Datasheet

2 ■ Chapter 1: Sculpting Tools and Workflow
The key to working with planes is to move from the largest to the smallest. You, the
artist, must create inside of your own brain a 3D model that has multiple levels of resolu-
tion. On level 1, it should have the most basic and simplistic planes. On level 5, it might
have planes small enough to describe the caruncula of the eye.
The sculpture by Carpeaux reveals that the side of the nose is a plane, the lips have
several planes, and even the round surface of the eye can be distilled into a few essential
planes. As we get more detailed with our model, though, we focus on smaller and smaller
planes. In Figure 1.2 you see Anatomy Tool’s artist busts, which helps break down the dif-
ferent stages of sculpting a face into easy-to-digest forms. The human body is simply too
complex to tackle everything at once. Creating a hierarchy of planes will help you solve
only the problems you need to at each stage of your sculpt.
Finding these planes and organizing them is, unfortunately, a task through which I
can only guide you. You must enter the dark woods by yourself and find your own way
through the endless variations of form that come before you. I will do my best to provide
a map, arm you with the necessary tools, and send you on your way with my best advice.
Figure 1.2
Anatomy Tool’s
artist busts