Interview

Johnny Fehr returns to tell us about the latest project – The Real Story Behind R2 D2, explained how the idea behind this project was born, and shared some interesting texturing techniques.

Jordan Smee explains how the Lost City scene was blocked out in Maya and textured in Substance Painter, shares some great tips on creating stylized foliage, and talks about the importance of tweaking lighting settings slowly and patiently as even a minor change can make a huge difference.

Kelly Recco discusses the possibilities of the brand new procedural features in Substance Designer, comments on their advantages and limitations, and explains how the cute little procedural bridge was created using Substance Designer's latest tools.

Gioele Minigher talked about creating an unusual post-apocalyptic axe, working in ZBrush, and the rendering process in Marmoset Toolbag 4.

Dylan Garner explains how the hypnotic dark alley covered with ivy vines was created, talks about the long process of working on the foliage for the scene from sculpting separate ivy leaves to finalizing the vines in UE4, and shares some wise tips on how to avoid a "beginner look" in your first environments.

A Character Artist at Ubisoft Bordeaux Mike-Amir El Frangi told us about creating a print-ready Leviathan in ZBrush and shared some great techniques for aspiring Character Artists.

Zhouli Tan shared an extensive breakdown of the sculpting workflow, recommended useful brushes that you can use in ZBrush, and talked about studying at Gnomon.

Andrew Czarnietzki told us about designing Curved Space, a game that combines both 2D and 3D looks, discussed the game industry, and gave some advice to aspiring game developers.

Todor Vladev explains how the 669-feet-tall cocoon-shaped educational facility was recreated in 3D, talks about the challenges of working on the composition and choosing the lighting setup that creates the right mood and makes the centerpiece truly stand out.