To give form to the overlaying coat, I first had to sculpt her basic body shape in the pose I have drawn. I have simply added and carved back the sculpy until I was satisfied before baking.
I chose to work on the head piece separately to allow me to focus on this specific area. Her hairstyle has proven easy to draw but difficult to interpret in three dimensions but eventually I managed to get the basic shape right by referencing my head turnarounds. At this stage, the face is very stylised than completely accurate so Emily suggested bringing out the nose, chin and upper lip from the prominent cheekbones.
As I started to construct the coat, I encountered problems when applying thin layers of sculpy and constantly baking them. Due to the frequent changes in temperature, fine cracks in the baked sculpy start to appear. Despite my best efforts to avoid a join line appearing across the neck by embedding the bust into the coat, a crack has appeared here nonetheless.
I chose to work on the head piece separately to allow me to focus on this specific area. Her hairstyle has proven easy to draw but difficult to interpret in three dimensions but eventually I managed to get the basic shape right by referencing my head turnarounds. At this stage, the face is very stylised than completely accurate so Emily suggested bringing out the nose, chin and upper lip from the prominent cheekbones.
As I started to construct the coat, I encountered problems when applying thin layers of sculpy and constantly baking them. Due to the frequent changes in temperature, fine cracks in the baked sculpy start to appear. Despite my best efforts to avoid a join line appearing across the neck by embedding the bust into the coat, a crack has appeared here nonetheless.
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