3D Artist No. 119

3D Artist magazine is a luxury title for fans of 3D software and the phenomenal images that can be created. Each issue is packed with advice and inspiration for 3D devotees, all written by first-class artists. The tutorials give readers valuable insight into the techniques used by 3D professionals, while interviews and features focus on the latest projects being created by commercial studios and freelancers. 3D Artist looks at the entire 3D world, from TV and architecture design, through to film work, concept art and character development. The unique 'Workspace' mini-mag is for people training for a 3D career and shines the spotlight on 3D university and college courses, in addition to specific career advice from experts in the field, interviews with 3D studios and recruitment agencies, plus tips for anyone starting out as a freelancer. Please note: Digital versions of the magazines do not include the covermount items or supplements that you would find on printed editions.

Country:
United Kingdom
Language:
English
Publisher:
Future Publishing Ltd
Frequency:
Back issues only
£4.43

in this issue

1 min
welcome

This issue, we’ve compiled an incredible 28 pages of game art to help you level up your skills. From artists like Danny Sweeney, character artist at Creative Assembly, to Matthias Develtere, a 3D artist at MachineGames, you can expect to hear triple-A techniques and learn step by step how they achieve their stunning assets. You can also hear from Mak Malovic from Bluepoint Games, who are the masters of the remaster. Malovic talks about reworking the beloved classic Shadow of the Colossus from page 36, or learn 35 tips to up your real-time game on page 44. Jody Sargent also gives us her top advice on creating a beautiful underwater scene in UE4 on page 72. As the next Jurassic World hits the big screen, we’ve ventured back into Jurassic Park with…

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2 min
the expert panel

DANNY SWEENEY artstation.com/DannSw Danny Sweeney is a character artist at Creative Assembly, and he’s kindly gone through the triple-A techniques it takes to create a Total War: Warhammer II character on page 50. 3DArtist username DannSw MATTHIAS DEVELTERE matthiasdeveltere.com Matthias is a 3D artist at MachineGames and was responsible for almost all the vehicles in Wolfenstein II. Who better to walk us through a high-poly asset on page 58. 3DArtist username DevMatt GREG BARTA artstation.com/scivfx Greg turns his attention to lighting this issue, after his successful journeys in scientific weather phenomena. He gives us top tips to upgrade your lighting on page 66. 3DArtist username N/A ADAM BARNES adambarnes.info Adam took a trip to Germany’s this month to speak to one of Berlin’s biggest vendors, Rise FX. Find out about the studio’s beginnings over on page 30. 3DArtist username N/A IAN FAILES vfxblog.com…

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1 min
free with your magazine

SideFX Houdini Foundations eBook Courtesy of SideFX, learn procedural workflows 3 Premium CGAxis models A collection of images to use in your work 25 Textures from 3DTotal.com Download plenty of high-quality textures Plus: all of this is yours too… • Lighting reference video for the Houdini and Clarisse tutorial • SolidWorks files for the 3D printing tutorial • UE4 underwater scene making-of video • A huge selection of high-resolution images and WIPs from our game art special guides to accompany the rest of our unmissable tutorials 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 Free for digital readers, too! Read on your tablet, download on your computer The home of great downloads – exclusive to your favourite magazines from Future! Secure and safe online access from anywhere Free access for every reader,…

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2 min
the gallery

“I wanted to create a real-time 3D scene that felt like an illustration. I love macro photography and the atmospheric beauty associated with a shallow depth of field, so I tried to incorporate those elements into this fantasy scene”Pablo Muñoz Gómez, The Moss Collector, 2018 Pablo Muñoz Gómez zbrushguides.com Pablo runs zbrushguides.com and is a concept and character artist based in Australia Software ZBrush, Substance Painter, Photoshop, Marmoset Toolbag 3 Work in progress… “I created this for the Texturing and Shading 2 class at Gnomon. I wanted to challenge myself by taking on a full character in an environment. Since I’m a huge admirer of weapons and equipment from the Great War, I designed a character from that time. I also wanted a wide variety of objects and materials to texture and shade”Alec Hunstad,German Trench Raider,…

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1 min
in depth

“It’s an autobiographic image that shows a life-changing moment with a rare disease I had in 2016. I was in hospital when my heart stopped beating. My eyesight faded away until passing out and the ECG showed a flat line. After that day, to prevent any chance of sudden death, I had a pacemaker implanted”Christopher Ruesing, Hospital, 2017 Christopher Ruesing finest-artworks.de As a photographer, Christopher understands the use of light and composition in imagery, which he uses in 3D projects Software Cinema 4D R18, Photoshop CS6 Work in progress… GET THE SCENE LIT The room should be flooded by light that is diffused by curtains. To achieve this, I used the backlight shader in the Luminance channel of Cinema 4D’s Material-Editor. IMMERSIVE POINT OF VIEW To merge photography with my 3D scene, I took pictures of my arms and…

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7 min
vfx finds a way

Ask any 3D or visual effects artist which movie inspired them to get into the VFX industry and the most common answer is undoubtedly Jurassic Park. But the 1993 Steven Spielberg film was surprisingly low on VFX shots – in fact, there were just 63 – and it almost didn’t feature CG dinosaurs at all. The director had actually initially planned on a combination of full-scale animatronics from creature effects designer Stan Winston and ‘go-motion’ dinosaurs created by Phil Tippett’s Tippett Studio. Industrial Light & Magic (ILM) was then going to add further motion blur to these hand-crafted, stop-motion dinosaurs and composite them into live action plates. That plan famously changed when ILM produced a secret full-motion CG test that stunned Spielberg and changed the visual effects industry forever. Ultimately, Jurassic Park…

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