Each time I've started an attempt to create a doll I've gone through pains to draft a good turnaround for the doll I want to make... I see some people's highly detailed turnarounds and that appeals to me. But even though I am an illustrator I suddenly get crippled when, for instance, trying to draw a detailed foot from straight-on. I just can't seem to "think" in 3D like this. Sure, a rough outline with proportions clarified is helpful but how detailed does such a thing actually need to be? Once I get the clay in my hands it all becomes 300% easier. So, my question to everyone is, how detailed do you make the sketch upon which you'll build your doll? Is it just to map out proportions or do you go into detail to recreate in the clay? Thank you!
You make it exactly as detailed as you need it to be, no more, no less. If you draw lightly, you can quickly and easily change your drawing, as needed. If you draw heavily, you can use tracing paper overlays to make changes. Think. Change. Become. Know what you want. Want what you can never have. Create what has never been seen before. After all, there is nothing new under the sun, right? (^_^)
I like to make things out decently cleanly when I start- front/side at least. When I'm doing something not jointed I tend to do a 3/4 too as for me that really informs a lot about the shape. I've gotten more used to thinking in 3D after doing computer models. But I allow myself to throw that all away when I start sculpting if I need to. Once things are in 3D- things that were 2D might not work anymore so that said, if I'm not getting something drafted out I don't fight it and make it miserable. I just deal with it in sculpting. If the sketching is making you miserable got the over all form/joints down and start in the clay! The other thing that I do while sculpting is to use graph paper and make outlines of parts- front and top down. I tend to torque while sculpting and this helps me really see if it's even on each side- fold the paper over, hold it up to the light- make sure the lines match. That way I don't have to eyeball how even it is or have to stick it in photoshop to see each time. I can fix the drawn line and put my clay to match. It might help you also since you already have the clay in process but if you think in 2D you can refine that way. To each their own though!
Thank you both! ^_^ @bird of hermes - Your mention of computer modeling gave me a bit of an epiphany. When I model I rarely use more than a basic turnaround (except for the face) and then depend on my knowledge of anatomy (keeping ref handy, of course) to sort of fill in the rest depending on how realistic vs stylized the figure might be. So why am I thinking it'd be different for real world sculpting? I do use graph paper to sort things out and try to keep left and right balanced. Sometimes I'll take a sketch into Illustrator to break apart and play with jointing ideas. Here are a couple examples of my initial sketches vs worked out on graph paper (not sure I'll go with this silhouette yet - I'd need a package of clay for each thigh alone at the moment ). Starting sketches (note, the final head design will likely be quite different - that's just sort of my default head) View attachment 243 Initial draft on graph paper (still need to do side view obviously) View attachment 244
