Abstract
This article focuses on organic sculptural forms and the artistic approach to creating sculptural solutions using the user interface and current industry standards of digital sculpting software, specifically ZBrush.
The work follows the methodology of sculpting through primary, secondary, and tertiary forms. Through various sculptural solutions, the article examines and reflects on form in an artistic way, considering shape characteristics, primary forms, and silhouette.
Student: Albert Gregl
Mentor: doc. dr. sc. Winton Afrić
1. The Role of Individual Segments in Digital Forms
2. Use of Specific Tools During Digital Sculpting
3. Analysis and Comparison of Digital Sculptures
The head/bust sculptures in Image 9 depict different subjects:
- a) Krampus,
- b) Frankenstein, and
- c) a portrait of a person.
Reflecting on the definition of primary and secondary forms, as well as the anatomy of the human skull, we conclude that the sculptures from a) to c) show a clear progression in the anatomy of the head/skull and more faithfully define the shape.Sculpture a) has significantly softer forms, particularly noticeable on the face, while sculpture c) has much more accurately defined forms.
The secondary forms in sculptures a) and b) are not fully clear, while sculpture c) attempts to define them as accurately as possible, including how they interact with adjacent planes.
Sculpture c) anatomically accurately represents the arrangement of bones in the female skull, while sculptures a) and b) show obvious deficiencies in the arrangement of bones, e.g., the jaw (lat. corpus mandibulae) in sculpture a) and the frontal bone (lat. squama frontalis) in sculpture b).