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3D World August 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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£6.85(Incl. tax)
£44.99(Incl. tax)
13 Issues


access_time1 min.
spotlight on our contributors

Josh Naylor Josh is a Unity technical evangelist and on page 40, he shows you how to get started adding the popular games engine to your pipeline. www.unity.com Mike Griggs Experienced 3D and visual effects artist Mike explores the Unfold3D Virtual Spaces tool over on page 68, and reviews Modo 12 on page 92. www.creativebloke.com Paul Roberts Paul works as a training manager at iToo Software. Add detail and realism to your arch-viz renders with his tutorial on page 60. www.itoosoft.com Ian Failes Ian is a regular contributor to 3D World, and this issue he has investigated the secrets of creating forests and woods in the movies, on page 24. vfxblog.com Vikrant J Dalal 3D artist Vikrant J Dalal is a VFX expert, and on page 54 you will find his tutorial on using FumeFX to create stylised cloud scenes. www.vimeo.com/vikrantdalal M.D. McCallum Award-winning artist M.D.…

access_time5 min.

KING OF THE STREETS ARTIST Luis Yrisarry Labadía SOFTWARE ZBrush, 3ds Max, Substance Painter, Mari, V-Ray, Photoshop This striking image was adapted from the popular internet meme Folded Arm Frog by freelance character artist Luis Yrisarry Labadía, after he missed out on his dream project over the Christmas period. “I was asked to work on some animals for a great movie this Christmas for an amazing studio, my dream job. But I had to say no because I was having a kid, so I decided to start working on more animals myself.” Adapting from a meme was a novel approach for Luis: “I always start by looking for references but this time I found a funny meme about a tiny frog that inspired me to turn it into a badass character. I did some…

access_time8 min.
through the uncanny valley

AUTHOR Ian Spriggs I am a 3D portrait/character artist working in Maya, Mudbox, V-Ray and Photoshop. www.ianspriggs.com Even though I have been creating characters for years it is only in the past 3.5 years I have started doing portraiture. Portraits are now my main focus. I love trying to figure people out and what makes them who they are. Portraits are like a window into the subject’s life; you really have to know someone to be able to represent them well, as it is not only facial features you are representing, but also their personality. It is also said that behind every portrait is a self portrait, as it is also the story of the artist; throughout all my portraits hopefully you will also learn a little about myself. My work is inspired by…

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the tree-makers

Visual effects studios regularly face an array of simulation challenges on big movies, with fire, water and destruction being common requirements, as is the creation of photorealistic foliage. This can range from individual trees to entire forests, and also include the requirement for real and CG characters to interact with that digital vegetation. But how do different studios approach digital foliage? 3D World spoke to Animal Logic, ILM, Weta Digital and Imageworks about their CG vegetation solutions – made up of a mix of proprietary toolsets and off-the-shelf software – used on recent films such as The Lego Ninjago Movie, Kong: Skull Island, War for the Planet of the Apes and Kingsman: The Golden Circle. ANIMAL LOGIC’S RICH LEGO LANDSCAPE Thanks to a slew of Lego films and other animation and visual effects…

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how weta makes trees grow

PREP: Artists start by constructing exemplars for various species of trees and plants that they want to include in the simulation. They use the plant definition tool within Totara to create each species procedurally in a way that allows the plant to grow from a seedling to a mature plant. TERRAIN: Once they have defined all the species that are going to participate in the ecosystem, they prepare their terrain for the simulation. They will define a site orientation and a sunlight path, temperature and climate for the area, and regions with abundant or sparse resources. GROW: Then they scatter ‘seeds’ for each species across the terrain and let the simulation grow the ecosystem for several dozen years. The trees compete for sunlight and resources, reaching higher with their canopies and letting…

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the making of sprout

We wanted Sprout to be very easy to use for everyone familiar with Maya, making it as simple and intuitive as possible to scatter huge amounts of instances while maintaining full art directability. In order to achieve this with good performance and interactivity we had to write our own OpenGL engine and implement it as a custom shape into Maya. While Sprout obviously is not a full-fledged game engine, it makes use of some gaming technologies for the best performance possible. For the paint tools we went with a WYSIWYG approach and made everything work in screenspace, so you’d know exactly where an instance would be placed with every click of your button. We spent a lot of time working on the best UX and reiterated on the UI a couple of…