Triceratops Sculpture Part 2 of 3

today we’re doing video 2 of this
three-part series where we’re gonna be sculpting a triceratops my name is
Justin Harvilla I am a professional sculptor living in Pittsburgh
Pennsylvania and in today’s video we are going to cover mapping lines and keeping
in good habits one of the things that I started doing in the last few years is
sculpting things on a lazy susan and I wish I would have started that sooner
because being able to move the piece very rapidly like this helps keep my eye
traveling over the entire surface of the sculpt and not hyper focusing on one
particular place also as I was editing this want to say
thank you Kelly for pointing out that it sort of looks like I’m scratching a
record whenever I speed the video up and send now every time I’m watching an edit
all I can hear are little record scratches in my head
Kelly is actually a really phenomenal metal worker and I
really want to bring her on one day and have her share some of her skills with
us these mapping lines are really a critical part of my technique because it
helps me understand the symmetry between the two sides that blot that bilateral
symmetry is something that can for me make or break a piece it’s if you over
build the symmetry if you overdo that a little bit it kind of becomes you know
this thing in an uncanny valley you know if you’re familiar with the uncanny
valley where something looks real but it’s a little too perfect in a way and
you can get the same type of thing if there’s too much asymmetry though if
you’re doing a really crazy creature maybe that’s something you want and if
that’s the case run with it but just I would caution you about too much
symmetry these lines I want to represent in a slightly different way and I’m
using fusion 360 to help me do that and in fusion 360 is a 3d modeling software
if you have any interest in 3d modeling or CAD work I highly recommend that you
check out fusion 360 if you’re not already using it it’s a program that I
learned for a job and I’ve been using it you know I use it a few times a week you
know all the time sometimes even just to relax I’ll come home and I have a hobby
where I recreate props from films that I enjoy and fusion is such a satisfying
program because you can control every single aspect of the model and I just
find that really really fun now you’ll notice these lines
that are on the model here and these are just splitting the various faces and
that’s going to give us the opportunity to move the form very specifically I’m
seeing this is a really good opportunity to show you something that I find a lot
with beginner sculptors which is they want to add material if they see an
inconsistency like the horn on the left you see that at the top of that horn
there’s a curve that doesn’t match the one on the right a lot of people will
want to fill that curve in with clay well if you do that you’re actually
adding mass now this line and this line are gonna represent the ones that I
carved into the actual clay horns if I was to just start scooping clay into
that curve this line is still not going to be the same as the one on the other
one on them on the right side so we’re gonna go in and select these other lines
because if I was to just try to move that one it would wrinkle the 3d model
in fusion you have to select all of the areas of the form that you want to move
and the clay is actually very similar to that if you only focus on one specific
area the rest of it will suffer and if you just start wadding on a bunch of
clay the mass will be different same thing if you start carving it away
you’re bulking stage where you’ve laid out the major forms should be the last
time that you add major amounts of material so in fusion super easy to
shift this we’ve selected those lines now we can just click and drag and you
can see that very center line now matches the one on the right almost
perfectly that’s what we’re looking for we don’t want to add material you don’t
want to subtract material we just want to shift the form until that symmetry is
on point with what we’re looking for now in future videos I would love to use
fusion more or even do some fusion tutorials but for the sculpting if you
have found this to be a helpful way to wrap your head around this like strange
kind of nebulous concept of a moving form let me know in the comments let me
know if you like this let me know if this made it more confusing so that in
future videos I know what’s going to help you the best another side effect of
having mapping lines like this is because they do draw your eye you’re
gonna start noticing little details of various areas of the sculpt that maybe
you wouldn’t have noticed otherwise that’s again why it’s such a good habit
to every so often carve in a few new lines around some shapes that you like
in the sculpture for example the kind of orbital eye socket area of this
sculpture the right side had a curve to it that I really liked whereas the left
side was a little flattened plane so I’m just matching one to the other a little
bit better now and having a tool like this with this 90 degree there we go
with a 90 degree angle like that and a nice sharp point really helps to create
that look of a bony rigid structure having tissue run over top of it so if
you see that that’s a very dramatic not very natural looking a little pocket
I’ve carved out but as soon as I start blending it in and the curve starts
going on it has this nice smooth transition from the step down and that
really conveys that sense of a rigid structure meeting a softer tissue like
an eyelid in this case I want to thank you for watching this
video and being patient with me as I am learning how to make these videos I plan
on creating more of these and I’m really looking for your feedback I don’t want
to actually launch the channel as I have it in my head until mid-july and so
these are just a way for me to test out what I like and what I don’t like be
sure to subscribe so you don’t miss the next video in the series and hopefully
you’ll notice some improvements as well see you then

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