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DreamShapers sketch book

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  • P3nT4gR4mP3nT4gR4m Posts: 1,706 Valuable Player
    Wicked! So you going pure reductive on these?
  • DreamShaperDreamShaper Posts: 725
    3Jane
    edited March 2018
    P3nT4gR4m said:
    Wicked! So you going pure reductive on these?
    Built the bricks using regular tools.  They got chewed up plenty when I made them, pretty much threw everything on the wheel at them.  Duplicates of the raw bricks are used for the bases, though not in any particular order.  Made on six faced cube then stacked them, three high, with different face orientations, two or three basic combos, with some minor variants in the way they're fused.

    The animist sculpts were pure carving, mostly just using the default oval, a tiny bit with the cube (pretty sure I removed the spirals on some of the blocks with it) and used a couple of the "traditional" tools in places.  Used the smooth brush, on average, to clean up some of the rough edges, although I tried not to go overboard with it, as it tended to work against the look I was going for, especially at the scale I was working at. Anyhow, figure that counts for sanding.  Didn't use the mirror, expected I'd get a more "natural" look that way, and is a good exercise.  The setting (candles, bowls, tentacles, flames, etc) used standard methods, I was tired of hacking and slicing at that point.  

    So basically, ya, though only on the figures.  Undo was used pretty liberally, but no clay adds, inflates, layer merges etc, once the carving starts. 

    Kind of interesting, in a stone-age kinda way.  Really have to think about what is going to be there after the cuts, especially with the limbs and the protruding areas of the face.  Probably not a tenth of the thinking that a sculptor or carver would have to though.  The undo is a big advantage, even if it is easier to miss a cut. 

    One upside about going for a "raw-hewn" look, is it's pretty fast.  When your not adding clay, moving clay, and so forth, you don't have a lot of room to muck about with getting a curve just right, since you're not trying so much for "realism".  Sculpt just gets smaller, so unless you want to really get intricate with the detail, you run out of area to work pretty quickly.   For detail work, you'd need a really big sculpt or some pretty precise custom tools, and a lot of patience.

    The idea of doing stone with a chisel is absolutely awe-inspiring to me, must have taken an eternity to knock out a stone sculpt with very basic tools.  One missed strike and it's redesign time.



  • DreamShaperDreamShaper Posts: 725
    3Jane
    Went back to some old ideas on wood grain, last night. 

    Still trying to work out a way to make it  usable for practical purposes. The move tool makes nice lines and preserves the contours to some extent (compare grain in forward shoulder area), but any large area, and sometimes smaller areas, are major processing time consumers. 

    This is all working large with minimal rez, not sure yet if increasing will help preserve them, or if smoothing will just eat all that. Might be an almost exclusively move tool process, in which case I won't get too far with this, outside of making picture frames or something.  Smoothing absolutely obliterates the grain details at this resolution (as you can see in the face). Trying to work out some shortcuts, or maybe just use a lot of smaller layers and merge as needed. 

    Could well be that my machine just doesn't have the chops to handle what I'm trying to do here, at least at this scale, but I think I'm going to try and wade through it for a bit today.  Alternative might be to fake it with paint and just work the surface areas, but I'm not positive that will fly either.   Was able to make things work, when I did the bow, but that was a much smaller total volume, and I'm not sure that I remember exactly how I solved it on that one.

    Anyhow, if all goes well, and I don't get overwhelmed with lag frustration during setup, might have a more complete sculpt later today.  As much as I'd like to do another carving, I don't think that technique will cut it for this material, so every tool is on the table. 
  • DreamShaperDreamShaper Posts: 725
    3Jane
    Alright, slow going here building up the bulk.  Move tool is pretty unstable, especially when large chunks are moved.  Subjectively, seems that the particle breaks and working towards the boundary boxes increases that.  Smaller moves are pretty safe, but I'm basically doing a quick save after every major move, since I'm getting a crash on every second or third try.  Using inflate and smooth to cut down on the particle breaks helped a bit, but not enough.   Thing to do, I'm pretty sure is to define as much of the base area as possible using initial clay placement rather than try to create area using inflate and move.   May just switch back to block making to finish out the area I want to work on.

    By contrast, the feathers, where the area was basically defined, and didn't require large moves, went really fast and smoothly.

    So not a whole lot of progress, but maybe enough to get back to sculpting.  Pretty sure that this one is going to be heavily reliant on the move tool, since that seems to be the easiest way to keep some of the granularity intact.  Will work on it a bit further and decide if I need to go back to square one, and really do the infrastructure before the sculpt, or if I'm far enough into it, that I can just move forward.  See how patient I feel.  Have some ideas about increasing the visibility of the grain, but the ship has probably sailed on that, for this sculpt.



