Sculpting the Forest Spirit - ZBrush Creature Design: Creating Dynamic Concept Imagery for Film and Games - page 494

4. Use the Claytubes brush to build up fatty tissues on the belly and sides of the ribcage ( Figure 8-63 ). I
find the Claytubes brush with no alpha is the best tool for building up fat mass. It adds form in a subtle
manner perfectly suited for this kind of shapes.
5. Always try to consider the effect of gravity on any fleshy form but especially those that are intended to
be soft and fatty. When sculpting fat, a useful technique is to use the Move brush to tug the fatty forms
down into crescent shapes. See Figure 8-64 for an example of how forms are made to feel heavier and
more sagging by pulling slightly on the bottom edge of any form. Often I will mask part of the surface
and then pull forms over the masked area to create the appearance of folds of flesh.
6. Mask the clavicles. We will now sketch in the part of the pectoralis muscle that attaches to the clavicles.
It's called the clavicular head of the pectoralis. By showing the definition between the various heads of
the chest muscles, you can accentuate the emaciated look of the figure. Fatty tissues usually fill out the
spaces between the muscle heads. The same form is very subtle but visible on the photo reference here
( Figure 8-65 ) .
7. Using the Standard brush, deepen the hollows between the muscles of the neck. Here you can see the
two heads of the sternaomastoid muscle attaching to the sternum and clavicle ( Figure 8-66 ) .
Figure 8-62: This image should be helpful when identifying the anatomy of thearm—keep in mind this
figure will have the same muscle forms but the mass willbe greatly reduced due to the age and physique of
the character.