Sculptings lips zbrush3/6/2024 ![]() ![]() Skin pores and crinkles around the eyes will mean nothing if the face itself is flat and boxy.ĭepth is a primary resource in relief sculpture and explaining the choices you're making to spend that limited depth can be tricky. No amount of fine detail will hide bad form, particularly when working with portraits that our brains naturally recognize. ![]() This is also when you would want to use your photo references if you have them and, if complete accuracy is important to the design, to line up the major landmarks of your portrait. If the nose doesn't point in the same direction as the eye sockets or if the mouth isn't foreshortened correctly or if the cheekbone isn't splitting the planes of the face correctly you will find your answer on lower subdivisions early on in your workflow. In order to know what it is that isn't right, you need to work it out before the form is covered. With a relief it's very difficult to see and understand the underlying forms once they've been covered with details yet even if you don't know what's going on, you still recognize when something isn't quite right. Please feel free to request any additional notes you suspect I may have stored away and absolutely send me that amazing resource you can't believe I overlooked! If I continue updating this (I never know), I'd like to link to additional resources or other helpful artists who are eager to share or link their work here.Ī good rule of thumb to keep you on track as you sculpt is to get the depth right before you attempt the details, the same as you would get the proportions and measurements right on a sculpture or sketch before you go further. Note that my thoughts are in regard to the work I've done primarily with thicker reliefs with three-quarter-view portraits-both rather unusual choices. For now I'll start my notes there, with a few key concepts that may help adapt your observations to the medium in the same way that line weight, shading values, and negative and positive space guide our impressions on paper. In my attempts to explain and help, I find the most persistent thoughts are those regarding the mental vocabulary for correcting and working through the obstacles common to relief sculpture. I've received a handful of questions, especially from artists in foreign countries where pockets of interest in relief sculpture must exist. It helps, of course, that I enjoy critiquing as a form of improving my own intuitions (without having to do the work) and constantly refine and record notes that I rarely put to good use. Because I found specific information hard to come by when I began and because we're all using this magical " internet" thing now, it would be a good idea to begin filling the digital void with some new thoughts and notes on digital relief sculpting. New mediums offer new approaches to the obstacles and challenges inherent to relief sculpture but many of us digital artists haven't come from the traditional art backgrounds that would allow us to more easily track down those compiled lessons from countless generations of relief sculptors. It's a very unusual art and, as far as I know, there's not a huge library of information out there to explain how to do it well, particularly as a digital artist approaching it within Zbrush, Mudbox, or any other sculpting program. Sculpting in relief was not something I ever expected or intended to get into. Good luck on your sculpting whoever you are. I would be happy to add links to further references or additional notes from anyone passing through. Update: This has consistently been my most visited page.
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