Future Publishing Ltd

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3D World3D World

3D World June 2019

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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£6.80(Incl. tax)
£44.99(Incl. tax)
13 Issues


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spotlight on our contributors

Michael Tschernjajew Michael works for New Communication, a leading creative agency in Germany. This issue he shows you how to use C4D to create military machines on page 50. new-communication.de Oscar Juarez Oscar is an archviz specialist creating in many apps. He’s a regular on our expert Q&A panel, which you’ll find starting on page 72. www.fibrha.com Lorna Burrows Lorna Burrows, Head of Content at Immersive Studios, advises on how to plan out branching narratives for VR and 360 projects on page 91. www.weareimmersive.co.uk Glen Southern Glen Southern is an industry veteran and regular contributor to these pages. In this issue he shares his VR sculpting process on page 42. www.southerngfx.com Trevor Hogg Trevor is a regular contributor to 3D World, and in this issue on page 84 he investigates Missing Link, the latest from Laika Studio. linkedin.com/in/trevor-hogg-77a78024 Mike Griggs Mike Griggs is a 3D and…

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3d world

EDITORIAL EDITOR Rob Redman 3dworld@futurenet.com PRODUCTION EDITOR Rachel Terzian DESIGNER Ryan Wells STAFF WRITER Brad Thorne SENIOR ART EDITOR Will Shum ACTING EDITOR-IN-CHIEF Claire Howlett CREATIVE BLOQ EDITOR Kerrie Hughes CONTRIBUTORS Ian Failes, Mike Griggs, Maya Jermy, Glen Southern, Pietro Chiovaro, Lorna Burrows, Oscar Juarez, Trevor Hogg, Sofia Gariazzo, Jakub Jablonski, Cirstyn Bech-Yagher, Mike Batchelor, Matt Swoboda, Michael Tschernjajew, Cin-Yee Ho, Hubert Zegardlo COVER IMAGE Dumbo, by Disney ADVERTISING Media packs are available on request COMMERCIAL DIRECTOR Clare Dove clare.dove@futurenet.com SENIOR ADVERTISING MANAGER Mike Pyatt 01225 687538 michael.pyatt@futurenet.com ACCOUNT DIRECTOR George Lucas 01225 687331 george.lucas@futurenet.com INTERNATIONAL LICENSING 3D World is available for licensing. Contact the Licensing team to discuss partnership opportunities. HEAD OF PRINT LICENSING Rachel Shaw licensing@futurenet.com SUBSCRIPTIONS EMAIL ENQUIRIES contact@myfavouritemagazines.co.uk UK ORDERLINE & ENQUIRIES 0344 848 2852 INTERNATIONAL +44 (0) 344 848 2852 ONLINE ORDERS www.myfavouritemagazines.co.uk GROUP MARKETING DIRECTOR, MAGAZINES & MEMBERSHIPS Sharon Todd CIRCULATION HEAD OF NEWSTRADE Tim Mathers tim.mathers@futurenet.com PRODUCTION HEAD OF PRODUCTION US & UK Mark Constance PRODUCTION PROJECT MANAGER Clare Scott ADVERTISING PRODUCTION MANAGER Joanne Crosby DIGITAL EDITIONS CONTROLLER…

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garden of the sleeping beast

ARTIST Toivo Huhtaniska SOFTWARE Blender, Substance Painter, Photoshop, Cycles Full-time visualisation and animation student Toivo Huhtaniska adopted some interesting techniques to bring this stunning image to life. “Since the scene contains a lot of round objects, I utilised the polar array modifier extensively so that I only had to model a small portion of the object,” he explains. “Then I simply span the clones around the pivot point. The curtains above the waterfall were modelled using simple cloth simulation inside Blender.” Toivo begins his process by looking through hundreds of reference images and adding his favourites to a mood board. “I rarely do sketches or work from a direct reference,” adds Toivo. “This piece was different for me because it’s heavily inspired by a single painting, ‘The Meditation Garden’ by Eddie Mendoza.” People, light and shadow,…

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ARTIST Arturo Ramírez (Limkuk) SOFTWARE ZBrush, Maya, Substance Painter, Arnold Renderer, XGen, Photoshop Arturo Ramírez is a freelance creature and character artist, working across films, cinematics and games. This particular image took him around three weeks to complete, working sporadically. He explains: “Some days I had a lot of work to do and couldn’t do anything with the model, and some days I’d spend one or two hours on it.” To create Jafar’s cloth garments Arturo utilised ZBrush’s Surface Noise feature. “It’s so powerful and helps a lot with high-detail texturing. For the skin I used Texturing. xyz’s multi-channel face maps, which can really help you to obtain micro details.” Throughout his pipeline Arturo most enjoyed the look development and likeness sculpting processes. “I really like creating the concept of a likeness and then working on…

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the iron throne

ARTIST Phil Liu SOFTWARE Maya, Substance Designer, Marmoset Toolbag For this piece, Monolith Productions’ environment artist Phil Liu wanted to model and texture everything in Substance Designer, before mapping them to planes. “I chose this technique not only to push my skills, but I needed a way to quickly create a lot of unique-looking swords to assemble them. To accomplish this task, I created a sword generator,” he adds. Phil’s sword generator is broken down into four different components: blade, cross-guard, handle, and pommel. He explains: “Each part contains 11 different variations that I can mix-and-match, like a flip-book, with the option to input more pieces. I also created sliders that have additional control over each of the components: horizontal/vertical scale, position, aging, and damage. I had to use the slope formula (y=mx+b) to scale…

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retrofit af26

ARTIST Jason Huang SOFTWARE Maya, Substance Painter, V-Ray 4.0, Nuke “It took me about two to three weeks using after-work hours,” says automotive visualisation artist Jason Huang, when asked how long it took him to create this intricate design. Due to the high number of UDIM tiles on the asset, Jason had to employ a notable technique to bring it to life: “I had to separate the character into multiple Substance Painter scenes based on material assignment to efficiently interact and texture it with all the procedural masks Substance Painter provides,” he explains. “Also, taking advantage of the fully re-written IPR in V-Ray Next for Maya – to use the debug shading mode and responsive feedback – really helps with the lookdev and lighting process.” Working with hard-surface models and taking the assets to the…