The Interdimensional Traveler: A Full Body Character Design - ZBrush Creature Design: Creating Dynamic Concept Imagery for Film and Games - page 118

combine harmoniously with the other design choices. If you make a conscious decision to break with the
rules of anatomy, this decision tends to be reflected and harmonious with the design. For this reason the
viewer will accept them.
For example, people will typically recognize that the skeleton is close to the surface at the points of the
pelvis we just sculpted, even if they do not know the name of the part of the skeleton they are seeing. By
pulling these bony landmarks forward, it creates a jagged, aggressive quality to the very physiology of the
character. We have taken points on the skeleton that the viewer will remember seeing on a normal body and
pulled them out to create a sharp, aggressive shape. Psychologically, this creates a sense of surprise in the
viewer because he expected those points but not in that shape. This effect is further compounded because the
shapes created are aggressive ones as opposed to rounded softer shapes that communicate less aggression.
I also use the Move brush to tuck in the lower back, giving the waist a very narrow wasplike quality. This
gives the impression of a more emaciated figure with a more prominent skeletal structure.
At this point I decided to adjust the gesture of the figure to give it a more sweeping S-curve. Mask the
torso, and using Transpose, shift the hips forward ( Figure 3-17 ) . This gives the figure's stance a lithe quality
leading with the hips. It is almost serpentine. To accentuate this, use Transpose Rotate to rotate the legs back
from the hip and forward from the knee to create the S shape seen in Figure 3-18 .
Figure 3-17: Shift the hips forward with the Move brush.
Figure 3-18: Rotate the legs back from the hip and forward at the knee to create the S-curve seen here.