With a talent for character and creature development, Jared Krichevsky brings emotion and life to characters that have defined the feel of many movies he has been involved in throughout his career. He uses KeyShot from the very start to guide the sculpting process and check lighting. Jared tells us more about how he got started, working on feature films and why KeyShot is such an important tool in his pipeline.


Jared Krichevsky

Modeling software used: ZBrush
Website: Artstation

What sparked your interest in becoming a Creature/Character Artist?
Around 2009, I was actually working as a book seller in a Borders book shop in Century City, Los Angeles for over a year. I kept coming across these various digital art books on the shelves. I thought it was fantastic that this is what modern artists were doing with software and modern sculpting techniques. Even though I had been drawing since I was a kid, I had never had any experience with 3D programs before, but I knew it was something that I would like to learn, this led me down the road to where I am now.



What have been some highlights throughout your career?
Certainly, the highlights have been getting to work with many artists I completely respect and admire. They’ve taught me so much, and I’m eternally grateful for their guidance. I’ve always been a huge movie buff, so getting to see some of my work make it to the big screen has been a real dream come true. Getting to working on the Teenage Mutant Ninja Turtles was one of those childhood wish fulfillment moments, it was such a big part of my childhood, I collected every action figure and collectible they made. I also really enjoyed working on the new Pete’s Dragon, I really connected with the story and I’m looking forward to its release.

What would you say is unique about your approach to a project?
I’m definitely a happy accidents kind of guy, instead of forcing the idea out of my head through sheer will I just try to let it grow as organically as possible, being in the moment and letting my instincts do the work. Whenever I really pre-think something out, it ends up changing a whole bunch and then I end up disappointed with it because it didn’t match my original idea. So I try to stop thinking so much and get out of my head about it.

jared-krichevsky-keyshot-07-tnWhat is your primary 3D modeling software?
I’ve been using ZBrush since I tried ZBrush 2 back in the day, it was a very simple program at the time, but I knew that it had potential to be something really big, as there were no other 3D sculpting programs that were out there like it. That comfort with the programs in’s and out’s have made my creation process go so much faster. Once the ZBrush to KeyShot Bridge came out, it was like a holy moment for me and a lot of other artists out there, because I could send everything from ZBrush and immediately double-check my forms with a real camera. KeyShot made it so easy to use, and I was hooked the moment I first heard about it. Now KeyShot is so advanced that it continues to blow my mind when I work with it.

Being able to add dramatic lighting in my renders really helps sell the story, so I love being able to use geometry and apply it as a light, or use the interior lighting settings in KeyShot for more complex situations.”

Where in the process do you use KeyShot?
All through out my sculpting process really. With the ZBrush to KeyShot Bridge, I always send my work over and double check my sculpts. I even design based on the materials I know KeyShot has. Being able to add dramatic lighting in my renders really helps sell the story, so I love being able to use geometry and apply it as a light, or use the interior lighting settings in KeyShot for more complex situations.

What makes KeyShot an important tool to have?
The speed, the lighting, the library selection, and ease of use made KeyShot a no-brainer. I can finally focus on the art and not the tedious task of tweaking endless renders and wasting time. I get exactly what I want right away and it makes me much happier about the process. I only expect KeyShot to keeping getting better and more amazing.

What advice would you give to someone interested in doing what you do?
Realize that there are two major hurdles you have to jump through in CG work. The first is the technical, because you gotta learn the software. The next is the artistic, which will take a lifetime.