3D World June 2021

COVER ARTIST Sasawat Intakul SOFTWARE Maya, ZBrush, XGen, Nuke This month we take you on a journey through the lands of compositing, specifically when done with Nuke, an industry staple for this type of work. This includes some tips from our cover artist this issue, who created this wonderful Chun-Li fan art. Next up we take you behind the scenes on the beautiful Baba Yaga, as well as investigate the world of architectural visualisation in the second part of our series. If you are looking to boost your own skills we provide expert training on Blender, where we help you master the art of low-poly game assets, then show you how to create animated assets for Unreal Engine. If you are in the market for a new render engine check…

“HAVING THE POSSIBILITY TO SEE INSTANT FEEDBACK OF LIGHTS AND MATERIALS IS REALLY SOMETHING REMARKABLE” ARTIST Damian Bilinski SOFTWARE Unreal Engine, 3ds Max Senior automotive artist Damian Bilinski was able to make this image in just three days, thanks to the instant feedback of Unreal Engine’s ray tracing features. “I really enjoyed the usage of Unreal Engine itself, and the instant feedback and freedom in creativity it gave me,” Bilinski tells 3D World. “I also love cars so it is a pleasure to work on supercars like Lamborghini.” Bilinski used Unreal Engine as a rendering software to create this high-quality and high-resolution image. “Every studio and artist is looking into it right now, trying to adopt Unreal Engine to their pipeline. Having the possibility to see instant feedback of lights…

ARTIST Eugene Tertychnyi SOFTWARE ZBrush, Cinema 4D, Marvelous Designer, Mari, Substance Painter, Marmoset Toolbag, Maya, XGen, V-Ray Character artist Eugene Tertychnyi worked on this recreation of chef and restaurateur Salt Bae in his spare time, working four to six hours a day for around three weeks. “I try not to repeat a character that has been made by other artists,” Tertychnyi says. “For example, Batman or Spider-Man, who overflow the internet. I try to make something that I’ve never seen before in 3D.” Tertychnyi needed to find a way of creating photorealistic salt without hand-sculpting it. For this he turned to Cinema 4D and its powerful rigid body dynamics. “I created four or five salt particle meshes out of spheres with the displacement modifier applied and set them as a particle…

ARTIST Michele Boueri SOFTWARE Maya, Mudbox, Mari, V-Ray, Photoshop 3D artist Michele Boueri created this enchanting piece as a project in her first semester at Think Tank Online. Students were asked to choose a 2D illustrated concept and recreate it in 3D. Boueri chose The Piano Man by Noor Sofi. “The thing I enjoyed the most was trying to find solutions that would get me the closest to the concept,” Boueri tells 3D World. Sofi’s original concept is incredibly imaginative. “If you look at it closely the perspective is very hard to understand,” adds Boueri, “as well as where the light is coming from.” To achieve the correct camera angle, Boueri decided to use an orthographic camera instead of a perspective one. “As for lights,” she adds, “I divided my…

ARTIST David Bolton SOFTWARE ZBrush, Marmoset Toolbag, Photoshop Video game character artist David Bolton spent two months working on this mighty character in his free time. The model is fan art of Joe Madureira’s Illaoi, designed for Ruined King by Airship Syndicate. “I really enjoyed trying to capture the pose and expression Joe Mad created,” says Bolton. The process begins with Bolton choosing a character design that inspires him to create. “For example, I find Joe Mad’s drawings to be the perfect balance of power and appealing shapes,” he adds. With references gathered and organised in PureRef, Bolton starts blocking out in ZBrush. The ZModeler brush is Bolton’s tool of choice for blocking out character outfits and props in ZBrush. For the NPR render of Illaoi, he used a ZBrush…

ARTIST Thomas Rousvoal SOFTWARE Maya, ZBrush, Arnold, Maya, Substance Painter, Mari, Yeti, Nuke, Photoshop Character artist Thomas Rousvoal created this stylish fan art of Robert De Niro as part of his ‘Back in 90s’ series. An important aspect in the design was to give De Niro “his particular personality and legendary facial expression, balancing the reality and respecting my cartoon stylisations,” Rousvoal explains. Rousvoal paid close attention to applying noise and grain to the image, evoking the atmosphere of Martin Scorsese’s Casino. “I like to give life to my works, add defects to them. The human eye is full of imperfection, photo and cinema lenses imitate our vision. I try to get as close as possible to this,” Rousvoal explains. “I have my own anamorphic lens camera setup.” Rousvoal has…