Sandbox Alchemy

As a 3D artist, I've spent years learning 3ds Max, a robust, comprehensive 3D program favored by architects and game artists, and months learning Zbrush and Mudbox, sculpting programs used to create beautiful high resolution digital sculpture. I've been able to maintain and grow these skills thanks to the access my current job grants me to educational versions of software.

Once, a handful of years ago, I took the plunge and purchased a professional version of 3ds Max so that I could pursue freelance opportunities. It was an investment of thousands of dollars I could barely afford at the time, and frankly, could hardly afford now. Even the yearly subscription program is hundreds of dollars. I have come to the conclusion that 3Ds Max and its yearly updates are tools for established studios and wealthy hobbyists, not for the common freelancer or the independent game developer who wishes to conduct business in a legal, sustainable fashion amidst a struggling economy.

Moreover, if we include all the other additional applications and plugins, bells and whistles, that some claim are necessary for remaining “current” with the entertainment industry, an individual can quickly find themselves barreling into financial suicide, addicted to torrents, or they must let the dream die.

I am not going to let the dream die. But I am tired of keeping up with this vain, expensive game. Over the past year I've engaged in vast amounts of research and personal reflection. I've taken into account the insights of inspiring voices in the game design industry, from Will Wright to Kyle Gabler. I've come to the conclusion that the intelligent, shrewd use of resources and talent trumps industry-standard software and bells and whistles every time. Tools do not create innovation, wonderment, or meaningful experiences. People do. Tools do not make the most of opportunities, transforming simple gameplay into lucrative money-making ventures. People do. Tools do not make awe-inspiring works of transformative art. People do. 

Over the past couple months, I've taught myself modeling in open source programs Blender and Wings 3D, sculpting in Sculptris, and explored normal map generation in Xnormal (all freely available). I spent a total of twenty dollars on ShaderMap Pro. With these tools I've been able to produce results equal to what I might have produced with 3ds Max, Mudbox, and Crazy Bump, software worth hundreds or thousands of dollars more.

It wasn't easy. It wasn't fast. But because I made this work with open source, freely available, and cheap software, the real value of the work is where it belongs – in the hands of the artist. For this reason, I wish to celebrate these tools and uphold them as sound alternatives to industry-standard fair. They are not as featured or laced with gimmicks, but the simplicity of the software forces the designer to solve problems in different ways. 

Blender: http://www.blender.org/ 
Wings 3D: http://www.wings3d.com/ 
Sculptris: http://www.pixologic.com/sculptris/ 
XNormal: http://www.xnormal.net/1.aspx  
ShaderMap Pro: http://shadermap.com/shadermap_pro.php