Graphics Programs Reference
In-Depth Information
We will now begin the process of bringing our biomechanical character to digital design. I will begin by
pulling some elements from my library of shapes. After a short time working in ZBrush, you will develop a
back catalog of old designs, sculptures, and forms that sit on your hard drive. Don't be afraid to revisit and
reuse these for other projects. Speed is one of the keys in concept design—you must produce strong ideas
but you need to do them fast. By taking advantage of your shape library, you will always be able to cut down
on time and quickly reform an old part into something entirely new. As we work on the rest of the body,
we will try to relate shapes back to human anatomical forms. This is for two reasons. Firstly, we want to
engage audience recognition of humanoid forms within this cyborg creature. Secondly, the design of a robot
will tend to follow the same biomechanics as the human body. This is simply because the human machine
is time tested and well designed. It tends to be the point of departure for robotics designers. When we create
structures like the shoulder apparatus, we will be using the actual shoulder girdle of the human skeleton as a
reference point.
Creating the Head
In this case, I will use the basic head we created from a Polysphere in my book ZBrush Creature Creation .
We will use this as the base to sculpt the cyborg's face. As you follow this tutorial, be aware this is a very
involved process, which I have documented fully on video. I have highlighted steps here to call attention to
some of the most important parts of the process. Be sure to watch the complete video of the process supplied
on the DVD or download files to get the most from this lesson.
Negative Spaces
Negative spaces are those areas between shapes. Here you see the white shapes are distinct from the
spaces in black. I have inverted the color in two distinct images to help you see the two different shapes
(the positive and negative). Notice how both create interesting shapes that define the overall look. These
negative shapes are often just as important as the shape of the figure itself. We see both when we observe
an object and the negative spaces can either help reinforce or detract from the design, depending on how
they are treated. In life drawing and sculpture, when artists work from a model, they are taught to observe
the negative space to help understand the actual form or outer contour of the figure. By always being
aware of what you are saying with both your shapes and the negative space around your shapes, you are
exerting more control over the effect of your design. You can see how both positive and negative shapes
can be interesting.
Search WWH ::




Custom Search