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Muzzoid said:

"Essentially, I need to focus on building the forms/shapes and let them determine how the edges turn out?"

Yeah I think that's a good way to put it!

Really this comes down to building up your observation skills, picking up on subtle form changes.

One exercise that helped me a lot was doing straight copies of 3d scans, using the zbrush reference mode, which lets you have a reference model and your sculpt at the exact same angle. It forces you to notice all these details you may have missed as you hone in on getting it closer.

Awesome. This is essentially what I was doing through my mentor using 3D Scan Store head models. I used the split screen option so I could see the model and my own as I worked. I just don't think my mentor explained it in quite the same way...? Or maybe he did and I'm forgetting. Is that particular model in ZBrush or is that a 3D Scan Store model? I might have to try getting one with a torso and just focus on that for now to practise.

"Essentially, I need to focus on building the forms/shapes and let them determine how the edges turn out?"

Yeah I think that's a good way to put it!

Really this comes down to building up your observation skills, picking up on subtle form changes.

One exercise that helped me a lot was doing straight copies of 3d scans, using the zbrush reference mode, which lets you have a reference model and your sculpt at the exact same angle. It forces you to notice all these details you may have missed as you hone in on getting it closer.

Yes, more variations (e.g. wider in one spot and more pinched in another), but I was mainly referring to the "cross section" so to speak.

Actually check this out. if I try and draw a contour around the same elevation of the forms on the two sculpts, you can see how the edge is just the easily visible part.

That's on the right path. Now you've got this insight, I'd say, go back to your reference, and really pay attention to this aspect. On the reference sculpt, this idea is very extreme compared to this update.

I'd draw your attention to the long straight vertical line down the spine, it varies from no crease to strong crease the entire way through. This is exactly what @pxgeek was getting at with his paintover.

I'd also encourage you to think about form breaks being the result of the surrounding form. This is a very subtle point in painting and sculpting, but students tend to focus on edges. But edges are the result of the surrounding forms being built up in specific ways to get that result.
Edges are easy to focus on because they are high contrast.
Brushes like dam standard and pinch appeal to students because they give you the contrast, but it's in an artificial way that lets you ignore the surrounding forms.

Hope that makes sense, this is a difficult perception to communicate.

Hey thanks for the feedback I really appreciate it. Here are some screen shots of my pureref board. When it comes to the station walls I am using a material that i got off of quixel. I'll take your advice and play with the UV tiling to get a more accurate scale. I'll also go back into my subway car substance project and add some more variation to the seats as well as some more roughness on those door divider things.

Muzzoid said:

The point isn't to make the line squiggly, it's to vary the softness and angles of the form break.
The simple version of this is applying varying amounts of smooth to different parts of the form break.

Ah. I see. Totally misunderstood the paintover. ^^;

I'm quite liking the sculpts and art direction! Looking forward to seeing more.

 
Hi, everyone. So recently i've started learning 3ds Max from zero. I've learned a bit about primitives and decided to model something by using primitives. I jumped into pinterest and looked for some ideas, and found a picture of a water tower. I took that as a reference and started modelling. So, what do you think of this model? Let me know your opinions