  • P3nT4gR4mP3nT4gR4m Posts: 1,706 Valuable Player
    That is looking insanely cool. Not quite sure I'm getting your method or why it's causing problems but looking forward to you figuring it out then maybe posting a tutorial?
  • DreamShaperDreamShaper Posts: 725
    3Jane
    edited March 2018
    Thanks, glad you like it.  On page two of this thread there's a tree chunk, you should check that out.

    I will probably do a tutorial at some point, if I can figure out the technical side of it.  Can capture the screen using an external recorder, but that pulls a fair amount of processing power.  Last time I tried, had issues with internal recording, but that might be fixed now.  Running a windows7 machine, and that seems to limit the options some as far as what my graphics card will do, although I haven't dug into that too deeply. 

    At any rate, probably better if I understand the creation  process itself more fully, before I try to explain it to other people as a tutorial. 
  • LZoltowskiLZoltowski Posts: 6,774 Volunteer Moderator
    edited March 2018
    I love how experimental, explorative and raw your work is, very nice ... pushing to the edge.
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  • DreamShaperDreamShaper Posts: 725
    3Jane
    I love how experimental, explorative and raw your work is, very nice ... pushing to the edge.
    Thanks!  Goal is to understand the tools I'm working with, completely.  I see something or notice something, I want to try it, figure out what it's capable of, then figure out what that means if its used as the basis of a sculpt, whether finished or a sketch.  At some point, I figure I'll synthesize all of that.  After I work out these techniques, I'll probably take a deep dive into another figure sculpt.  Kinda want to tackle that Rodin thing, but my calendar is going to get crowded here pretty quick.  My focus tends to shift gears like that, but right now, I'm fascinated with materials, so that has to run its course.  A billion things to learn, just in medium.  On towards summer, I'm planning on doing some serious exploration of a renderer, substance painter, or maybe unity, for now every spare minute goes to medium. 

    Just too much fun being in VR, I could practically live there, as long as I have good music playing...  If oculus is kind enough to drop some powerful new tools in, I may never leave.
     
  • DreamShaperDreamShaper Posts: 725
    3Jane
    Sculpt is probably finished.  Can't get past the crashes.   Tried to duplicate it, so I could slice it to work on a smaller area.  Successfully cloned, but too much memory (apparently) to do anything past that point, bumped the sculpt get a timer, undo the bump, another timer.   Put the erase tool  on, timer.  Erase, attempt, locks up.  Might take one more shot at it with the cut tool, but my expectations aren't high.  
  • DreamShaperDreamShaper Posts: 725
    3Jane
    Cut tool was a freaking horrible idea, outside of reminding me to stop and consume fuel, which I had plenty of time to do while it was attempting to process a cut that I knew missed the second I let go of the button.

    Think the upshot of the whole thing is that too many large draws with the move tool causes a lot of fragmentation.  Of course the tool will presumably still try to extend every particle, regardless of how deep or connected it is.   While this is useful sometimes, each of those paths and the gaps between them, along with the appropriate color data have to be sent to the card, I'd think. Probably gets more complicated when one surface passes through another.

    At any rate, decided to just start over, which was enlightening.  Spent a lot more time on my initial setup, so I'd have enough of a core to work with.   This paid off extremely well.  Fragmentation has been minimal, sculpt is probably as large as the other (hard to tell), and I picked up a few new tricks.  Will see if I feel that way when I review the photos, I took a lot of them this time.  At any rate, sculpt isn't done, but it's got a lot more edges and is handling a lot smoother.

    Will get some images in play tomorrow.
  • DreamShaperDreamShaper Posts: 725
    3Jane
    Started by rounding up some driftwood

  • DreamShaperDreamShaper Posts: 725
    3Jane
    At first I was going to carve a face into this thing.  A few chops in and I realized that just wasn't going to work out this time, and this thing was going to take on a life of its own.  Especially when I more or less abandoned that idea and started drilling holes and cutting away the surface to get a better look at the clay mix.

  • DreamShaperDreamShaper Posts: 725
    3Jane
    edited March 2018
    Some bizarre ideas about an ancient tree city and strange and powerful idols that might protect it began to crawl into my head.  Well, here we go, right down the rabbit hole.  I  have a feeling this is going to be a long strange journey

  • DreamShaperDreamShaper Posts: 725
    3Jane
    Carving staircases and adding roots, stepping back to see where it's going, starting to get an eldritch feel to it.  Like the way it looks from this angle, almost a different sculpt

  • DreamShaperDreamShaper Posts: 725
    3Jane
    Spins around a bit... some roots drop down around the walkway, a bit further away I get a sense of gaping jaws.  Not sure if I can carry that through the entire sculpt, but the concept of a living city is kind of appealing


