Posing the Interdimensional Traveler - ZBrush Creature Design: Creating Dynamic Concept Imagery for Film and Games - page 180

Chapter 4
Posing the Interdimensional Traveler
In this chapter we will take the design from Chapter 3, “The Interdimensional Traveler: A Full Body Charac-
ter Design,” and begin to render it in a compelling final image. We will learn how to use Transpose to pose
the figure, how to use the Layers menu to store pose data, and how to use the TimeLine to store views. We
will also look at the concept of the golden rectangle to help us plan the composition and find the best image
dimension for the final presentation. In Chapter 5, “Painting the Interdimensional Traveler,” we will look at
how to composite ZBrush renders in Photoshop, using painting tools to add the final touches to the image.
Considerations in Posing
We will begin by looking at how to pose the figure from Chapter 3. The design as it stands is in a neutral pose.
We will add some character and personality to the figure before we start the illustration. This is our chance to
act with the figure. We will determine the character and his motivations and then communicate these in the
way the character holds his body.
You will recall that this character should have a regal, imposing bearing. With that in mind, we can further
hone the design. Jamie Beswarick, one of the most talented designers I have ever met, told me that a design
maquette, or image, should represent your first encounter with a character. It should represent a moment that
sums up the character's attitude and motivations. I try to remember this when I plan my illustrations. How
might the first scene where the character is introduced look? What will he be doing? How will this figure be
perceived by other characters?
In this case, I have chosen to maintain the regal grace we already explored in Chapter 3. I also chose to
place the viewer below the figure to give him a more imposing air. When posing the figure, I maintained a
sense of grace by continuing to exploit the S-curves, bending the joints and keeping a sweeping flow between
the limbs ( Figure 4-1 ) .
Figure 4-1: In this pose you can see the sweeping curves implied by the limbs.