Sculpting continues apace.
Actually, something happened the other night that altered my trajectory a little bit.
I was looking at a rather delightful painting which I thought looked like a still from Monkey Island, La Forge at Marly le Roi by Alfred Sisley (http://www.wikipaintings.org/en/alfred-sisley/forge-at-marly-le-roi-1875).
I can’t remember exactly which image I ended up looking at after that one, but I was on wikipedia admiring a painting, and noticed that in the data block near the bottom of the page there was the name of the gallery in which it is currently hanging.
Furthermore, there was a listing of the latitude and longitude of the gallery, and a google maps link. Following the google maps link, I attempted to streetview outside the gallery (it did look like a pretty impressive building, and I wanted a better look) but instead, the streetview opened up inside the gallery!
Well, I spent ages wandering about the Musee d’Orsay and had a bloody great time (aside from some minor annoyances built into the google maps PC interface) and viewed some phenomenal sculptures.
One in particular caught my eye due to the slightly peculiar pose of the subject. That piece was Alexandre Schoenewerk’s La Jeune Tarentine (http://fr.wikipedia.org/wiki/La_Jeune_Tarentine).
So I had a shot at recreating it. Well, I had a shot at doing a low detail version. The reason for the low detail was that I’d just snagged a recent build of Blender and found that it had the new “constant detail” dyntopo mode built in. This means that the size of faces created by dyntopo is decoupled from the zoom level you’re at and specified as a percentage of a Blender Unit instead. I love this, and it makes getting a uniform detail level across a whole model an absolute cinch.
The skin modifier model I started with and some initial renders:
After fiddling with the model a bit more I had a play with a translucent material and a cloth sim and composed the following scene:
I was quite pleased with that one, although it still needs a lot of detail adding to the figure (like a face for example).
Fast forward to last night when I had a bit of a bright idea. I was wondering what I could practice sculpting that felt like it had a dynamic quality to it, some movement to the pose (regardless of it being a still) and I thought of ballet dancers.
A quick google image search later and I was sketching out another model in the same sort of way.
Another skin modifier model and set of initial renders:
And once I’d got that model looking the way I wanted it I started playing with high gloss materials and came up with this:
Which, again, I was pretty pleased with.
So all in all, I absolutely love the new constant detail mode, and I’m enjoying sculpting more than ever.
(Credit to the missus for saying “why don’t you do some full bodies rather than just heads?”)