The 3D Art & Design Annual

For our milestone issue 100, we thought about the best ways to celebrate with you, the reader. We didn’t think it was enough to just look back at the magazine’s past–we thought we had to do something a bit different, a bit special. We wanted to both give back to our readers and to celebrate with all of the artists that we admire and have enjoyed working with for our first 100 issues. Getting 100 tips, whether from specific disciplines or of essential career advice, was a no-brainer, so we began collating top techniques from industry legends like Ben Mauro and Gavriil Klimov. But that didn’t seem enough, so then we went back to the drawing board and gathered 100 of these professionals to give us a tip each, including…

Inspired by the recent battle mech trend in videogames such as Call Of Duty: Infinite Warfare and Titanfall 2, this article covers all the essential modelling and texturing steps for a game-ready battle mech. The two main software packages used are 3ds Max 2017 and Substance Painter 2. We’ll cover the base shape refinement as we work on our low-poly model, learn about instances and the Symmetry modifier, and how to create realistic-looking edge panelling on the high-poly model. Learn how to bake by naming convention for the best texturing experience in Substance Painter 2 as we continue to create a stunning-looking texture with plenty of wear and tear on it. At the end we’ll take a look at the Export settings where we get them ready for creating a…

Tim Bergholz Tim started his career at Crytek in Germany. After moving to Canada and working for Ubisoft, he started his new job as senior weapons artist at Digital Extremes. In his spare time he writes comprehensive tutorials in which he shares his skills with others. Ultimate Weapon Tutorial, 2015 3ds Max, Substance Painter Tim’s most comprehensive tutorial so far, this was a 17-hour course that will teaches the full creation process of a triple-A first-person weapon without skipping any steps. Blade Tutorial, 2016 3ds Max, Substance Painter The kukri tutorial is Tim’s latest tutorial and, just like the grenade, it’s available as a free download on his website or free to watch on the ChamferZone YouTube channel. Ultimate Grenade Tutorial, 2015 3ds Max, Substance Painter The grenade tutorial has…

In this tutorial we’ll go over the steps, tools and techniques used to design, model, texture, light, render and comp a giant monster. We’ll start off by using ZBrush to design, sculpt and paint the base texture. Then we’ll use KeyShot to create simple materials, light and render the image. Lastly, we’ll jump into Photoshop to comp together the passes we kicked out of KeyShot, create a background, give the image a story and work on its final colour and composition. EMANUEL PALALIC Snapjaw, 2017 Software ZBrush, Photoshop, KeyShot Learn how to Design your own original monster Polypaint Composite Use effective sculpting techniques and tools Concept I’m a pretty big Godzilla fan, and just love giant monsters in general, so I kind of wanted to make my own set of…

With each step of the following tutorial, we’ll take a look at the various processes involved in the creation of the Alpha wolf illustration. The approach will be methodical and we’ll try to sculpt the 3D elements with the end goal in mind, to save time and optimise resources. The creation process will start with the understanding of a few key points of the wolf’s anatomy, so that we can exaggerate them in order to make the illustration more interesting. There are a few important elements in the composition such as the pose, expression and camera position. We’ll try to keep these key elements in mind during the sculpting and grooming stages, so that each part contributes to the final image. The majority of this tutorial will be done in…

MODELLING YOUR FREE DOWNLOADS from filesilo.co.uk/bks-1561 • Tutorial screenshots Here you’ll learn how to create a simple kitchen scene based on different references. You will have a better understanding of how to set up materials and shaders for different types of surfaces (wood, metals, plastics and so on) and create lighting setups. We will then prepare your render passes for final post work in Photoshop. I like to use Modo for arch vis because of how easy and fast you can get feedback on all aspects (modelling, lighting, rendering, shading) and apply textures. Getting live feedback while editing all the channels really helps with achieving the final quality faster and with minimum iterations. For this render I used physically based shaders to achieve a realistic output. At first I wanted to…