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3D World3D World

3D World January 2017

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

John Knoll Industrial Light & Magic’s chief creative officer and senior VFX supervisor discusses the need for familiarity in Star Wars: Rogue One on page 20. www.ilm.com Jacob Norris Jacob has over 10 years’ experience creating art for video games, and offers training and assets on his PurePolygons website. Follow his advice for modelling perfect game foliage on page 72. www.purepolygons.com Ansel Hsiao Ansel is a microbiologist and freelance 3D artist based in Saint Louis, Missouri. On page 52 Ansel shares his process for modelling a Star Destroyer in 3ds Max. www.fractalsponge.net Francis-Xavier Martins Francis-Xavier is a character artist and CG generalist based in Brighton, with over a decade of experience in video games, media and TV. He joins our Artist Q&A team on page 88. www.polyjunky.com Riyahd Cassiem Riyahd is a freelance digital artist who creates VFX, motion…

access_time4 min.
the journey: stranger worlds

ARTIST Santiago Betancur SOFTWARE ZBrush, Photoshop, Best Preview Render (BPR) “I love to do abstract things,” says concept artist Santiago. “This time I was inspired a lot by artists like H.R. Giger, Zdzislaw Beksinski and Peter Gric, after I looked at their work I felt motivated to do something like them.” The artist uses a simple workflow, ZBrush and Photoshop, with rendering being handled inside ZBrush by BPR. “I use BPR a lot for my work, it is so fast and gives me nice results, and I can have a lot of control over my render passes,” explains Santiago. Once rendered, Santiago likes to bring the scene to life using photobashing techniques. Every new project is a chance to learn. “This [project] took me entirely out of my comfort zone, so I learned a lot of techniques…

access_time11 min.
rogue one: a star wars story

Rogue One: a star wars story Director Gareth Edwards VFX studio Industrial Light & Magic Photography locations Jordan, the Maldives, Iceland, the UK and Elstree Studios WEB www.starwars.com/films/rogue-one Rogue One: A Star Wars Story marks the start of a series of movies that explore the origins and back stories of various historical events and characters that are part of the cinematic universe conceived by George Lucas. “As far as I know I’m credited as executive producer, story by, and visual effects supervisor on the movie,” says ILM’s chief creative officer and VFX supervisor John Knoll, who took part in discussions about story, design, costumes and casting for the project based on his idea. “It began informally in the company after the new slate of Star Wars films was announced. There were Episodes VII, VIII and IX…

access_time10 min.
making mos eisley

“From a composition standpoint, we studied several scenes from Star Wars Episode IV and tried to mimic those as best we could while still working within the confines of a freely navigating realtime environment, but the main focus of the environment are the docking bays and the ships in them,” says Jason Lewis, senior environment artist at Obsidian and lead artist on the Mos Eisley project When a group of artists from game developer Obsidian Entertainment got together to create a personal project based around the Star Wars universe, it was always going to be something special. (You can download the UE4 experience from our Vault.) “The project started out with wanting to build the most highly detailed real-time Millennium Falcon that anyone had ever seen,” says Jason Lewis, who along with…

access_time2 min.
the tie fighter

“The Twin Ion Engine, or TIE Fighter, was originally only intended as a fly-over low-poly asset to help create movement in the environment. As it began to take shape, we quickly realised what an iconic shape the TIE fighter was and that it deserved more than a low-poly representation,” explains Terry Hess, senior environment artist at Obsidian Entertainment, who was charged with creating the famous asset. “The start, as with most assets, is to gather reference,” says Terry. “I gathered images of primarily screenshots from A New Hope but it also included reference from the [scaled replica] EFX model. Scale and proportions are crucial for the balanced look of the TIE Fighter, most of the block out time was spent making sure these were correct.” Standard box modelling in 3ds Max was…

access_time3 min.
creating the droids

In his day job Matthew Carranza is an environment artist, but for the Bay 94 project he was tasked with creating everyone’s favourite droid, R2-D2 (as well as the one with the bad motivator, R5-D4). For reference Matthew used a mixture of stills from A New Hope and photos of real, life-sized R2-D2 droids built by fans. For modelling Matthew turned to 3ds Max 2013. “I start off any model by building out a high-poly model, and then making a low-poly model from the high,” says the artist, adding: “The astromech droids are, at their core, a collection of simple shapes. That was my core thought process while making these guys. If a piece I was modelling started to feel a little too complex I knew I was going about making it…