Innholdsfortegnelse for No. 132 i 3D Artist

Ilya Shichkin artstation.com/nx74 I live in St. Petersburg and have been in CG since 2011. At the moment I am working in the games industry on AAA projects, as a senior artist. Software Blender, Photoshop Work in progress… “I made this art for the NVIDIA Metropia 2042 ‘Vehicles of the Future’ challenge. I was inspired by modern cyberpunk fashion and the movie I, Robot”Ilya Shichkin, Cyberpunk Truck, 2019 Massimo Righi massimorighi.com Massimo is an award-winning 3D artist. He is involved in various projects across the game and film industries. Software Maya, Arnold, Shave and a Haircut Work in progress… “I’ve always loved wolves. This image is an attempt to recreate a typical pose. The main challenge was to light and shade the fur. Working with white textures is always tricky,…

MAARTEN VERHOEVEN Freelance digital concept sculptor artstation.com/mutte 01 Start with spheres Use a simple sphere as a base and start sculpting on it with Sculptris Pro on. Try to discover shapes with just a few brushes, like Move, Standard and ClayBuildup. A nice way to save time during the concept stage is to use insert brushes, like skulls, for example. 02 Use multiple subtools Like before, everything is about design and shapes, so use multiple subtools. This way you can easily tweak your volumes and it will also keep your polycount below 1 mil polys, as Sculptris Pro doesn’t like high-density meshes. We want to work fast, but we don’t want to stress our system. 03 Reuse your blocked-out shapes As we started working in symmetry and sketching out all…

DETAILS I try to make everything as simple as possible; sometimes with projects we have to take time to achieve a nice result, but for me the best way is usually the easiest way. As you can see in the image, I made all the lighting and shaders simple but accurate. I tried to use elements that are necessary, for example overexposure outside, plus more glow and contrast in the foreground. Also, there are textures I use, especially for bumps and displacements, to keep everything realistic and simple. Mohsen Hashemi www.renderexpert.info Mohsen is an architect and digital artist with a flair for concept design. Software 3ds Max, Corona Renderer, Photoshop BungalowDornean, 2019…

DAHLIA KHODUR Field Mouse, 2019 Bio I graduated as a graphic designer, however I pursued my MFA in illustration and fine arts, and worked with production companies to create storyboards for TVCs and animations. Now I teach design, illustration and VR art at universities in Lebanon. Software Tilt Brush Learn how to Createacharacterplan Start a wireframe base Use Mirror Decide on a suitable texture for rendering Change environment colours Export from Tilt Brush Concept I chose to create a whimsical scene of a field mouse standing in front of the biggest piece of cheese he had ever seen! In this tutorial we are going to learn how to paint in virtual reality using Tilt Brush. We will go over the basics of creating a character suitable for a VR…

MINOR POST-PROCESSING From the beginning I knew that lighting would be crucial for this image, so I blocked out the geometry already with lighting in mind. Usually I start very early with placing lights, which keeps the style of the image consistent. I started with a simple HDR, then continued adding area lights where I wanted to have the main focus. I balanced the colder lights with quite harsh, warm lights hid in crevices to give interesting gradients. I finished it up with narrow spotlights with a noise texture on them to give some dappled light effects. Lukas Walzer bit.ly/2KGcVaT Lukas is a 3D generalist at Animationsfabrik. Software Blender, Photoshop Nvidia‘Metropia2042’ ChallengeSubmission, 2019…

Epic Games has released Unreal Engine 4.22, which introduces new features that aim to push the boundaries of photorealistic and cinematic quality for real-time experiences, including real-time ray tracing and improved build times of up to 165%. Real-time ray tracing will allow users to selectively ray trace the passes that benefit from it, to achieve subtle, accurate and realistic effects, like reflections and refractions, soft area shadows and ambient occlusion. Simultaneous multi-user editing allows multiple developers to simultaneously make and view changes to the same Unreal Engine project, facilitating effective collaboration that eliminates bottlenecks and inspires creativity. Unreal has also licensed Molecular Matters’ Live++, and integrated it as a new Live Coding feature. Version 4.22 optimises UnrealBuildTool and UnrealHeaderTool, drastically reducing build times and resulting in up to 3x faster…

Foundry has announced that it will be acquired by Roper Technologies, a diversified technology company and a constituent of the S&P 500, Fortune 1000, and the Russell 1000 indices. The transaction is expected to close in April 2019, subject to regulatory approval and customary closing conditions. Craig Rodgerson, Foundry’s CEO, said: “Roper understands our strategy and chose to invest in us to help us realise our ambitious growth plans. This move will enable us to continue investing in what matters to our customers: continued product improvement, R&D and technology innovation, and partnerships with leaders in the industry.”…

