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3D World3D World

3D World November 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


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spotlight on our contributors

Paul McMahon 3D designer Paul is a master of Cinema 4D and a big fan of cute, stylised artwork. Turn to page 48 to see how he combines the two. www.behance.net/therustedpixel Zihao Zhu Zihao is a concept and character artist, in addition to being an illustrator. See how he uses his skills on page 64 to sculpt a hard-surface robot in ZBrush. www.artstation.com/artist/phenixju Claudio Clemente 3D artist Claudio has created one the most impressive fan art renders you’ll see. On page 42 you can discover how he brought his vision of Tyrion Lannister to life. www.artstation.com/artist/claudioclemente Steve Jarratt On page 94 you’ll find Steve’s review of RF | C4D. He draws on years of experience as a writer and user of 3D animation software. en.wikipedia.org/wiki/Steve_Jarratt Oscar Juárez Oscar is an archviz specialist, creating in many apps but has a keen interest in Unreal.…

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LATE SHIFT – SERVICE DRONE ARTIST SOFTWARE Maya, Quixel Suite, Unreal Engine 4 Wiktor works as an art lead at Quixel creating learning material and promotional art, but in his own time he creates amazing imagery such as this. For Wiktor, the joy comes in arranging the composition, and this project was no different. Kicking off with some SubD modelling, then texturing in Quixel Suite, the environment was created using Quixel Megascans assets and materials. Wiktor has developed a tried-and-proven workflow for his artwork, as he explains: “My general workflow for scenes like these is that I find reference or concept art that I’ll use, then I move on to modelling the highpoly, which I’ll then create a lowpoly from/for that. I do this in Maya. My Maya’s actually pretty stock with not many scripts…

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ARTIST SOFTWARE ZBrush, KeyShot and Photoshop Over the course of ten hours, games designer Xingao set about using ZBrush to design, model and texture the subject, with FiberMesh being used for the tubes in the model, before using KeyShot to render. Then it was over to Photoshop to make the colour perfect. ZBrush is Xingao’s software of choice for the start of a project, which he finds an intuitive way of working. It begins with a DynaMesh, usually involving the Standard brush, Clay brush and Dam_Standard brush. This combination enables the drawing, modelling and detailing to be taken care of. A massive fan of games and animation from a young age, Xingao taught himself 3D, finding that his natural artistic ability helped. As he explains, “I think traditional art is very important to do well…

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out of the box

ARTIST SOFTWARE Blender and Photoshop Pierrick’s love of creature box characters fuelled the inspiration for this image. It all began as a simple cube, which had a subdivision modifier added to achieve a low-density mesh to start the sculpting procedure. Pierrick set the general proportions and then added details, such as the legs and arms, as separate meshes to enable easy access when sculpting. Once the reptology was complete, UVs were generated, unwrapping the character and accessories on a unique UV made to avoid creating multiple maps. With AO and curvature baked, the next step was to start painting, merging a simple colour map, ID mask and SSS scale map with photo textures of elements such as wood and scratched metal. Photoshop was used for post-production, specifically adding contrast, sorting the colour balance, bringing in…

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strange worlds with strange features

ARTIST SOFTWARE ZBrush, Unreal Engine 4 For this image, Tyler set about creating particle effects by using ZBrush to conjure up fractal art that then panned over spheres in UE4. The Array Mesh tool came in play here, for creating repeating fractal shapes that were then taken into Photoshop to be transformed into a tile texture. Once done, this was panned over a shape in Unreal Engine 4 with the Panning Material Editor. This image became a crash course in patterns for Tyler, where he learnt the importance of needing a balance of empty and filled space. Without a good balance, the end result will look flat. For Tyler,this kind of image is becoming a firm favourite. “A big part of my process now is experimenting with panning tile textures across shapes to see…

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flight of the bumblebees

ARTIST SOFTWARE ZBrush For Camille, this image represented a departure from her usual pipelinebased work, giving her some artistic freedom to swap between sculpting, working on fibres or painting. The hairs played a major part in the construction of the image, and were created in FiberMesh. By altering the settings, she was able to move from thicker hair, to thin tips, to messy, clumpy effects. The groomTwister brush helped with the curls, and by pressing Alt, the brush rotated in different directions. To achieve the cartoon effect, Camille created her own shader from the BasicMaterial. She explains: “I pushed the strength of the Wax Modifier to 20. You have to enable the wax preview under the Render properties tablet. It immediately gave it a more plastic look. I minimised the Specular to 5, because I…