3D World

This issue is somewhat bittersweet, as it will be our last. We’ve spent over two decades helping artists hone their craft, discover inspirational projects and more. But that won’t end, as you can still find plenty of content to drive your passions with features, training and reviews at creativebloq.com. If you’re a subscriber, our team will be in touch to arrange any refunds. I want to take this opportunity to thank you all for being part of this journey. Thanks also to our wonderful contributors who have made 3D World the industry’s favourite magazine for 3D artists all over the planet. Working with such talented writers, artists and studios has been a real pleasure and I wish there was space to thank everybody properly. Enjoy the issue. rob.redman@futurenet.com…

The Gallery The best digital art from the CG community BASED ON A CONCEPT BY T.B. CHOI (artstation.com/artwork/3XgeE) ARTIST Ivan Gubarev SOFTWARE ZBrush, Marmoset Toolbag, Photoshop "I recently came across the amazing work of Blizzard concept artist T.B. Choi and decided to recreate one of her fantastic sketches in 3D. I was hooked by the awesome dynamics and intrigued by the fact that she'd only used two colours. I used ZBrush to create the piece and then rendered in Marmoset. In general, the work wasn't technically too hard, for example the gloves are mostly made up of primitives, as much as the silhouette, the direction of the lines, and the overall flow I was trying to convey, which are often much more important than the detail. Working on these types of…

"I THINK MY WORK IS PROOF THAT PRESENTATION IS ONE OF THE MOST IMPORTANT ASPECTS OF ART" ARTIST Dmitrii Solomka SOFTWARE Plasticity, Blender, ZBrush, Marmoset Toolbag, Photoshop Camera Raw "When I created this project, I planned to make a fully game-ready weapon with dynamic animations for presentations. Instead, I made a kind of workin-progress presentation because the project had already taken me seven months. I was inspired by Egor Kapashylov and his MP5 to post my design before it was complete. During the work I relied on xNURBS, which was recently added to Plasticity. I went all-in on the renders, which after a lot of iterations and reworks were developed to a state that I was satisfied with. In the artist community there used to be a lot of debate…

ARTIST Kateryna Hrytsyshyna SOFTWARE ZBrush, Marmoset Toolbag "This was a personal project created in ZBrush and rendered in Marmoset Toolbag, with my focus on capturing the fine details of the face and clothing in the sculpt. The piece was designed specifically for 3D printing, so I carefully considered the structure and geometry to ensure it would print cleanly and maintain all the details. The main task was to make sure features like the headdress, ornaments and facial wrinkles would all translate well into a physical model, avoiding any thin areas or overhangs that could cause me issues during printing. The character was inspired by shamanic traditions and ancient myths, which I wanted to reflect through the design's blending of realism and fantasy. My goal was to create a piece that…

The Gallery "I began by limiting my reference pool, using a very simple sprite taken from the MOTHER video games as the main reference for the entire design process. My inspiration was taken from traditional ceremonial French armour from the 16th century, along with not-so-traditional armour such as those from Elden Ring. While sculpting, I kept my subdivision levels and baked the Normal maps preemptively. That way I could maintain high-quality details along with a low-poly mesh that could easily be modified. After the texturing, I brought the model into Character Creator, where I used the magic of AccuRIG to get a basic rig for the model. I then finalised my project by making a few keyframes and used Blender's EEVEE Next to get a fast render before switching over…

The Gallery ARTIST Kevin C. Sepúlveda Márquez SOFTWARE ZBrush, Marmoset Toolbag, Photoshop "While I wanted to sculpt an alien with ZBrush, I felt that I could create something more than just another static character. That's why I decided to pose it and create a composition. Using simple SubTools I built a blockout for the pose, as well as the column. At first I applied the golden spiral vertically, but realised the column was too long and diminished the xenomorph's importance. I then duplicated and arranged the spirals horizontally, which worked perfectly. After that, I gradually sculpted the creature, brought it into Marmoset Toolbag for lighting, and finally used Photoshop to enhance the renders and give them more personality. Marmoset is an incredibly powerful tool for showcasing your characters, even if…