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3D World3D World

3D World March 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


access_time1 min.
spotlight on our contributors

Steve Jarratt Steve is a freelance journalist and CG artist, with an unhealthy addiction to 3D apps and plugins. Check out his X-Particles review on page 96. www.insydium.co.uk Dora R. Fitzgerald Dora received an MFA in Film from Columbia University and a Ph.D from the University of Texas San Antonio. She teaches visual language on page 26. www.uiw3d.com Martin Nebelong Martin has a long history as an artist and is quickly becoming an industry leader in VR art. You will find his fantastic sculpting tutorial on page 64. www.artstation.com/martinity Simon Holmedal Simon is well known for his perfect blend of technicality and artistry as a Houdini user. He reviews the latest version on page 94. www.simonholmedal.com Oscar Juárez Oscar is an archviz specialist, creating in many apps, but has a keen interest in Unreal. He shares some of his…

access_time3 min.

ON THE ROAD TO NOWHERE ARTIST Mohamed Chahin SOFTWARE Blender, Cycles This insanely adorable little alien monster pilot was created by Mohamed Chahin in Blender, before rendering in Cycles. Discussing his creation process for this character, 3D artist Mohamed explains, “For the monster I made his facial expressions using shape keys, and experimented a bit with subsurface scattering to make his skin and tongue. For the smoke I made a particle emitter that emits metaballs, a colour ramp for their scale – so that over time the particles start small, get bigger, and after that get smaller. I used a particle system for the trees, and an Array Modifier. I used an array that follows a circular curve for the airplane blades, and placed some point lights behind them.” When it comes to creating artwork, Mohamed says…

access_time14 min.
beastly beautiful

THE SHAPE OF WATER DIRECTOR Guillermo del Toro ABOUT A fantasy drama set in 1960’s Baltimore, following mute janitor Elisa (Sally Hawkins) and her life-changing encounter with an imprisoned sea creature. RELEASE DATE Out now For filmmaker Guillermo del Toro (Pan’s Labyrinth), fairy tales are a way to address social issues as universal themes, and the cross-species romance The Shape of Water explores the idea that love can be found in various forms against a backdrop of paranoia and bigotry. The pivotal concern for the $19 million dollar production was to have audience members believe that an amphibian creature captured from the Amazon and taken to a secret American government facility could have an affair with a mute cleaning lady. In order to create a captivating and unconventional leading man, del Toro relied on the practical expertise…

access_time11 min.
shoot like you mean it:   a primer of film grammar

AUTHOR Dora R. Fitzgerald received an MFA in Film from Columbia University and a Ph.D. from the University of Texas San Antonio. Her academic interests include film spectatorship and grammar, and race and representation in cinema. www.uiw3d.com In this series, we will take a slow and measured walk through the choices every filmmaker has to achieve meaning in the cinematic process. As a filmmaker, moving from the ideal (inside your head) to the real is no easy task. These lessons are not about new equipment or technology, but rather reflections on time-tested techniques. This is a journey of options based on understanding the medium you seek to master. From your first decision to your last, we hope to bring additional clarity to the activity of film construction. Your primary job as creator is…

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create a flaming character

FOLLOW THE VIDEO www.bit.ly/vault-231-procedural AUTHOR Rob is editor of this very magazine but also runs an animation studio working across film, TV and print, specialising in motion graphics and visual effects. www.pariahstudios.co.uk For many of us it can be easy to let the software we use lead us on the journey to our end result, when really we should be taking charge and making the tools do what we need. This makes us learn how to implement our various tools into our work, but sometimes one particular application doesn’t allow us to reach our end goal, or possibly not in the most productive manner. At these times we need to build a pipeline, where we take the most suitable tools for the job and make them fit together. In this tutorial I will guide you…

access_time8 min.
behind the scenes with moritz schwind

NIKE CAGE 3 “With Nike's Cage 3, the challenges were mainly technical as we had a rather short time to come up with a setup that allowed for the organic animation of a geometric structure, while maintaining a high degree of control over the structure's behaviour,” Schwind explains. “We solved this by using a combination of Houdini's built-in simulation tools together with bits of custom VEX code.” Moritz Schwind is the kind of artist who ruminates on every little detail. The Munich-based designer is currently the art director at Aixsponza, whose clients include everyone from Nike and Red Bull to Nescafe and Fendt, and it’s his concept-driven process that ensures his work jumps from the screen. Like a lot of artists, Schwind first became interested in motion graphics when he was in school.…