3D Artist No. 128

As one of the most exciting artists working today, Maarten Verhoeven is a force to be reckoned within the ZBrush community. Coming fresh from his win as champion of the ZBrush Sculpt-Off 2018, he’s given us an inside guide on creating stunning concepts using his trusty sculpting tool of choice from Pixologic. You can find his tutorial on page 46. Image Engine also gives us the inside scoop on their work on Fantastic Beasts: The Crimes Of Grindelwald this issue. Not only that, but they’ve also kindly given us two expert tutorials for re-creating some of their genius effects. From hair transformation to pro Marvelous Designer techniques for film, they’ve covered it all. Don’t miss it! Elsewhere you can discover the impact of arch viz, learn to relight CG in Nuke, create…

MAARTEN VERHOEVEN artstation.com/mutte ZBrush Sculpt-Off 2018 champion Maarten is a wizard when it comes to digital sculpting and concepting with ZBrush. Re-create his Queen Of The Dead image on page 46. 3DArtist username mutte ANNA FEDYUKINA behance.net/annafedyukina Anna specialises in interior designs and 3D visualisations. This issue she explains how she created this incredible environment scene, inspired by Ukrainian countrysides on page 54. 3DArtist username Anna F ALEXIA RUBOD alexiarubod.com Alexia teaches 3D and freelances with studios such as Blur and DreamWorksTV. This issue she teaches us how to create realistic hair with Ornatrix and 3ds Max on page 60. 3DArtist username AlexiaRubod JOSH PARKS compositingpro.com Compositor Josh Parks works at Bluebolt, previously having worked at the likes of DNEG, MPC and ILM. This issue he tells you how to relight in Nuke on page 66. 3DArtist username N/A KELLAN CARTLEDGE kilograph.com Kellan is a creative technologist at…

3 Textures from Renderhub Get amazing hand-painted wood, grass and more 3 Premium CGAxis models A collection of models to use in your work 25 Textures from 3DTotal.com Download plenty of high-quality textures Plus: all of this is yours too… • Video to accompany the Critters After Effects tutorial • Surfaces and clouds for the countryside scene tutorial • A huge selection of essential high-res and work-in-progress imagery to accompany the rest of our unmissable tutorials in ZBrush, 3ds Max, Nuke and more Log in to www.filesilo.co.uk/3DArtist Register to get instant access to this pack of must-have creative resources, how-to videos and tutorial assets The home of great downloads – exclusive to your favourite magazines from Future! Secure and safe online access from anywhere Free access for every reader, print and digital Download only the files you want, when you want All your gifts, from all…

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Dmitriy Glazyrin behance.net/glazyrin Dmitriy Glazyrin is an experienced freelance artist skilled in CGI, digital matte painting and retouching. Software 3ds Max, V-Ray Next, Quixel Megascans Work in progress… “I still remember the first time I came to Sydney for a full-time contract in 2016. It was October and I was walking the downtown streets when I saw these trees – Jacaranda. I was so inspired by the purple colour of the leaves and how they were falling. It was like something from another planet. I decided to recreate this scenario for a fun project”Dmitriy Glazyrin, Mclaren – Jacaranda Garden, 2018 Angela Rico angelarico.art Angela Rico is a recent graduate of the Gnomon School of Visual Effects. Software Maya, ZBrush, Marvelous Designer, Mari, Substance Painter, V-Ray Work in progress… “I chose to recreate this concept by Peter Polach because I wanted to…

Even for a VFX studio that’s worked on the likes of Jurassic World: Fallen Kingdom, Thor: Ragnarok and Logan, owning the first seven minutes of a highly anticipated sequel like Fantastic Beasts: The Crimes Of Grindelwald is no mean feat. Vancouver-based studio Image Engine created no less than 147 shots for the latest instalment in the Wizarding World franchise. A crew of 130 spent 12 months working on the epic opening sequence that sees the evil wizard Grindelwald escaping from prison in a suitably mind-bending fashion. “We built a relationship working on Fantastic Beasts And Where To Find Them and David Yates really wanted us to work on the second film,” says VFX supervisor Martyn Culpitt, discussing how the project came about. “Initially we bid for creature work but he turned…