As Michelangelo said, every block of stone has a statue inside, and it’s a sculptor’s task to discover it. Well, I am a person obsessed with the form and shape of things, on an ever and ongoing road to discovery. I am a digital and traditional sculptor with 18 + years of experience sculpting characters, creatures, sets and props. Currently working with Technicolor India as a Departmental Director for the gaming division. Over the years, I have been lucky to get the opportunity to work on a wide range of projects, spanning from cartoon-y to hyper realistic styles.

My philosophy:

A good and well-presented sculpt is successful in reaching its objective and remembered long after over others. Works of art often tell stories. Artists can present narrative in many ways - by using a series of figures representing moments in a story, or by selecting a central moment to stand for the whole story. Narrative works often illustrate well-known historical, religious, legendary, or mythical stories. However, artists invent their own, leaving the viewer to imagine the narrative. Holding the interest and crossing all age barriers is the impact of an effective storytelling. I believe, knowing and applying the art of storytelling will not only strengthen your sculpting, but also develop the desired interest in the audience.

I prefer to create a character with a backstory that is reflected in everything from expression, to clothing, to the pose. I start with questions like - "where are they from? What is their motive? What are they feeling?"  It is not just about making your character look “cool”. The planning and intention one sets before the actual execution always reflects in the sculpture one sculpts.

I aim at creating a piece that provokes an emotional response. From a personal standpoint, given the right subject and the right sculpt, one can deliver a powerful message to the viewer (art lovers). Here's an example:



La Belle et La Bête (French for The Beauty and the Beast) -
 However clichéd the title might be, this work of art has been inspired by the very thought of freeing ourselves from the cliché. Prejudice and stereotypes become part of our system from an early age. I see babies and young kids marvel at everything about everybody around. But as they grow the typecasting sets in, ironically, taught by us as parents, peers, friends and teachers.

I dream of a world with the vision that each one of us has beyond the pigeon hole, a vision that considers and appreciates the unconventional thought processes and approaches. With this piece of my work, I wish to take a step towards that vision.
At the first sight, our banality makes us assume that the girl (human) in here is being referred to as the beauty and the scary crocodile is the beast. At this point I would urge you to take a step back and consider that it was meant the other way around. Challenging right! Surface never always delivers the complete truth. Each year we humans hunt and kill thousands of crocodiles for their skin, which is considered beautiful and art. I look at it as the beast inside us all destroying the beauty for our futile anecdote.

Sculpting Workflow

Before I jump into my workflow and style, I want to talk about the most important pre sculpting prep step – Research. I always start my project with research. Spending at least 1/3rd of my time downloading descriptions, & photos and analysing them. Next, I will sketch some simple shapes and make a collage. This way I get to know my subject better and I get a clear vision and plan of what needs to be done. I cannot stress enough how important this stage is. I personally consider it a make or break step of the process.

Reference collection before sculpting.

When creating 3D art, be it realistic or stylized, using reference is one of the most important parts of the process. Since the creation of any art asset starts with building reference, you can go as far as to say that the final quality of the finished product is largely defined by the effort you put into research in the beginning. Gathering reference is the next step in the process, but you should actually already be gathering material when researching info on your subject. You could even be performing this step for a project you’re not even sure you will ever create; having a few folders of material on interesting subjects is great for when you’re looking for ideas.

Your main source is of course Google image search. You can probably get around just searching here, but it can be interesting to search on another website as well. Searching by Pinterest and YouTube can provide some interesting results on certain subjects, especially environments, but you’d be surprised what else can turn up in people’s photo streams and anatomy sits and adult sits ,classic sculptures and paintings ,deviant art and many more.

There’s more than just internet! Books, magazines and papers can provide great reference that you just won’t find on the net.
Reference is not just mindlessly saving every high-res picture. It requires thinking and analysis to make the most out of it. This is very vital to make the most of your reference material.

The resulting sculpts.

My approach is that of a traditional sculptor. I start with armature (ZSphere mannequins) and then add clay layer by layer, trying to achieve the silhouettes, subtle variations and the volume changes. Once the basic form and shape is achieved, I pose the sculpture with zrigg and work in a symmetry to add more weight and tension, to attain a more realistic look. Usually, I don’t use alphas, instead I try to reach the final goal by manual sculpting. This helps me learn the strengths and limitations of the software in depth.


Over the years, my process, has been more scientific than creative. I like to study the interaction of muscle and bone in motion and the way light interacts with a surface. And last but not the least, feedback. It’s important and a good practice to ask people for their opinion. Sometimes they see things that you might have not noticed. When finished, show your work. It’s good to have critics, you can learn a lot from them.

The most important thing for me in the character model are the face, the action (movement) and hands. These determine if a character is alive or dead. You can make a character with incredible anatomy, realistic textures and incredible details but if the pose or face don’t work the figure will look dead. In ZBrush you always tend to lose your mind detailing things, so knowing when to stop is an important thing.



Tips for establishing your own work flow for anatomy sculpting
  • Sculpting is dependent on capturing form and proportions to produce a good likeness. It is important to have a good photograph reference of the subject. Continuously study these reference materials while sculpting. Keep them organized and handy. Important: Don’t sculpt what you assume something should look like. Check the reference materials.
  • When you make a change in one area, check how that change has affected other areas of the sculpture.
  • Use a photograph-editing program to change the contrast if the photographs don’t provide good contrast.
  • Facial Expressions - Understanding how expressions affect and change the face is important in sculpting a natural likeness of an individual. Different facial expressions can drastically change the face. For example, a full smile changes the shape of the mouth, the cheeks, forehead, and even the eyes. 
Haircut-on-a-Sunday
  • Measurements of the subject are taken to assure accurate form and proportions.. Even though measurements you take will provide you with a solid reference for the correct proportions of your subject.
  • To be a successful figurative sculptor, a fundamental knowledge of anatomy is required. Successful sculpting is far more than just having the right tools or the right software. Creating unique figurative sculptures that are appealing and that engage the viewer requires a fundamental knowledge of anatomy, form, proportions, gesture, and emotion.
  • In figurative sculpture, add mass according to the underlying muscle groups and smoothen the clay (or polygons) in the direction of the muscle bundles. 

  • The form of your sculpture is perceived by how light, shadows, and the transitions in between are created by the underlying shapes. Form is intimately tied to proportions because basic forms correspond to the initial proportions of the sculpture and can also be broken down into planes. For example, the basic form of the head can be reduced to a few planes such as the forehead, nose, brow, nose, chin, and so on. By reducing the sculpture to its corresponding planes, it is easy to see the relationships between forms and proportions

  • Negative Space - An important but often overlooked aspect of form is the negative space. Negative space is the space around and between a part of the subject or even the entire subject.
  • Gesture refers to the flow of lines in the figurative sculpture. More precisely, gesture describes the rhythm, weight, and balance in the design of the sculpture. Gesture is what makes a perfectly still sculpture appear to be alive and in motion.
  • Dynamic figurative composition - The dynamic figurative composition spirals upward in a twisting figure, with no frontal view. This is one of the unique attributes of the sculptures - it offers multiple viewpoints, and its impact changes with the viewer's position. And I always try to use this technique in my sculpture. It gives life to sculpture with the play of light and shade, as a viewer your eyes will be revolving around the sculpture and makes viewer to involve himself with the art work.
Example for spiral composition in sculpting



 CGSociety extends a huge thank you to Vichar for providing these helpful tips along with a look at his sculpting workflow!