A gigantic space battle, a fight between a gorilla and a shark man, UFOs, acid trips and superheroes – there’s a lot to choose from on television these days, and a lot of major effects on show. Those sequences are just some of the things that VFX has helped create in the TV series The Orville, The Flash, Project Blue Book, Deadly Class and Doom Patrol. 3D Artist asked some of the effects pros behind that work, hailing from FuseFX, Encore VFX, Artifex and Polyester, about how they created digital characters, epic environments and unusual CG sequences. BATTLE (TV) STATIONS In Fox’s The Orville, Seth MacFarlane’s space comedy-drama, a recent episode (‘Identity, Part II’) featured an enormous battle between different races and their various spacecrafts. Pixomondo and FuseFX shared duties…

Disney’s first virtual reality short film, Cycles, is inspired by director Jeff Gipson’s memories of his childhood, spending time with his grandparents in their home. The film’s style was inspired by illustrations from the 1950s and 60s, and there’s a classic kind of Disney design for the interiors and characters that Gipson loved and wanted to implement into this new medium. “Every house has a story unique to the people, the characters who live there,” says Gipson. “We wanted to create a story in this single place and be able to have the viewer witness life happening around them. It is an emotionally driven film, expressing the real ups and downs, the happy and sad moments in life.” The film had its world debut at SIGGRAPH 2018, and centres around…

DYLAN ABERNETHY 1920s Victorian Lounge Room, 2018 Bio My name is Dylan Abernethy and I am an environment artist from Canada. I am currently a student studying game development in hopes of becoming a junior in the industry sometime soon. Software Maya, Photoshop, ZBrush, Marmoset Toolbag, Unreal Engine, Substance Painter Learn how to OrganicallyworkbetweenMayaand ZBrush Set up a seamless pipeline for creating a small environment in UE4 Tell a story through lighting and colour Create compelling compositions for your environments Polish up a completed scene to maximise its appeal Concept I got the idea for this scene when I had the pleasure of visiting Ubisoft Toronto last year. Senior Level Artist Billy Matjiunis encouraged me to focus my work on smaller story-driven scenes, eventually leading me to create this…

Angela Rico I’m a 3D character artist from Bogota, Colombia. I had a multimedia arts and animation background before studying at Gnomon, where I specialised in character/creature creation for film and games. I am currently a character artist at Blur Studio. Bride, 2018 ZBrush, Maya, V-Ray, Marvelous Designer, Mari, Substance Painter, Nuke, Photoshop This is based on an illustration by Peter Polach. I wanted to focus on capturing the story portrayed in the concept. Swordsman, 2018 ZBrush, Marmoset Toolbag, Maya, Substance Painter, xNormal, Photoshop Based on a concept by Su Jian, this was my first real-time character. It was a great learning experience. Snake Temple, 2018 Maya, ZBrush, Marmoset Toolbag, SpeedTree, Substance Painter, Photoshop Based on a concept by Nick Gindraux, this was my…

For over ten years the developers at Lightmap, makers of HDR Light Studio, have been working on establishing the ‘perfect’ way of creating bespoke lighting environments for CG artists that can work across several different digital content creation applications. With an established foothold in a range of sectors from product design to automotive manufacturing, HDR Light Studio has long been the professional’s choice for lighting their detailed models. HDR Light Studio works as a standalone application where custom HDRs can be created from a huge range of presets (over 7GB of assets are supplied including light boxes, spot lights, windows and clouds), and there are plugins available for a range of digital content creation applications that provide a ‘hook’ into HDR Light Studio’s interactive lighting setup. This allows artists the…

Step-by-step tutorial Master creating expressive VR art with this in-depth training Three CGAxis premium models Three models with a medical instrument-based theme Textures from 3DTotal.com Download a selection of high-quality textures Tutorial files, video files and screenshots Learn the latest techniques and tools from our industry experts SIGN UP to our newsletter to get the latest news, stories and training from your favourite 3D magazine Head to bit.ly/3DA-132 to download your files…

PAUL GABOURY 3D product development manager at Pixologic pixologic.com Non-photorealistic rendering has been added to ZBrush in this update. Can you tell us about this feature? We wanted to give ZBrush artists a new way to create unique final renders that can look like a pencil sketch, comic book, anime cel or watercolour painting. The Non-Photorealistic Render (NPR) makes this possible. The system gives instant feedback, making it useful as a presentation and production tool. NPR settings can be saved as presets, allowing artists to replicate effects and share rendering styles. How does ZBrush 2019 make it easier for artists to create hard-surface and mechanical shapes? SpotLight allows users to use imported images as a source for projecting colour and/or sculptural details to a model. Supplementing this function are a…

