So I signed up to this online course: ZBrush - Sculpting Digital Characters with Cesar Dacol Jr, which starts in November 2007. For more information, see: http://workshops.cgsociety.org/courses/000055/. This should be a great help in getting to grips with the nuances of digital character creation. I will post my results here in time.
I have not yet returned to the minotaur to retopologize it, I knew it would be a thankless and slow operation and I have shyed from it. When learning things the hard way (blindly) it takes time to learn each step, much research is needed and many of the terms mentioned at first seem alien and require further investigation. Since installing ZBrush a few weeks ago, my progress has kept me interested and I find myself dwelling on this digital approach constantly. In the studio working with traditional materials, I begin dwelling on the pro's and cons of the two sculpting processes and the possibilities of bringing these together to form a new workflow.
I have also played with MudBox, which seems a solid and intuitive program, my first impressions was that the sculpting material 'felt' more like a clay, wetter and easy to texture. Some time will be spent using MudBox in the future when I get these initial projects behind me.
I'll post some more pictures soon, and begin to gather my thoughts on the differences between the two sculpting medium.
Tuesday, 30 October 2007
Monday, 22 October 2007
Gnomonology
FREE:
Male human head basemesh with organized topology. UVs are unwrapped. Ready to be imported into Zbrush or reorganized to match another design.
Can be downloaded Free from the great folks at Gmomon: http://gnomonology.com/tutorial/197
Male human head basemesh with organized topology. UVs are unwrapped. Ready to be imported into Zbrush or reorganized to match another design.
Can be downloaded Free from the great folks at Gmomon: http://gnomonology.com/tutorial/197
Antoine-Louis Barye
The First of my artist profiles, which will focus on sculptors from antiquity to the digital age, and give a brief outline of their career and showcase thier works that fascinate and inspire me.
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First up is Antoine-Louis Barye, the French 'Romantic' sculptor whose animals studies and mythological scenes capture the energy and tension of the moment in the twisting forms of his stylized but studied sculptures.
Born in Paris, Antoine-Louis Barye (September 24, 1796-June 25, 1875) began his career as a goldsmith, like many sculptors of the Romantic Period. After studying under sculptor Francois-Joseph Bosio and painter Baron Antoine-Jean Gros he was in 1818 admitted to the École des Beaux Arts. But it was not until 1823, while working for Fauconnier, the goldsmith, that he discovered his true predilection from watching the wild beasts in the Jardin des Plantes, making vigorous studies of them in pencil drawings comparable to those of Delacroix, then modelling them in sculpture on a large or small scale. In 1831 he exhibited his "Tiger devouring a Crocodile", and in 1832 had mastered a style of his own in the "Lion and Snake." Thenceforward Barye, though engaged in a perpetual struggle with want, exhibited year after year these studies of animals--admirable groups which reveal him as inspired by a spirit of true romance and a feeling for the beauty of the antique, as in "Theseus and the Minotaur" (1847), "Lapitha and Centaur" (1848), and numerous minor works now very highly valued.
Barye was no less successful in sculpture on a small scale, and excelled in representing animals in their most familiar attitudes. Examples of his larger work include the "Lion of the Column of July," of which the plaster model was cast in 1839, various lions and tigers in the gardens of the Tuileries, and the four groups--"War, Peace, Strength, and Order" (1854).
In 1852 he cast his bronze "Jaguar devouring a Hare." Fame came late in the sculptor's life. He was made Professor of Drawings at the Museum of Natural History in 1854, and was elected to the Academy of Fine Arts in 1868. No new works were produced by Barye after 1869.
The mass of admirable work left by Barye entitles him to be regarded as one of the great animal life artists of the French school, and the refiner of a class of art which has attracted such men as Emmanuel Frémiet, Peter, Cain, and Gardet.
(From Wikipedia.)
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First up is Antoine-Louis Barye, the French 'Romantic' sculptor whose animals studies and mythological scenes capture the energy and tension of the moment in the twisting forms of his stylized but studied sculptures.
Born in Paris, Antoine-Louis Barye (September 24, 1796-June 25, 1875) began his career as a goldsmith, like many sculptors of the Romantic Period. After studying under sculptor Francois-Joseph Bosio and painter Baron Antoine-Jean Gros he was in 1818 admitted to the École des Beaux Arts. But it was not until 1823, while working for Fauconnier, the goldsmith, that he discovered his true predilection from watching the wild beasts in the Jardin des Plantes, making vigorous studies of them in pencil drawings comparable to those of Delacroix, then modelling them in sculpture on a large or small scale. In 1831 he exhibited his "Tiger devouring a Crocodile", and in 1832 had mastered a style of his own in the "Lion and Snake." Thenceforward Barye, though engaged in a perpetual struggle with want, exhibited year after year these studies of animals--admirable groups which reveal him as inspired by a spirit of true romance and a feeling for the beauty of the antique, as in "Theseus and the Minotaur" (1847), "Lapitha and Centaur" (1848), and numerous minor works now very highly valued.Barye was no less successful in sculpture on a small scale, and excelled in representing animals in their most familiar attitudes. Examples of his larger work include the "Lion of the Column of July," of which the plaster model was cast in 1839, various lions and tigers in the gardens of the Tuileries, and the four groups--"War, Peace, Strength, and Order" (1854).
In 1852 he cast his bronze "Jaguar devouring a Hare." Fame came late in the sculptor's life. He was made Professor of Drawings at the Museum of Natural History in 1854, and was elected to the Academy of Fine Arts in 1868. No new works were produced by Barye after 1869.
The mass of admirable work left by Barye entitles him to be regarded as one of the great animal life artists of the French school, and the refiner of a class of art which has attracted such men as Emmanuel Frémiet, Peter, Cain, and Gardet.
(From Wikipedia.)
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