Sculpting the Forest Spirit - ZBrush Creature Design: Creating Dynamic Concept Imagery for Film and Games - page 500

Figure 8-70: Stroking across the clavicles to lose the shape in some areas and suggest skin draped over the
bone
Don't be afraid to lose the shape of the sculpture in some areas. If every bone and muscle is
clearly defined by a shadow, it will look carved out and generally unconvincing as organic
form. You create the impression of skin by allowing your muscle and skeletal forms to be lost
in some areas by stroking your brush across them, filling in areas and making it look like the
underlying shapes are covered by a drape of skin and fat. Take any recognizable shape and
drape a sheet over it or stretch a balloon across its surface. Notice how the forms are still vis-
ible but the deepest areas are filled out by the stretch of the material across it. This is how skin
and fat behave over bone and muscle.
12. Looking at the chest, I feel the space between the pectoral muscles is unnaturally deep. I select the
Clay Tubes brush with no alpha and stroke between the pecs to create more of the sternum ( Figure 8-71 ).
Also note that I spread the space between the sternomastoids slightly to create a more natural pit to the
neck. The hollow at the base of the neck is properly called the sternoclavicular fossa.
Figure 8-71: Adding sternum