数字雕塑应该是一个非常相似的学科，它的有形，粗糙的对应。鲁道夫·贝雷斯+$has four years’ experience as a 3D character modeller and a strong background in traditional sculpting. “I studied traditional art at the Hungarian University of Fine Arts, and I earned a diploma award for working as a traditional sculptor and restaurator over a couple of years,” he remembers. “After all this I decided to move into the game industry and become a part of the digital art world.”
+$There are few artists more qualified to discuss the fundamental skills of sculpting and how they translate to the digital world. “The traditional experience was a very good basis to start sculpting in digital,” continues Béres. There was one software in particular that catered to Béres’ previous experience: “ZBrush was an absolute miracle in my life and I wanted to work in it at first sight. Although it’s a completely different experience, the learning process is like playing with traditional clay or carving wood.”
+$Béres describes his artistic process as chaotic, explaining that it all starts with an idea, which usually arises from a picture or a real life experience. “In the beginning, anything and everything can change,” he adds. “Slowly the form begins to take place and I could turn a portrait of a normal girl into a vampire girl. To put it simply, don’t insist on sticking to your original ideas in the end, everything changes."
Rodion Vlasov+$is a 3D character artist based in Russia, with six years of industry experience under his belt. “I began learning ZBrush towards the end of 2007,” he explains. It’s a time that Vlasov looks back on with great fondness: “Back then I was a child with big ambitions and aspirations. I had a ton of motivation to become the best in 3D.” Vlasov found this inspiration in forums such asZBrushCentral以及他们的艺术家，张贴他们的作品，WIP和素描。“这对我来说是个很大的鼓舞。想象一下，一个13岁的小男孩，住在一个村庄里，利用互联网与来自世界各地的艺术家交流。“
+$Vlasov’s work demonstrates a unique style and a penchant for striking and memorable characters. “I just let my hands sculpt while I keep the idea in mind,” he answers when asked how he achieves his unique visual style.
+$Despite his laid-back approach to sculpting, Vlasov makes sure to surround himself with inspiration: “I use reference images to help me find the right mood, I search for images based on my idea.” Vlasov also listens to music as he works, preferably dark ambient soundscapes. “Music is a deep sea of ideas,” he explains. “It helps create imagery in my mind.”
+$Even for a creative soul like Vlasov, there will come a time when inspiration alludes him and motivation is hard to find. When this creative block strikes he accepts it with calmness and waits for it to pass, “I know that if I can’t do it today I will do it tomorrow,” he adds. “Instead I go and play video games, watch something, go outside and try to relax.” Vlasov asserts that it’s important to change up your activity for a while, just to take a break from CG.
+$“I’ve loved creatures for a long time,” says digital sculptor and CEO of Villard,冈田凯塔(Keita Okada)+$. Okada has a wealth of experience in creature creation, he has won numerous awards for his work and lent his talents to the video game industry. “Instead of using DCC tools, I decided to look for a more efficient way to create realistic creatures,” he adds, discussing how he got started in digital sculpting.
+$Okada’s company, Villard, sculpts various kinds of concept models and art at an efficient rate, with creature production being their main focus and greatest strength. “The models we create are used not just for movies, but also for concept modelling, art, video games and much more,” he adds.
+$“You should clearly emphasise parts of your artwork that you put a lot of effort into and want to show off. Basically, knowing the good and bad points of your work is key,” adds Okada. Finally, he emphasises the importance of showing your work to others and getting feedback from a variety of different people.
刘特里斯坦+$is a digital sculptor specialising in characters. He is currently lead 3D artist for start-up AI company DeepMotion, in the San Francisco Bay Area. Previously he’s worked on projects such as World Of Warcraft, Diablo III and Overwatch. “I started in digital sculpting when I was in college,” remembers Liu. “I saw ZBrush 3.1 on one of the lab computers. After some experiments, I found it was a very intuitive way to express my inspirations and ideas in 3D. I fell in love with it immediately.
+$“ZBrush is one of the tools that I use for sculpting,” he continues. “It depends on personal habits but to me, ZBrush is a powerful tool that meets all my needs for sculpting.” Liu believes a solid foundational knowledge of sculpting is key for building a portfolio and getting hired. “A professional artist can quickly determine your level by looking at your work. The industry is changing fast, so it is very important to keep trying new technologies and improving your skills.”
+$“Be passionate when starting a project and be patient when it comes to completing it,” Liu continues. He states that the overall feeling of a sculpt is much more important than the details, also adding that it’s important to “always be humble and learn from your fellow artists.”