And that reason is the plane change, or the shape change happening in the face. I mean, the shadows are not just there, they are there for a reason. Like say “the distance between the corner of the mouth, to the nasolabial fold.” The point is, to break the main distances to smaller ones to make it more trackable.Īs I mentioned earlier, try to make good use of the shadows in your references. And by that, I don’t mean to measure like “the distance from the eyes to the mouth ” you will have better results if you try to measure more in-depth. But, how to train the eyes? Well, as you know, the most common way, is to measure. You gotta train your eye, and as you grow your experience, you see more. It’s worth mentioning that you could try getting your references’ EXIF info (camera information) online on websites like metapicz.Īnyways, aside from all those stuff about lenses and cameras, you definitely will have to eyeball lots of stuff when sculpting. Somewhere around 20 (the default is 50) will do the job. If you’re using ZBrush, there’s no real camera in there, but you could change the Angle Of View under the Draw menu. It better be the same as your main references. Have an eye on the focal length of the camera you’re sculpting to. Go for the ones shot with tele lenses (around 100 mm focal length in the best), which kinda flatten the face, and cause less distortion on it. Also, normally, you will need front views and a side view. It’s gonna help you a lot when it comes to sculpting secondary shapes. Have a special eye on those with harsher shadows. Here, I’m gonna share some of the tips I know from my experience on sculpting likenesses.įirst things first, gather as much references as you can. That’s true even for industry-leading artists. Your model WILL look ugly for the first 4-5 hours, or day maybe. Well, first, let me make it clear it’s totally normal to get frustrated when you begin, you’re not alone, just learn to deal with it. There have always been discussions on how to do likeness art.
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