*WARNING: CONTAINS NUDITY*
Hello to everyone who's interested in the work entitled "Dream." For the next few minutes I, Alex Kashpersky or RIDDICK, will be taking you through the creation process behind this piece of work.
Composition and working with references
Composition is a very, very important step, which should always be given the proper attention unless you want your viewer to forget your work and turn over the page. For this image, the process of composition was parallel to the creation of my work and was something that I was constantly refining. Here are a few examples of the composition if this image at various stages of my work (Fig.01).
The original idea was to make a girl on a chair, and so I started searching for the optimal form of a chair (Fig.02). In the final composition I ended up replacing the chair with water, but nevertheless at this stage I was still intending to use a chair.
The composition in this work is like a black and white photograph. A professional photographer has three colours to work with - a bright white, half-gray and deep black. Roughly speaking there are three tiers of colour: their saturation, the objects in the scene and their complexity and meaning. I try and work under this scheme.
In my own work, the figures of the girls are the central focus and so are at the forefront, the water is the second part and the third is the background. The same should be true of the colour range. At the forefront should be bright, contrasting shades and then the father the colours are from the viewer, the more diffuse and less contrasting they should become.
I also want to underline the importance of finding and working with supporting material. Do not neglect the study of the subject that you want to create. Look for similar pieces – have elements of your idea already been explored by somebody else? If so then don't hesitate to contact the author to find out about the difficulties he faced in the creation of the piece. If there are any pitfalls than can be identified in advance then you can think about how to avoid them.
When it comes to modelling and anatomy, it's important to find a dozen or so references of the part that you are working on. Even better, try and get photographs from the right angles, preferably before you start modelling, because it's easier to correct potential mistakes before you start than to have to fix them later on. And an experienced eye is sure to notice any errors in anatomy.
I would like to express my gratitude to the professional photographer Olga Shelegeda for the reference photos ... As well as that, I looked far and wide across the Internet far in search of the necessary references for hands, feet, folds and fabrics, burst water anatomical angles etc. I also photographed myself so that I could study a "living example”.
In the end, I collected up to 500 various references. With all of this material, I had a much clearer idea of what I wanted to do.
Work in ZBrush - Sculpting
Working in ZBrush, I began with transposing (Fig.03) … Plenty of tutorials have already been written about this tool and so I won't stop and explain it here.
This is how the models looked after the initial transposing (Fig.04). As can be seen, the proportions of the body aren't quite right, but gradually, over the course of the sculpting, this is something that I clarified. I circle overlaid material on anatomy and placed two monitors on my desk, which I used constantly required for reference. This is a very convenient way to work ... you only have to turn your head slightly and you already know in what direction you should go. This reminded me of real life drawing or sculpting …
Here is what emerged over the course of my work (Fig.05). As you will see later, I did change some parts of the body, as there were still problems with it at this stage.
I continued to shape the body, consulting anatomy photographs until the result started to please me. Here is what I ended up with after all my sculpting work (Fig.06 – Fig.09).