Wiley 978-0-470-45026-0 Datasheet Page 1

Chapter one50260c01.indd 18 11/9/09 10:39:24 PMCOPYRIGHTED MATERIAL

Gesture, Form, and Proportion 9 Once your figure is established you can manipulate proportions to change the percep-tion of the character. See Fi

10 chapter 1 Blocking In the MeshAnatomical TerminologyI will be using anatomical terms throughout the book where they are applicable. While it

Anatomical Terminology 11 Understanding names also helps identify the placement and function of a part. For example, if we know that distal mean

12 chapter 1 Blocking In the MeshInferiorSuperiorPosteriorAnteriorMedialLateralFigure 1.16 The directional planesFigure 1.17 The superior an

Anatomical Terminology 13 As a rule of thumb, if a landmark is defined as being superior, you can infer there is a counterpart that is inferior.

14 chapter 1 Blocking In the MeshWhen talking about muscles we will often refer to origins and insertions, as shown in Figure 1.22.The origin o

Creating a Base Sculpting Mesh 15 The muscles have these specific independent shapes even to the point of having defined angles and planes. Bear t

16 chapter 1 Blocking In the Mesh 2. Save your file. 3. Create a polygon cube by selecting Create → Polygon Primitives → Cube. Make sure Subdi

Creating a Base Sculpting Mesh 17 Figure 1.28 The first cube in front and perspective view 4. Keep the bottom of this cube aligned with the fo

18 chapter 1 Blocking In the MeshSculpture by Scott Spencer. Image courtesy anatomytools.com.Figure 1.29 The skeletal ischium and the 4th hea

Blocking In the MeshIn this chapter we will create a sculpting mesh. This is a very simple blocked-in model to serve as a foundation on which to sculp

Creating a Base Sculpting Mesh 19 Figure 1.33 Marking menu sequenceFigure 1.34 Cutting the centerlineFigure 1.35 Adding loops50260c01.indd

20 chapter 1 Blocking In the Mesh 8. Extrude the legs down by selecting the face pictured and extrude to the ground plane (Figure 1.36(a)). Re

Creating a Base Sculpting Mesh 21 9. At this point cut an edge along the side of the body. This will bisect the form from the side view as see

22 chapter 1 Blocking In the MeshAt this point we have the base geometry for the trunk and legs, but if we look at the figure in profile, you can

Creating a Base Sculpting Mesh 23 4. Adding the arms is as simple as select-ing the face pictured in Figure 1.46. The placement of our vertice

24 chapter 1 Blocking In the MeshFigure 1.45 Distribute edgesFigure 1.47 Arm span vs. heightFigure 1.46 Select this face to extrude arms5

Creating a Base Sculpting Mesh 25 SupinationPronationFigure 1.48 The forearm muscles in pronation and supination 6. It is important to be sur

26 chapter 1 Blocking In the MeshWe are now ready to export this model to ZBrush and begin sculpting.If you would rather jump right into sculpt

Creating a Base Sculpting Mesh 27 ZSpheres have the benefit of being a fast and efficient method of creating your base mesh. They are easy to crea

28 chapter 1 Blocking In the Mesh 2. With the tool loaded, go to Tool → Subtool and click the Append button. Select the ZSphere tool from the

2 chapter 1 Blocking In the MeshThe second section offers an interesting alternative to standard polygon modeling. This section is geared towar

Creating a Base Sculpting Mesh 29 Figure 1.55 The capsule mesh after moving the ZSpheres to the correct head measure lines 7. Under Tool → A

30 chapter 1 Blocking In the Mesh 10. Press the A key and check your progress. Your figure should look like Figure 1.58. 11. Add spheres for

Creating a Base Sculpting Mesh 31 12. Create a ZSphere chain for the foot and heel (Figure 1.61). 13. To add fingers, draw five small child sph

32 chapter 1 Blocking In the Mesh 14. Move the thumb down and arrange the finger spheres in a natural position. Add another sphere to the end o

Creating a Base Sculpting Mesh 33 These smaller spheres will create topology loops to represent the inner eyes and mouth as well as the nose and

34 chapter 1 Blocking In the MeshFigure 1.67 Adding spheres for the eyes, nose, ears, and mouthZSphere2 Skinning Classic SkinningFigure 1.68

Creating a Base Sculpting Mesh 35 ZSphere2 SkinningClassic SkinningFigure 1.69 The facial topology seen under both skinning methodsFigure 1.70

36 chapter 1 Blocking In the MeshFigure 1.71 The final armature meshFigure 1.72 With the Move brush the armature can quickly be refined into a

What’s Next? 37 For more information about using ZSpheres, see ZBrush Character Creation.See the video for this lesson on the DVD for a complete

Gesture, Form, and Proportion 3 Gesture, Form, and ProportionWhen sculpting, I always try to consider three points as I work: gesture, form, and

4 chapter 1 Blocking In the MeshFigure 1.3 An example of gesture drawingGesture is just as important in sculpting as it is in drawing. A figur

Gesture, Form, and Proportion 5 Gestural rhythms can be difficult to spot on the fully lit figure. For this reason, in Chapter 2 you’ll learn how

6 chapter 1 Blocking In the Mesh(a) (b)Figure 1.9 The rib cage: (a) basic forms, (b) the complete formForm and LightThe perception of form is

Gesture, Form, and Proportion 7 The Interactive light button allows you to move the currently selected light with the mouse. Simply press the bu

8 chapter 1 Blocking In the MeshIn this book we use the eight-head canon. This means we will create a figure that can be evenly divided into eig