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3D World3D World

3D World April 2017

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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£6.85(Incl. tax)
£44.99(Incl. tax)
13 Issues


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spot light on our contributors

Pawel Libiszewski Pawel is art director at video game developer Flying Wild Hog. On page 24, he shares his process for character design and modelling. www.plwell.artstation.com Josh Lynch Josh is an environment artist at video game studio Infinity Ward. On page 32, he shares his techniques to create realistic albedo brick textures. www.josh-lynch.com Matt Thorup Matt has eight years’ experience as a 3D character artist and has worked at many studios, including Disney. Read his hard surface tutorial on page 38. www.gumroad.com/redbeard Eric Cunha Eric is the CG director at Aardman Nathan Love and an instructor at the School of Visual Arts in NYC. This issue, he shares his process for recreating Stranger Things’ Eleven on page 56. www.ericcunha.com Joseph Herman Joseph is an animator, filmmaker and VFX artist from New York and operates his own studio called Legend…

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SLUG RACE ARTIST Fabricio Moraes and Guilherme Formenti SOFTWARE ZBrush, 3ds Max, PhotoScan, V-Ray, Nuke It may be a whimsical scene, but Slug Race is closely based in reality. Brazilian Fabricio Moraes and his collaborator Guilherme Formenti used Agisoft PhotoScan to generate 3D spatial data from digital photos. As co-founder of CG studio Gingerpic in Rio de Janeiro, Fabricio is a veteran 3D artist, but he says he had never used PhotoScan before. “Photogrammetry was a technique that I had always wanted to try. So I scanned a lot of trees, rocks and ground to get a more realistic approach,” he says. The pair used 3ds Max and ZBrush for modelling and lighting, V-Ray for rendering and Nuke for compositing. Fabricio says the most enjoyable part of this personal project was “walking in a garden, taking…

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vr game modelling

ROBO RECALL DEVELOPER Epic Games TEAM SIZE 15 TIME TAKEN 12 months SOFTWARE Unreal Engine 4.14 RELEASE DATE Out now WEB www.epicgames.com/ roborecall Increasingly we are being told that virtual reality is a growing sector, where CG artists can find new work, and explore new and creative ways to push modelling and animation. Video games and VR is one area you’ll want to explore. Epic Games is at the forefront of promoting VR as a viable environment for CG artists. The latest game developed by Epic to promote new tools in Unreal Engine is Robo Recall, a spiritual successor to the company’s VR demo game Bullet Train. VIRTUAL GAMING Robo Recall has been developed by a team of 15 artists and programmers in one year in order to illustrate what can be done in VR using Unreal Engine. “We wanted to explore…

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creating for vr: pro tips

THE EPIC GAMES ART TEAM SHARE WHAT THEY LEARNED FROM MAKING ROBO RECALL 1.PROTOTYPE IN VR To save some time during development, create prototype meshes first and test them in VR. What looks good on your monitor might not translate as expected in VR. Refine your prototype meshes further, then test again. Continue to iterate and make changes as needed and only proceed to the time-consuming detail modelling of objects after you are satisfied with how it feels in VR. Unreal Engine 4 makes it quick and easy to reimport updates to your meshes, and you can also easily enter and exit VR to test them. 2.OPTIMISE FOR VR When you develop for VR, you have to constantly optimise your assets to make sure the game always runs at 90fps (frames per second) during…

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the game modelling pipeline

SHADOW WARRIOR 2 DEVELOPER Flying Wild Hog ART DIRECTOR Pawel Libiszewski WEB www.flyingwildhog.com Creating a new character for a video game can be a challenge. We caught up with Flying Wild Hog’s art director Pawel Libiszewski to discover his pro workflow for creating a detailed demonic character for the video game Shadow Warrior 2. Before any modelling began, the team needed to create a backstory and concept for the character, in this case Demon Treeface. “We wanted a character that was not based on a human skeleton because we already had a lot of humanoid characters in the game. This demon had to live in a setting called Shadow Land and it was full of various other demons and mutated vegetation,” says Pawel. Concept artist Pawel Swiezak then created hundreds of thumbnails, and after the art…

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building better textures

Over the last couple of years, Allegorithmic’s Substance Designer has quickly become a standard in the industry. For this breakdown, I will not only cover how I created the albedo map for this texture, but also how I approach creating a material, what I look for in reference, and how I take this reference through to render. I made this Sloppy Brick Wall texture for a personal project. I wanted to push myself to see what was possible in Substance Designer on a few key things. The first was getting mortar to feel like it was dripping out over the bricks. Second, to get a nice surface feeling of old brick. Lastly, I wanted to create a beautiful and layered albedo map that felt as close to the reference as I…