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/3/ - 3DCG

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686196 No.686196 [Reply] [Original]

I see some artists sculpt something without automatic mirroring instead of getting everything done and afterwards posing it and making asymmetric changes to break up uniformity. Why? It seems to me like a huge waste of time.

>> No.686197

for this? a thread died

>> No.686198

>>686197
It didn't get a reply in almost a whole month, it fucking deserved it.

>> No.686203

>>686198
> it fucking deserved it.
If it didn't get a reply, it fucking didn't.

>> No.686209

>>686196

When it comes to anatomy it's one of the fears you have to get over.

>> No.686247

>>686196
3d modeling imput methods like a mouse or a pen are too limited and primitive for non symmetry hand sculpting.
You cant feel the form, you cant judge the volumes since your display is 2d and you cant feel feedback on your mouse or pen on the pressure you apply.

Its a good training but if you working in 3d its a complete waste of time and effort.

>> No.686249
File: 102 KB, 650x650, Teresabernini.jpg [View same] [iqdb] [saucenao] [google]
686249

>>686196
>bernini
>*sips*
>now thats a asymmetric sculptor
>marble
>chisel
>no mirror
>no undo
>no adding, only subtracting
>no posing
>no marvelous designer
>five years
we are all pathetic compared to the men who came before us

>> No.686252

>>686196
What seems like a waste of time? Sculpting something in symmetry and then posing it? Or sculpting something straight into an asymmetrical pose? Both are valid workflows with strengths and weaknesses. In the former you waste time posing/fixing it afterwards and in the latter you waste time having to do both sides of the thing you're trying to sculpt instead of having it automatically mirrored.

>> No.686277

>>686249
That also took him almost ten years to make if I remember right.
I could probably recreate that as 3d model in a week or so if I tried.

>> No.686332

>>686249
more like
>clay
>hands and chisels
>both addition and substraction
>still assymetrical
>limited undo
>put on real fabric (highly doubt this one, but possible)
>now use your clay sculpt as reference and try not to fuck up on marble

>> No.686367

>>686249
>>686332
>try not to fuck up on marble
Not only i believe he did fuck up high time, but also got him several tries before finishing this.
>Greek and Roman statues were actually in color
They were supposed to paint this shit. Old "masters" were a bunch of incredible stupid dumbasses.

>> No.686384

>>686367
>They were supposed to paint this shit.
But they didn't know that, did they?

>> No.686387

>>686367
>Old "masters" were a bunch of incredible stupid dumbasses
if only you could go back in time and tell them that to their faces

>> No.686520

>>686247
You can judge forms in 2-D fairly well if you draw

>> No.686545

>>686247
It's not the same, but it's totally possible to "feel" form when drawing.
Obviously it's not like you're running your hand over it.
When I'm shading something it's easy for me to imagine and perceive the 3d structure of the object just as if I was running my hand over it. It just translates into pressure. Like if you're shading a ridge, if you imagine your hand going up and over it while you're shading, your hand will subconsciously do that movement. So it's like you're compressing that depth into super small movements on the paper using pressure.
It's hard to explain, but it works. At least for me.