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Classical Sculpture - Chapter 1

By Rafael Ghencev
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Date Added: 3rd January 2013
Software used:
ZBrush

Starting the Model

Now we have decided how the model will look, we can start to build it. The first thing we need to do is make a simple mesh, which I like to use because there are no generic shapes in there, and nothing is pre-made. We need to think and transform the base into a unique model (Fig.07). With the base mesh in your hands you can start to build the basic shapes.

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Fig.07

There is something we can use in our favor, and that is symmetry. We don't need to build one side at a time. However you do need to know the right time to use it and when to turn it off and starting working without it. I will show you when it's time to turn it off. By pushing the X button you will activate the symmetry and then by using the Move brush you can start blocking in the basic shape of the model. At this point the important thing is to reflect correct human proportion.

TIP: The important thing here is to work on the structure of the model. Fewer polygons is better when working on the big shapes and defining the silhouette. Only divide the mesh if you have already made all the possible corrections in that level of division.

Once you have added one more division you can start to use the Standard brush to make some muscle mass and the basic form of the head. By adding one more division you can start to use the Clay brush to refine the individual forms, always checking if the proportions are correct. You can also add a little information on the head, like the mass to represent the hair. At this stage we can see the structure of the model is already done. All the important volumes are in place (Fig.08).

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Fig.08


Refining muscles and members

Now you can add one more division and use the Clay brush to continue to work on the muscles and refine the face and head. This is important as we can now see how the expression on his face will look (Fig.09).

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Fig.09

For the body we need to create a more natural look by adding more muscle information and by trying to balance the bones, muscle and fat (Fig.10 - 15). This is a good point to start working on the hands and feet. When working on these parts you should try to always use a lot of references, because these parts are very important and expressive. If these elements are not done well the model will not be strong enough. Classical artists spent more time on the hands and feet than the face, because they knew that these parts were important when it came to showing power and emotion.

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Fig.10
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Fig.11

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Fig. 12

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Fig.13

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Fig.14
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Fig.15





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