ZINIO logo
3D World

3D World November 2019

Add to favorites

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.

Read More
United Kingdom
Future Publishing Ltd
13 Issues

in this issue

1 min.
spotlight on our contributors

Donovan Douglas CG veteran and industry trainer Donovan takes us further with the third part of a rigging course, to help you work smarter and faster. www.donoman.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 Antony Ward 3D World regular Ant Ward shares his in-depth knowledge of rigging in Maya in this month’s Q&A panel, over on page 79. www.antcgi.co.uk Paul Hellard VFX and CG journalist Paul Hellard has a fantastic history in the industry and in this issue he explores Westeros, to uncover dragons! www.hellardmedia.com Ian Failes Ian is a regular contributor to 3D World, and in this issue he uncovers the secrets behind the gore of Stranger Things season 3. www.beforesandafters.com Mike Griggs Mike Griggs is a 3D and visual effects artist with vast experience across…

5 min.

THE GOLDEN SKULL ARTIST Hirokazu Yokohara SOFTWARE Blender, EEVEE, Substance Painter, After Effects To create this haunting image, CG director, art director and environment artist Hirokazu Yokohara used a variety of notable techniques. MECH/FY - Procedural hard surfaces for Blender 2.8 were used to help create the finer details of the mech. “In addition, I tried using the real-time renderer EEVEE experimentally,” adds Yokohara. The grass was made using Blender add-on Graswald. The image took about five days to complete and provided Yokohara with an opportunity to learn and experiment within Blender. He continues: “Thanks to real-time renderer EEVEE, I was able to finish the work quickly because I could proceed with modelling, layout and lighting while watching the final quality image.” Yokohara’s main tool is Cinema 4D, which he finds intuitive and easy to…

9 min.
social networking

Social media has become an invaluable tool for 3D artists over the last decade and a half. It can be used to engage with an audience, showcase art and enhance your skill set–the only limit to its usefulness is determined by the artist’s imagination. With so many creatives spread out across Facebook, Twitter, Instagram and a host of other platforms, standing out from the crowd can be tough. That is exactly why 3D World has chosen three masters of social media to share their experiences and insight, as well as practical tips for building an audience and presenting your online portfolio. DEVELOPING A BRAND Product developer INSYDIUM is as enthusiastic about nurturing a community as it is about providing pioneering 3D software. “If it wasn’t for the INSYDIUM community, we wouldn’t be…

1 min.

01 ARTSTATION After the death of CGHub, ArtStation has become the go-to place for posting 3D art, getting inspiration or searching for artists to hire. It’s a no-brainer if you want to be visible. 02 TWITTER Twitter is huge for network building and for connecting all sorts of dots. It’s people talking about things you’re interested in, in this case, computer graphics. 03 YOUTUBE I have a soft spot for YouTube because we couldn’t have reached hundreds of thousands of people otherwise. Video tutorials for 3D software are booming. 04 SKETCHFAB By definition, Sketchfab should be an important online platform for 3D artists, because its native format is three-dimensional models. 05 INSTAGRAM I know it’s a popular choice, but Instagram is largely based on pretty images, so it’s worth giving a try as you probably have lots of pictures…

9 min.
evolution of a mind flayer

In each season of Netflix’s Stranger Things, its intrepid young cast seem to encounter more and more gruesome other-worldly creatures, and that’s certainly true for Stranger Things 3, which introduces the Mind Flayer. Ultimately presented as a chunky multi-limbed monster, the Mind Flayer builds itself up by collecting bodies, reducing them to goop, and absorbing them into its own body. This starts with rats and then turns to humans, with devastating effect. Working under production visual effects supervisor Paul Graff, visual effects studio Rodeo FX was responsible for creating the different incarnations of the Mind Flayer, from rat to large monster. Here’s how they pulled off the scary scenes for the streaming hit. IT STARTS WITH GOOP Before it becomes a large-scale creature, the Mind Flayer first exists as amorphous blobs of goop. This…

1 min.
how to explode a rat

CAGED-IN The scene called for the camera to gently zoom in on a rat in a cage, as the animal starts twitching and then eventually spectacularly dissolves into goop. Production filmed the shot several ways, including with a puppet rat (which does not appear in the final shot), just an empty cage, with no cage bars, and with a silver ball to be used for lighting reference. This would give Rodeo FX a number of methods for compositing its final rat disintegration into the shot. RAT-SPLOSION! The goop that the rat explodes into had to be connected to what the larger Mind Flayer creature would look like. Amongst other things, the art direction for this look included, essentially, chunks of meat floating around and influencing each other. Within that goop was a heap…