Dylan Abernethy I am an environment artist from Canada with a passion for 3D art, interactive storytelling, and teaching. I am always excited to learn new tools when it comes to these topics, and try my best to keep an open mind. Messy Student Dorm Room, 2016 Maya, Photoshop, Substance Painter, B2M, Quixel Suite, ZBrush, Marvelous Designer, Unreal Engine This scene was created a few years back to introduce me to the Quixel Suite as well as Marvelous Designer. Futuristic Chai Tea Stall Props, 2018 Maya, Substance Painter, B2M, ZBrush, Photoshop, Marvelous Designer, Unreal Engine This image shows off a collection of assets made for a Ubisoft student competition I participated in. Dekogon – Old Gate, 2018 Maya, ZBrush, Substance Painter, Marmoset Toolbag 3,…

Greg Barta CG artists can help to communicate and solve our real-world problems like climate change and pollution, using methods like photorealistic data visualisation among others. Anniversary swarm of the Jumbo Jet, 2017 Houdini, Nuke Half a century ago Boeing 747 took off for the first time. This is how it would look if all the 747s they produced could fly in a formation the same shape as the plane itself. Plastic Mars, 2017 QGIS, Houdini, Clarisse Mankind produces enough plastics that if we could melt them together, it would be enough to shrink-wrap the entire surface of Mars with the thickness of a plastic bag. Big Maxpressed food waste, 2017 Sketchfab.com , Houdini, Clarisse I expressed the rate of global…

Dahlia Khodur I graduated as a graphic designer and pursued my MFA in illustration and fine arts. I work with production companies to create storyboards for TVCs. Currently I am a design, illustration and VR art instructor at several universities in Lebanon. Ariel, 2018 Photoshop Here I experimented with giving a rendered and painterly feel to this scene as opposed to the regular look of a classic digital painting. Gem, 2019 Photoshop Gem is a character I created for a personal graphic novel in the works. She is shown with her spirit animal in bold colours to reflect anger and intense emotions. The Croc King Swamp, 2019 Photoshop A key shot of a story based on the ‘Rat Race’ universe. One of the characters,…

Bio Mike Griggs is a digital content creator with over two decades of experience creating VFX and CGI for a wide range of clients. Creating imagery in virtual reality is one of the most exciting forms of computer graphics creation currently available, and with the sharp reduction of the price of headsets and even better technology set to arrive in 2019, there has never been a better time to start creating in VR. There are a wide range of creative applications appearing for VR headsets and one of the most exciting is Gravity Sketch. Gravity Sketch is a full NURBS and spline modeller, and allows the quick prototyping of 3D forms that can be exported to work with an artist’s traditional CG creation tools. With a minimal set of tools,…

Bio Glen runs SouthernGFX, a small Cheshire-based studio specialising in character and creature design with clients including Sky, Roald Dahl, Nike, Adidas, Disney and Wacom. He’s been using and training ZBrush in the UK for over 15 years and is a Wacom Ambassador for the UK and Ireland. Recently he has been creating in the VR space working with companies like Oculus Medium and now Gravity Sketch in the UK. Blender is an open-source package created by Ton Roosendaal and originally developed as an in-house tool. It has now grown into a huge collection of high-end 3D tools that can rival the likes of Maya and Modo. The developers also added some amazing sculpting functionality in earlier versions and that has only grown with the addition of Dyntopo sculpting. This…

Software development company Foundry has made efforts to empower the next generation of VFX artists with its Education Collective, an initiative that grants students affordable access to their industry-leading toolsets. It wraps Foundry’s full suite of visual effects and design tools – Nuke, Mari, Modo, Cara VR and Katana – into a single licence. “We created Education Collective to enable students to dive into exploration,” says Sarah Leavitt, Foundry’s head of education and creative services. “They get access to the full Foundry suite of visual effects and design software so that they can experiment with the same software used by the industry’s leading studios.” The initiative sees Foundry investing in future talent. “We believe students need to have access to the same software they will use later on in their…

MPC Film has announced that VFX supervisor Lindy De Quattro has joined the team. De Quattro has worked with some of the best-known directors of our time over a 25-year career, including Guillermo del Toro, Alexander Payne and Brad Bird. “I was attracted to MPC because of their long history of exceptional high-quality visual effects, but I made the decision to come on board because of their global commitment to inclusion and diversity in the VFX industry,” says De Quattro. “Girls need role models, and women and other underrepresented groups in the industry need mentors. In my new role at MPC I will strive to be both while contributing to MPC’s legacy of outstanding visual effects.”…