Three-dimensional sketching in real space is both generative and speculative. It can be used to search for new ideas and possibilities before the design has been decided upon. Weintraub (1998, p. 53) offers a description of the process:
“The mind-hand coordination elicits intuitive answers as we begin to build something with no particular model to follow”.Weintraub (1998, p. 53)
I make three-dimensional objects by hand in the beginning stages of animation and game development to develop characters and stories. The objects fall within the category that Wells (2014, p. 10) refers to as a profilmic 3D object, which is
“An object that is either created or already exists, cast (literally and otherwise) as a material aspect in the development of the film text”Wells (2014, p. 10)
Finished sculptures, descriptive models and presentation models tend to be completed with durable materials. They usually require specialised skills and materials and they usually can’t be easily modified. Whereas my 3D sketches are made without referencing any sketches, drawings, photographs or pre-existing character designs. They are constructed roughly and quickly, from easily modified materials like wire, wood, glue, found objects, and polymer clay. They’re also internal artifacts that are intended as generative tools for use in early pre-production by me and my collaborators, stakeholders, and crew.