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3D World3D World

3D World Christmas 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


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spotlight on our contributors

Tsubasa Nakai Our cover artist this issue, Tsubasa is currently a director and CG supervisor at a Japanese company, and also works on his own projects. www.artstation.com/tsubasan Oscar Juarez Oscar is an archviz specialist creating in many apps. This issue he returns as part of our regular Q&A expert panel. www.fibrha.com Stephen Studyvin Stephen Studyvin is a VFX and animation artist and educator, teaching and working in Maya. This issue he discusses using HDRIs for lighting. www.artstation.com/pixonti Ant Ward 3D World regular and industry veteran Ant Ward shows you how to use Maya to create a simple rig for a robot character. www.antcgi.com Ian Failes Ian is a regular contributor to 3D World, and in this issue he starts a series following the work and processes of Double Negative. www.vfxblog.com Mike Griggs Mike Griggs is a 3D and visual effects artist with vast experience across the…

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ARTIST Stefano Strabla SOFTWARE ZBrush, Maya, UV Layout, Mari, Arnold, Photoshop Modeller and texturing artist Stefano Strabla utilised HD sculpting for surfacing on this insanely detailed image. He explains: “The advantage of HD is that it allows me to focus on the hi-res sculpting without being concerned with seams or splitting the geometry into many different subtools. It depends on the type of creature and how big it is, but you can reach a really high density for fine surfacing. Also baking out the displacement is surprisingly faster and far more detailed.” The entire piece took Strabla three weeks to complete, and discussing the process he says: “I’m always inspired by great concept art or artwork with solid shapes and forms. On this particular piece I enjoyed surfacing in ZBrush and the texturing/lookdev phase, where…

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there’s a pulse!

ARTIST Neeraj Menon SOFTWARE ZBrush, Marvelous Designer, Photoshop, Adobe Lightroom “I like experimenting in ZBrush,” says concept artist and comic book colourist Neeraj Menon. “Marvelous designer is something new I’m playing with. I do a lot of digital painting so both software come in handy for initial ideas.” “Although the majority of my time was taken up sculpting the underlying model, I think the most significant part was creating the cloth in Marvellous Designer,” he explains. “The actual design is simple, it's just a sheet of cloth. The real challenge was to lay it just right, hiding certain parts and showing others.” Despite being a challenge at times, Neeraj maintains that the experience was an enjoyable one. He concludes: “The most fun part came during the materials and rendering phase. Once the translucency of the cloth…

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portrait of ana

ARTIST João Victor Ferreira SOFTWARE ZBrush, 3ds Max, V-Ray, Ornatrix, Photoshop “First, I took dozens of photos for reference in many different lightings, including daylight and interior light,” explains character modeller João Victor Ferreira. Using these photos for comparison, he then began to sculpt the head from a base mesh. He continues: “Importantly I created my 3D scene in an ambient with the light source being as close as possible to one of my reference photos. This gave me a sense of how close the model was to reality.” In fact, João believes that taking the time to gather reference is amongst the most important elements in creating great art, and he is motivated by the desire to better himself with every new piece. artstation.com/joaovictor3d…

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ARTIST Rodion Vlasov SOFTWARE ZBrush, 3ds Max, Substance Painter, Unfold3D, Mudbox, Lightroom, Photoshop, V-Ray, Ornatrix “I always start in ZBrush from a sphere,” explains freelance artist Rodion Vlasov. He goes on to outline the 13-day process behind this image: “From then on the pipeline is pretty regular, nothing tricky and special – I even used the standard shortcuts and UI in ZBrush. When I need custom topology, in the eyes for example, I do it by hand in TopoGun and then merge it with the ZRemeshed mesh.” Lastly, Rodion does his polypainting in ZBrush as a base for the texturing process in Substance Painter. Highlighting his favourite part of the process, Rodion concludes: “I love the process of sculpting, it’s the reason I do this. Some people play games for fun, I play in ZBrush.” artstation.com/rodionvlasov…

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ARTIST Saurabh Jethani SOFTWARE ZBrush, Maya, Substance Painter, Mari, Photoshop, Marmoset Viewer For as long as he can remember Saurabh Jethani has been living his dream of creating characters for video games. “Apart from making faces for games, I also specialise in making hair, clothes, hard-surface characters and creatures,” he adds. With technical elements like the low poly and UVs already in place, the artistic process took Saurabh just a week to complete, utilising his broad range of skills. “I used TexturingXYZ displacement for pores and albedo for skin colour,” he explains. “Their separate displacements (secondary, tertiary and micros) can be combined in the RGB channel of an image to be projected together simultaneously. This allows me to separately control the value of each channel. I would recommend anyone going for realistic face information to…