So I’ve been meaning to do a longer post about this complicated project for a while for different reasons, and I am now trying to get it chizzled down.
The problem I want to talk a little about, is sculpting faces from images when you are faceblind. I do not have any extreme version of faceblindness, but often I don’t recognize cousins if I meet them in places where I do not expect, then they’re just “familiar places”.
This thing is very common, and I realized it was really troubling when it came to this project, and I guess I’m not the only 3D Artist who have encountered this problem. Then I have some tips, which I have not applied on this piece, but that I have found to be very helpful.
What the faceblind brain damage does, simply put, is messing up “facial geometry”, most see a face as anyone else does, but it’s harder to recognize which memories is associated with the face. It’s hard to remember facial features. So, when we know that it is the facial geometry in a whole, then we can get around this problem a trick I found useful:
Cut the image up, or, crop the reference image, and turn it upside down. So let’s say, half the face upside down won’t trigger the facial blindness, then you can sculpt the details you see instead of sculpting the messed up face, as it would have been if it was clearly visible.
Really made a difference!
So about this specific project – this took waaaay longer than it should, but mostly that was because of the problems mentioned above, and also it was quite an emotional project. It’s hard to get satisfied with very emotional pieces, I find.
I’m not sure that I find this one satisfying even now, but the more important part of this project was actually creating it and leaving it. It’s something different from my other projects.
I hope you like it – here I post some Work in progress images.
I started from a lowpoly random head, you can find them anywhere. The rest is reference photos, which I couldn’t follow to a 100%.
The details were sculpted in Zbrush – the Piano-frame was polymodelled in Cinema 4D, and then I used a splinewrap and deformed it along a path – then brought it into Zbrush for details. The velvet cloth was simulated in Cinema 4D.