Tech & Gaming
3D World

3D World July 2019

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
Read More
£6.38(Incl. tax)
£44.99(Incl. tax)
13 Issues

In this issue

1 min.
spotlight on our contributors

Paul Roberts Paul works as a training manager at iToo Software and is a regular in the pages of 3D World, this issue teaching us about Forest Pack. www.itoosoft.com Maya Jermy Maya is a 3D artist and animator based in the UK. She started her career in 2012 remaking and animating characters for Oddworld.mayajermy.artstation.com Pietro Chiovaro Pietro is an Italian 3D artist who creates 3D assets and environments, and is currently working on an opensource game. pietrochiovaro.artstation.com Ant Ward Industry expert and regular 3D World contributing artist Ant returns this issue to show you how to add foot controls to your rigs in Maya. www.antcgi.com Ian Failes Ian is a regular contributor to 3D World, and in this issue he finished up his in-depth series on DNEG, this month focusing on compositing. www.vfxblog.com Mike Griggs Mike Griggs is a 3D and visual effects artist with…

1 min.
3d world

EDITORIAL EDITOR Rob Redman 3dworld@futurenet.com PRODUCTION EDITOR Rachel Terzian DESIGNER Ryan Wells STAFF WRITER Brad Thorne SENIOR ART EDITOR Will Shum ACTING EDITOR-IN-CHIEF Claire Howlett CREATIVE BLOQ EDITOR Kerrie Hughes CONTRIBUTORS Ian Failes, Mike Griggs, Maya Jermy, Pietro Chiovaro, Paul Roberts, Ant Ward, Rodion Vlasov, Keita Okada, Jamir Blanco, Tristan Liu, Paul Lambert, Damien Chazelle, Dahlia Khodur, Robin Fuller, Simon Edwards, Glen Southern, Rudolf Béres, Eric Chan, Benjamin Ribière COVER IMAGE Rodion Vlasov ADVERTISING COMMERCIAL DIRECTOR Clare Dove clare.dove@futurenet.com SENIOR ADVERTISING MANAGER Mike Pyatt 01225 687538 michael.pyatt@futurenet.com ACCOUNT DIRECTOR George Lucas 01225 687331 george.lucas@futurenet.com INTERNATIONAL LICENSING 3D World is available for licensing. Contact the Licensing team to discuss partnership opportunities. HEAD OF PRINT LICENSING Rachel Shaw licensing@futurenet.com SUBSCRIPTIONS EMAIL ENQUIRIES contact@myfavouritemagazines.co.uk UK ORDERLINE & ENQUIRIES 0344 848 2852 INTERNATIONAL +44 (0) 344 848 2852 ONLINE ORDERS www.myfavouritemagazines.co.uk GROUP MARKETING DIRECTOR, MAGAZINES & MEMBERSHIPS Sharon Todd CIRCULATION HEAD OF NEWSTRADE Tim Mathers tim.mathers@futurenet.com PRODUCTION HEAD OF PRODUCTION US & UK…

5 min.

NO COUNTRY FOR AN OLD CAR ARTIST Serge Aleynikov SOFTWARE 3ds Max, V-Ray, MultiScatter, After Effects, Substance Painter, Unfold3D, Photoshop This image is a remake of art director/CG artist Serge Aleynikov’s earlier work from 2008. “In those days I was creating a detailed car model to learn advanced 3D modelling. Once I finished modelling the Camaro, I didn't know what to do with it next.” While considering his next step, Aleynikov came across an image by illustrator Blake Loosli, based on the film No Country For Old Men. “Some people say when you have a hammer, every problem looks like a nail. I think, when you have the right reference, you can use it for anything you need.” When revisiting some of his older work in 2018, Aleynikov decided to update No Country For An Old Car,…

9 min.
sculpting with style

Sculpting is a pivotal stage of the 3D art process – it’s where artists’ ideas quite literally take shape. There’s no right or wrong way to achieve results at this stage and the approach is likely to differ significantly from artist to artist. For this feature, 3D World has assembled four masters of the craft to discuss their own unique styles, the fundamental skills that underpin digital sculpting, and how you can create your own stunning sculptures. THE FUNDAMENTALS It stands to reason that digital sculpting would be a very similar discipline to its tangible, squishy counterpart. Rudolf Béres has four years’ experience as a 3D character modeller and a strong background in traditional sculpting. “I studied traditional art at the Hungarian University of Fine Arts, and I earned a diploma award…

1 min.
spare-time project

“This project was done in my spare time and took about five months to complete,” explains Jamir Blanco, 3D modeller for the film and game industry. The process starts by blocking out the idea in 3D, using Maya, ZBrush or a combination of the two. “My goal at this stage is to translate my idea or concept into a 3D space,” adds Blanco. “I’m not worried about good or bad topology, polycount, etc. It’s more important to obtain a solid base that fundamentally works as a volume or a set of volumes that achieve the right proportions, landmarks and features of the asset.” “The entire character and his goblins were modelled in pose, asymmetrically in ZBrush, starting from spheres and relying on DynaMesh sculpting to create all the volumes,” explains Blanco.…

8 min.
stay for the credits!

For audience members who stay to the very end of a film, there’s often a special treat in store – the main-one-end titles. Common in superhero and comic-book movies, these titles are of course where key crew members are acknowledged, but they are also often a chance for the filmmakers to ‘sum up’ the film and present a fun look back at what everyone has just watched. What’s fascinating these days about titles in movies is that they have very much moved from being at the start of the feature, to the end. As engaging pieces of art, these ‘main-on-ends’ have had the effect of keeping audiences in their seats, and have very much moved from being he start of the feature, to the As engaging pieces of art, main-on-ends’ have…