Graphics Programs Reference
In-Depth Information
ing on the scale of your model, you may need to lower the Range slider as small as .5 for best results. Try
to reserve this brush for low-resolution meshes as it tends to get bogged down on dense models.
4. Using the Move Topological brush to shift the upper lip over the lower. This keeps the mouth from
looking like just a slice into the head but gives it form and depth as well as the potential for expression
( Figure 8-49 ). Select the Standard brush and with ZSub on and a small draw size, add the split that runs
from the nose through the upper lip. This split is called the philtrum (Figure 8-49).
Figure 8-48: The image on the left shows the Move brush; the right image shows the Move Topological
brush. The topological masking function allows you to isolate the brush's effect to just those faces adjacent
to the center of the brush.
Figure 8-49: Shift the upper lip over the lower lip with the Move Topological brush. Then with the Stand-
ard brush, add the philtrum, or spit from the nose to the mouth
5. Select the Inflate brush. Gently, inflate the mouth and nose area to pucker the forms together. Don't
overdo this pass—it's just to give some mass to the lips and nose and help them look fleshier ( Figure
8-50 ) .
6. At this stage, eyeballs are added from the Polysphere ZBrush primitive just as we did in Chapter 2,
“The Character Portrait: Sculpting the Alien Mystic.” Please see the DVD or download files for this pro-
cess in action.
 
 
 
 
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