category_outlined / Tech & Gaming
3D World3D World

3D World October 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
Read Morekeyboard_arrow_down
£6.85(Incl. tax)
£44.99(Incl. tax)
13 Issues


access_time1 min.
spotlight on our contributors

Oscar Juarez Oscar is an archviz specialist creating in many apps, but has a keen interest in Unreal. He shares some of his secrets on page 66. www.fibrha.com Pietro Chiovaro Pietro is an Italian 3D artist who creates 3D assets and environments, and is currently working on an open-source game. pietrochiovaro.artstation.com Ian Failes Ian is a regular contributor to 3D World, and in this issue he has investigated how worlds are created for the movies. Turn to page 28. www.vfxblog.com Alex Borre Alex is a 3D artist from Chicago. He has worked in the games industry for five years now including work on AAA game titles and VR/AR experiences. alexborre.artstation.com Maya Jermy Maya is a 3D artist and animator based in the UK. She started her career five years ago remaking and animating characters for Oddworld. www.mayajermy.com Mike Griggs Mike Griggs is a 3D and visual…

access_time1 min.

ARTIST Hadrien Gouedard SOFTWARE ZBrush, KeyShot, Substance Painter, Photoshop “For this image I used a classic process: sculpt in ZBrush, pose in ZBrush, quick Polypaint, and then I did some tweaks on the materials in KeyShot to get a nice SSS effect,” says character artist Hadrien Gouedard. He begins his creative process with some quick 2D sketches before rushing them in ZBrush, then finishing off with 3D-Coat, Substance and Marmoset, or directly in KeyShot. Hadrien’s work on this particular image was driven by a desire to lend a crazy personality to such a wild and dangerous animal. “The challenge is always more artistic than technical for me,” he adds. “The goal is to keep it fun throughout the entire process, when I look at the sculpt it needs to make me smile.” artstation.com/hadrien_gouedard…

access_time1 min.
quickshot ii turbo joystick

ARTIST Cem Tezcan SOFTWARE SolidWorks, Modo, Substance Painter, Octane Render This impressive image took freelance artist Cem Tezcan a little under a week to complete. The joystick is from the late Eighties and required Cem to employ some unusual techniques to create the plastic material. He explains: “I used injection moulding techniques on modelling the plastic parts, which is the best way to express the grooves and lips of the mounted parts. I used calipers to measure every detail of the product to catch the exact industrial similarity.” Cem creates his CAD models with SolidWorks before creating textures in Substance Designer and then painting them on with Substance Painter. For subdivision modelling, UV, lighting and scene creation he uses Modo. Finally he employs either Modo’s render engine, Octane Render, Iray, Unreal Engine or Marmoset Viewer,…

access_time1 min.
lemon boy

ARTIST Nazar Noschenko SOFTWARE Blender, Photoshop “I really enjoy bringing the concept to life, whether it’s mine or someone else’s. The most exciting part is when all the pieces finally come together,” reveals student and freelance character artist, Nazar Noschenko. This adorable image is the end result of two months working in his spare time, using a plethora of cartoon kids as reference. “The boy was initially sculpted from primitive shapes in Blender and then retopologised,” Nazar explains. “For the texturing I used Cycles’ node editor. I started with the medium skin colour, then painted masks for red and yellow areas of the character. I painted details like lips and nails with alpha channel.” The lemon was more challenging and required Nazar to spend considerable amounts of time mixing different nodes to achieve the translucent, blurred,…

access_time1 min.
study of julia blattman illustration - gecko car

ARTIST Yisu Zhang SOFTWARE Maya, V-Ray, Mudbox, Mari, Photoshop “Pretty much everything used to create this image is a basic modelling technique taught to new students,” says Yisu Zhang. He is currently just a student at Think Tank Training Center and very new to the world of 3D art, not that the quality of this image suggests it. “I used displacement for the ground and dirt, V-Ray 2-Sided Material for the leaves and varying degrees of SSS material for the geckos and berries,” he explains. “VRaySun and Sky provided the only light source. I painted my diffuse/spec/bump maps in Mari. V-Ray fog and depth of field are tweaked in Photoshop.” As he continues his studies, Yisu has ambitions for the future: “I want to tell stories with my artwork. I believe there are many ideas and…

access_time1 min.
red warrior

ARTIST Rico Cilliers SOFTWARE ZBrush, Blender, Substance Painter, Marvelous Designer, Cycles Renderer, Photoshop Rico Cilliers is a freelance 3D artist working in the games and animation industry. “I typically focus on low-poly or high-poly asset modelling and texturing,” he adds. His love of characters that tell stories provided much of the inspiration for this femme fatale. According to Rico, the most notable part of the process came when creating the warrior’s clothing. “For most of the clothing I used a free Blender plugin created by Rich Colburn, which allowed me to simulate the folds and wrinkles in real time through my viewport. The cloth sim is not 100 per cent physically accurate, but provides a lot of parameters to allow for greater artistic freedom.” It was this part of the process that also proved to be…