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3D World3D World

3D World February 2018

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
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£6.49(Incl. tax)
£44.99(Incl. tax)
13 Issues


1 min.
spotlight on our contributors

Steve Jarratt Steve is a freelance journalist and CG artist, with an unhealthy addiction to 3D apps and plugins. Check out his SpeedTree review on page 90. www.wikipedia.org/wiki/Steve_Jarratt Michael Tschernjajew On page 48 you will find Michael’s Cinema 4D tutorial that will jump start your game projects, from modelling to final rendering. www.artstation.com/station02 Jessica Soderstrom The Mill’s Jessica Soderstrom demonstrates how to take a real-world prop and create a digital version of it, starting on page 56. www.jessicasoderstrom.com Darrell Abney On page 42 you will find Darrell’s fantastic tutorial that teaches you, step by step how to create an alien pirate character. www.darrellabney.com Oscar Juárez Oscar is an archviz specialist, creating in many apps, but has a keen interest in Unreal. He shares some of his secrets with us on page 76. www.fibrha.com Mike Griggs Mike Griggs is a 3D and visual effects artist with vast…

1 min.
overwatch tracer fan art

ARTIST SOFTWARE ZBrush, Maya, Substance Painter, Marmoset Toolbag Based on an original concept by Meijun Chen, this stylised version of Tracer from the popular first-person shooter Overwatch was created by full-time student Rico, with 60 hours spent on modelling and 10 hours spent on texturing. “I love the original concept a lot, it always makes me laugh and feel happy every time I work on it. “For modelling, I first start sculpting with primitives, and keep the silhouette recognisable from the beginning to the end,” explains Rico. “I also add poly paint from the very beginning. “Later when I get into the details, I use a brush which people usually utilise for the hard-surface modelling, because we need the confirmative shape on stylised character modelling. For the armour, bevelling all the borders makes the hardsurface…

1 min.

CG art to inspire ARTIST SOFTWARE Maya, ZBrush, Photoshop, Mari, alShaders (Arnold for Maya), texturingXYZ Senior modeller Aldo works in the film industry at ScanlineVFX, and spent around 80-90 hours creating this beautifully realistic hitchhiker character with attitude. “I rely a lot on camera lineups, which is common practice in the VFX modelling environment. It’s helpful when there is no scan information and we only have to use photography or concept art alone to model a character, prop and environment.” Aldo says that typically, when creating artwork such as this, he will begin by heading into Maya, where he will create a camera and line up the model to help him achieve the correct measurements, like focal length and distance from the camera. “Since I was basing the model on a reference, with a camera line up…

1 min.
don’t sit too close!

CG art to inspire ARTIST SOFTWARE ZBrush, Modo, Marvellous Designer, Substance Painter, Photoshop Peter Sandeman, 3D artist at Blackmagic Design, created this charming 3D image based on an illustration by Tom Booth (@tomwilltell). The boy’s T-shirt was modelled in Marvelous Designer, tweaked in ZBrush and then brought into Substance Painter for texturing. “The hair is sculpted in ZBrush using CurveTubes, then I bring those CurveTubes into Modo. As they have clean topology I can convert them into curves for use with Modo’s hair system. Each tube gets its own hair material so I can get maximum control over the final look. It’s a relatively straightforward technique but it gives a pretty accurate representation of the sculpt you started with in ZBrush. It means I can avoid grooming tools and that’s a big plus in my book.” When…

1 min.

CG art to inspire ARTIST SOFTWARE Maya (Arnold), ZBrush, Mari, Photoshop “I love architecture,” explains CG generalist Pierre, “and I am often frustrated when searching for CG art featuring architecture to find that ornamentation disappears or is over-simplified in the process, in order to save time. For this image, ornamentation was my main focus from the start, this is why the topology of each element is more dense than usual. Refining this model is definitely something I am looking up to when I have the time.” Describing his workflow, Pierre says that he starts by “gathering references, then I draw a few sketches. I do the blocking in Maya, using simple shapes. When I start the proper modelling of complicated elements, I try to rationalise by dividing the big task into many smaller ones. I…

1 min.
john malkovich realistic likeness project

CG art to inspire ARTIST SOFTWARE ZBrush, 3ds Max, V-Ray, Ornatrix, Mari, Photoshop, Marvelous Luis works as a 3D artist and art director at Serial Cut, and to challenge himself in creating likeness images, he created this uncanny portrait of American actor John Malkovich. Describing his image-making process, Luis says: “Typically I start gathering as many good refs as I can. Then I move to ZBrush and start from a base mesh at the lowest subdivision level, adjusting the proportions of the character and trying to match the reference photos. A good habit for me is to match one photo and cycle to the next one until it looks the same from every angle. It is really important to get the likeness working at low subdivision level. I projected a photo of the actor to…