  • DreamShaperDreamShaper Posts: 725
    3Jane
    Getting curious what a different material would look like, maybe take a quick peek.  Turns out its sorta disco and sunglasses.  Not exactly what I'm going for, let's spin the wheel again

  • DreamShaperDreamShaper Posts: 725
    3Jane
    edited March 2018
    Maybe something more metallic, again the sculpt takes on an entirely new character. The first angle brings thoughts of a cybernetic octopus. Another angle brings out all sorts of interesting reflections and highlights, filing that in case I ever need to design a futuristic looking highway system.  I briefly contemplated removing vast sections of the sculpt and turning down that road, to see where it leads, finding the bright lights attractive against the dark background





  • DreamShaperDreamShaper Posts: 725
    3Jane
    Can't resist the urge to look at another angle.  From here I see a thorn rising, or perhaps the egg shaped curve of an alien's elongated skull


  • DreamShaperDreamShaper Posts: 725
    3Jane
    Or maybe, I'm just imagining things, and it's just an old tree trunk, a perfectly natural, organic thing

  • DreamShaperDreamShaper Posts: 725
    3Jane
    edited March 2018
    Better hit it with the luminosity scanner to make sure. Interesting patterning and a whole new world to explore, the light creates patterns almost like an old surreal painting, perhaps after a glass or two of absinthe



  • DreamShaperDreamShaper Posts: 725
    3Jane
    edited March 2018
    Interesting  how much range of pattern is possible on a single layer of a sculpture
  • DreamShaperDreamShaper Posts: 725
    3Jane
    edited March 2018
    Quite a few posts there, for an early stage sculpt, but also what I see as some pretty interesting dynamics.  Had to sleep on it a bit to figure out which direction I wanted to go here.   Think I'll run with the wood tones a bit further and see where that leads.  All the other layers, the original wood sections are present, although quite invisible, at the moment.  Will probably bring those in as the sculpt progresses, and keep chopping and bending the tree to see what emerges. 

    So far, the sculpt is completely stable, and I get the feeling that I will be able to add as much detail as I'm interested in doing.  I get the sense that this is going to turn into a fairly major project, certainly more here that I want to explore. 

    Likewise, I suspect the final product will use both wood and metal... although for now I am content to let the sculpt emerge, without any real deep plan about where it's going.  With any luck, I'll find some time to work on it some more this evening.
  • DreamShaperDreamShaper Posts: 725
    3Jane
    edited March 2018
    Ha, looking through this thread, it seems like a lot of real estate for a project that's only a few hours in, and obviously has a long ways to go.   Purpose is three-fold.  The first is to keep me on track and motivate me to really explore this, and another is to create a visual record of the various points of transformation.  The third is that I'm noticing several avenues for exploration, so this will serve as a kind of conceptual road map to find those points again.  As I chase some down, on this sculpt, those reference points would otherwise vanish.   Suppose that's the point of a sketchbook, as opposed to a portfolio, so I'm simply going to embrace the process.


  • DreamShaperDreamShaper Posts: 725
    3Jane
    A bit further into the evening.  Starting to take form, but a long way from the destination.  Added a lot of nooks and crannies, overhanging branches, as well as another layer to the sculpt. 

  • DreamShaperDreamShaper Posts: 725
    3Jane
    edited March 2018
    I knew the vegetation would be trouble, a necessity, but pretty much puts it at capacity.  Will try and trim it down some, knock out the ground layer and see if I can scrap up enough voxels to stay in the fight

  • DreamShaperDreamShaper Posts: 725
    3Jane
    edited March 2018
    Deleted everything that wasn't nailed down, moved a couple of elements.  Move tool is still causing crashes, so probably done, whether I'm satisfied with it or not.  Time to take a break and do some real world things.  Maybe come back tonight with a giant chainsaw, clear away some branches and unfinished cabbage, and see what happens.


  • DreamShaperDreamShaper Posts: 725
    3Jane
    Catching a little break to post a couple more shots.  Merged in the last extra layer.  A bit of room for shiny emerald lights, see if I still like them after I place another couple hundred around the scene.  Zooming back to see more of the sculpt. 






  • DreamShaperDreamShaper Posts: 725
    3Jane
    Suspiciously quiet in here lately.  Wonder how many are just quietly working away on their Rodin masterpiece? Ah well, one thing at a time.
  • DreamShaperDreamShaper Posts: 725
    3Jane
    Just been working along on this sculpt.  Time to post a couple shots of progress.

    From Above




  • DreamShaperDreamShaper Posts: 725
    3Jane
    edited March 2018
    Foliage is getting closer to where I want it.  Quite a few statues seem to be showing up.  This is a really busy sculpt, which is hard to capture in 2d.  At this point, it is turning into an exercise to see just how much detail I can put into it without my computer spontaneously combusting


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