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[showtime] The modelling session videos are very interesting to watch. The most recent is the modelling on the 3rd level of subdivision. The sculpture is still at the stage of sorting out the primary forms and proportions in the face and hands, with a few gestures towards the secondary forms where there is enough resolution. The fundamental likeness must be achieved at this stage, because the visual cues that make us recognise a face are in the primary forms.

My sculpting is tentative- one problem causing this is poor quality visual reference material. The images I have are from the public domain and are highly varied in age, lighting body weight and facial expression. This makes it difficult to make decisions about the precise forms to make.

Watching the videos shows a lot of rotations as I am looking and looking at the shapes to get an understanding. The analogue of this in traditional sculpture is simply looking around the form. This is a disadvantage of working on flat screens. The sculpting action of the ZBrush brushes mainly act on the surface that is facing you, so it is often difficult to judge the precise effect of the strokes. To overcome this, it is necessary move the model back and forth until you have a good memory of the form. and to keep moving it to check the depth of the strokes.

Even when sitting at the computer, I try to look crane my head around the object. This must look ridiculous but it is impossible to stop the urge. The reason for this is that I actively trying to construct a 3D memory in my mind of a part of the form and for years I have done this bodily. When discussing this with my supervisor Dr E. Unver he suggested that a sensor could be attached to the head of the user which triggers a rotation on the model so than moving your head means you can look around the the model to a small degree. This might accelerate the digital sculpting process, as it would speed up the decision making process when making fine adjustments.

At this level of subdivision I am almost exclusively using the move, clay, and smooth brushes.  I turn on the topographic auto masking and leave it on- to help with controlling brush effects in areas like the lips and eyelids. I also apply a mild elastic modifier on the stroke, as this helps to protect the topology.

Ideally I need a couple of sittings with Lord Stewart but failing that I need to arrange a photo shoot to take properly controlled reference images to sculpt from. I will improve the model through another level of subdivision and use this to make the case for a sitting.

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