Sculpting the Forest Spirit - ZBrush Creature Design: Creating Dynamic Concept Imagery for Film and Games - page 459

We will exploit other skeletal landmarks like this as we work on this figure as well as various major
muscle forms. Points on the skeleton like the acromion process, thoracic arch, and epicondyles of the hu-
merus all help us reinforce the sense of skeletal structure under the skin. Figure 8-19 shows many of the
muscular and skeletal forms we will be working with.
By knowing where these landmarks are, you can choose how much to accentuate them. The more promin-
ent all the bony landmarks and the more frequent their appearance, the more emaciated the figure becomes.
Combined with prominent muscle forms, the figure takes on a more fragile or undernourished appearance
( Figure 8-20 ) .
With the above anatomical guidelines in mind, we will now start to adjust the form of the figure. At this
stage we will alter both the proportion as well as the general silhouette to give more of a compressed, heavy,
and stooped appearance. Follow the steps below.
1. Use the Move brush to pull the scapulas out and shift the shoulders forward. This will help create the
hunched-back appearance seen in the photo reference ( Figure 8-21 ).
2. The head needs to be slung further forward to give a sense of weight and strain on the neck muscles. If
this figure holds his head too high, he will not appear as old or stooped as we want. Remember as well he
will likely have large horns that would also be a weight on his head. Transpose the neck down and use the
Transpose Rotate brush to adjust the relationship between the head, neck, and shoulders ( Figure 8-22 ) .
3. By using the Move brush to pull the chest muscles down and forward slightly, a sag is created in the
whole upper body ( Figure 8-23 ) .
4. We will now squash the torso proportion slightly by compressing the distance between the ribs and pel-
vis. Mask the upper body and select the Transpose Move brush. Draw a transpose line down the legs from
the side view ( Figure 8-24 ).
Figure 8-19: Bony landmarks on the figure