Gabriel's work is an astonishly good mix of hand-drawn linework and digital colouring that's packed with detail – yet immediately beautiful from afar.

Where did you train?

’m lucky to have received many commissions; there is no better training [than this].

Where are you based?

Madrid, I love to spend some time in New York, but in Madrid is where I’m happy.

What is your favourite tool and why?

Paper and pencil. Digitally I use a Wacom tablet and Photoshop, but the principle must be real.

Which clients have you worked for?

Rolling Stone, LA Times, Nike, Wall Street Journal, Coca-Cola, Universal Music and ad agencies like JWT in New York, Y&R in Moscow or Leo Burnett in Beirut.

What inspires you?

Women, sensuality, and the ability of drawing to multiply that beyond reality.

Over the past few months, Toronto-based illustrator Murilo Maciel has created a series of artworks to celebrate being represented by agents Shannon Associates for five years. 

In this Masterclass, he reveals the process he used to create this contemporary and playful piece for the KidShannon division of the agency. It features a composition of 3D objects, with a feel somewhere between the plastic used for kids toys and the shiny slickness of bubblegum.

Many 3D artists wonder why they can’t get their type or elements to have that bubblegum look by using simple extruded shapes and the right texture. However, Murilo points out that getting the textures to render correctly depends on a good lighting setup. “Modelling, texturing and rendering all depend on each other,” he explains, “and understanding how each contribute to the looks is essential to give a piece a playful bubblegum look.”

For this piece, Murilo used the V-ray renderer. However, he notes that all the techniques you’ll learn can be done without it – and that Global Illumination on its own can give you pretty good results. To activate GI, go to Render Settings > Effect > Global Illumination. You’ll need to use a slightly different lighting setup and materials, but once you’ve read how it works with V-ray, you should have no problem setting it up using Cinema 4D’s built-in renderer.

This issue’s project files include a base model of an ice-cream cone, so you can concentrate on how you fine?tune the model. 

Time to complete 

8 hours


Cinema 4D 12 or later, Vray 1.2.5 or later (optional)