Once I had dragged it into place with a box brush, the material type was changed to glass with varying opacity, to give the appearance of water and ice. I switched to the “voxel” brush to sculpt and detail the area, and began to drop in some human characters.īecause the brush requires a surface to attach to, and I wanted to include some floating blocks of ice, I used the upper surface of the scene (essentially the ceiling) to draw out the ice forms, then selected them and dragged the whole area down to the level of the sea surface. At this point I used the “box” brush to click and drag out large clusters of voxels. I began with a single scene, defining some colours for the palette and roughly blocking in the seafloor and bedrock. For an image, I decided to focus on receding sea ice in the Arctic. To start the process, I sketched out a series of thumbnails-small rough compositions-to connect the cover image to the main themes of the issue: climate change and technological solutions. Some additional post-processing was done in Krita, a program with tools similar to those commonly found in Adobe Photoshop, but with more of a focus on drawing and painting. The process is similar to creating pixel art, but in three dimensions and with additional tools for applying different materials and effects to the scene.
The majority of the development was executed in MagicaVoxel, a voxel editor that allows the user to create images with volumetric pixels.
The cover for this issue of Root & STEM was developed using free, open-source software. Root and STEM Artist Ian MacLean Explains how he designed the cover for the first issue of Root & STEM
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