Sculpting - Blender Master Class: A Hands-on Guide to Modeling, Sculpting, Materials, and Rendering - page 93

• The head is roughly ive eye-widths across and
approximately seven down (see Figure 6-39).
This proves a useful measurement. Keep this
measurement in mind and use it to judge the
relative distance and size of facial features.
• The mouth is dificult to sculpt. Depending
on whether you have an “open” mouth (one
with topology that follows round inside the
mouth) or a “closed” one (one that is simply
“drawn” onto the surface of the face), you will
need to adopt different strategies. For open
mouths, the Inflate and Smooth brushes are
useful for adjusting the shape of the lips and
the surrounding areas. For closed mouths, the
Crease brush is perfect for drawing in the crease
between the two lips, followed by filling out the
surrounding areas with the Clay and Clay Tubes
brushes. Remember that the upper lip gener-
ally has much more definition than the lower
lip and has a rough M shape to it. The lower lip
is more rounded and slightly tucked under the
upper lip in most people (see Figure 6-40).

Figure 6-41: The anatomy of the skull is very important
in determining how a person looks. In particular, the
landmarks of the skull—such as the cheekbones, brows,
and chin—have a big impact on the overall appearance
of a face.

• Don't add lots of wrinkles and creases unless
you want your character to look seriously old.
Even a few subtle wrinkles can add a lot of char-
acter to a face.
• Few faces are perfectly symmetrical. While sculpt-
ing with symmetry turned on will take you a
long way, turn it off in the later stages of your
sculpt to add a bit of uniqueness to the two
sides of the face.

In Review
In this chapter, we have looked at the variety of
sculpting tools that Blender has to offer and how
to customize them to make the most of their capa-
bilities. Then, we moved on to sculpting the Bat
Creature's body and turning the simple base meshes
I created both for it and for the Spider Bot project
into more detailed, developed models that are now
ready for retopology. Finally, we discussed some gen-
eral principles for sculpting faces.
In the next chapter, we move on to retopolo-
gizing our sculpts, bringing the modeling stages
of the projects to a close. In later chapters, we'll
use our high-poly sculpts again for baking maps
and textures for our models before rendering them
with displacement and normal maps to recapture
the details we created in this chapter.

Figure 6-40: The lips

• The anatomy of the face and the landmarks of
the skull are important. Try modeling or sculpt-
ing a skull, sculpting the facial muscles, and
then adding the skin over the top to see how
they affect one another (see Figure 6-41).