Vol. 64, No. 4 winter 2019 354


7. My drawings of the transoms are based on Nelson’s Victory and adapted to fi t. The parts were all cut and sanded square and then faired, as seen in these to port. The shape of this part of Victory’s stern is probably unchanged from when the ship was launched in 1765.


made right back, if necessary, to the starting point of a sculpt. Thus, in days and weeks you can gain the equivalent of many years’ worth of sculpting experience in real materials. This enables you to re- carve your work bit by bit, until you know that you, at any rate, can do no better. At any step along the way you can make a copy of your precious work, and then compare one version with another. You can look at your work from every angle, or in a moment mirror it, which can produce startling revelations. Small elements, like scales, can be applied by making two or three with the greatest care, and then applying them precisely where they are needed.


Pixologic’s claim that ZBrush is so powerful that you no longer have to accept second best is quite literally true. I have always been able to see very clearly in my mind’s eye what I want to create, and ZBrush enables me to create it.


I have always loved tools: making them, modifying them and using them. ZBrush is the fi nest and most thrilling tool I have ever had. And when I have fi nished the sculptures, I shall be able to use ZBrush to repaint the friezing: fi rst scanning in Marshall’s


8. You can see Royal Oak’s very fi ne run aft. This was the fi rst 74- gun ship designed by Sir John Williams, who was determined to make this ship faster than his famous predecessor’s. The ship was fast, but not a stable gun platform, and when the fi ve further ships in the class had been built, the lines were not copied. Visible are the correctly- made panels below the stern gallery modelled on those of Ajax of 1767 (NMM SLR 0331). The white planks on the upper and lower counters will allow the seams to be faintly visible through the painted friezes, which I shall paint in ZBrush based on Marshall’s painting. You can see the hooks for lanterns in the deckhead of the quarter galleries. Channels await the wiring which will one day light up the inboard parts of the stern. The test starboard putto is shown too.


rendering, then fi tting it to patterns made from the model, and then repainting it as it would have been painted life size. At one moment it will be possible to fi ll the screen with a life-sized face, and then zoom out to view the frieze as a whole, which would have been impossible for a painter on a scaffolding.


Once one has completed a group of sculpts, the next stage is to have the fi les created in ZBrush 3D printed.


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