Enhancing bokeh in his close-ups was a priority for Pecherzewski and he employed a physically accurate aperture to achieve the desired result. “It’s basically a black box with a circle, or any other shape that you want your bokeh to be, that I place close to the camera. The circle isn’t uniform and has some imperfections so it behaves similarly to a real-life camera lens, distorting the bokeh towards the edges and giving it a brighter outline.” Despite Blender Cycles’ limited capability around caustics, Pecherzewski was determined to have them, opting to use LuxCore to…