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Making Of : Dream by Alex Kashpersky      


Click any pictures to enlarge - Hit 'X' or Close to close the view


Greetings to everyone interested in the work of “Dream”. For the next few minutes I, Alex Kashpersky or, RIDDICK, will be with you. .

Composition is a very important step, which requires your attention, if you do not want the visitor to forget your work, and just turn the page. I have more to say about this process and how it parallels the creation of the work. I constantly cleaned and refined the composition so long as it added something to the overall piece, such as "grinding". Here are examples of compositions in various stages of work.



The original idea was to create a girl on a chair, because I became engaged in the search for the optimal form of a chair. Of the final composition, I removed it, replacing the water, but, nevertheless, this stage was, therefore, and the mention of it

When looking at the composition in the work, think of a black and white photograph; a professional photographer has three colors to work with— a bright white, half-gray and deep black.

Roughly speaking 3 tiers of color: their saturation, the objects in the scene and, their complexity and meaning. At least, under the scheme, I tried to work. Central to my own work are the figures of girls subjected to the second plan, the water and third, respectively, the background. The same should be true with the color range. At the forefront are bright contrasting shades and the farther they are from the viewer, they more they become diffused and less contrasted. In order to understand better what I’m trying to describe; imagine yourself standing on a huge colorful palette in the morning fog.

At this point, I want to take a moment here to discuss other processes such as finding and working with supporting material. Do not neglect the study of the subject that you are going to create. Search for work with a similar look, someone else has probably already done something similar. If you see someone else's work element and you think, it may be useful when you create your work, do not hesitate to contact the artist about out what difficulties he faced and think about how to make it better. When it comes to modeling and anatomy, you will need to search out at least a dozen or more references of the part you are working with and even better, take your own photographs at the right angles. I prefer to do this before I start modeling.

"Fix all mistakes - An experienced eye is sure to notice them"

I would like to express my gratitude to the professional photographer, Olga Shelegeda, for the reference photos. In addition, I searched the Internet for the necessary references—hands, feet, folds, fabrics, bursts of water and anatomical angles. I also took my own photos, studied “living examples”, drew on paper, etc. In the end, I collected up to 500 various references. With all this reference material in hand, what I needed to do became much clearer to me.

Work in ZBrush-Sculpting

Working with the ZBrush, I used the transpose feature to sculpt my model. Much has already been written about how to use this tool; therefore, I will not discuss it here.

(Picture Left) This is how the models look after the initial transposition.

As can be seen at this stage, the model violates the proportions of the body. Yet gradually, in the course of the work, I will clarify its shape. At this stage, I started the set of forms for sculpting. For me, I find it easier to work with multiple monitors.

I currently use two and sometimes add in a third, a laptop. This is a very convenient way to work. With only a slight turn of the head, I can easily know which direction to go at each step. This process reminds me of a real life drawing or sculpture.