This piece is me trying to integrate hard surface forms with organic forms in the same mesh. Ornamental, man-made forms can be far more complicated than organic forms on their own – there was a lot of “negative space” in this piece, and it was a good introduction to more complex base meshes. Managing these can be a problem, but it wouldn’t be as problematic if my roots were in “3D Generalist” software. It’s just a matter of learning the knack of hiding and unhiding the mesh as you work on it. The web of lines can get incredibly complicated.
This is my initial plan, with some spontaneous thoughts on balance in sculpture. These are the kinds of basic, plain guidelines I’ve tried to locate in books, but it seems to be difficult to find unadorned information. Yes, I’ve obviously read countless books on the history of sculpture and painting, but these tend to go on about biography, context etc. For instance, nowhere have I read that an image or sculpture should read as well (in terms of pure form) on its head as it does the right way up. Maybe this is just an oversight endemic to a fine art education. Contemporary illustrators are a good source for this kind of information because they don’t treat it like some magic “tradesman’s secret”. “Imaginative Realism” by James Gurney is a good example of this kind of writing, but even books like this don’t simplify the information enough. There are very simple rules, for instance, that can be followed to successfully “marry forms” like I’m doing here. But you rarely get a designer talking unpretentiously and intelligibly about the nuts and bolts of his/her trade.