In this section, we’ll explore the steps used to sculpt the Horned character in Figure 3.50. I designed this character from the same generic head mesh used earlier in this topic. When adding the long horns on the top of the head, I didn’t use Insert Mesh but chose a different technique: I added these parts by exporting the model to Maya to add new geometry and then reimporting the model into ZBrush, retaining all the sculpted levels of form.
Figure 3.50 The final Demon character
I did this using the GoZ plug-in. This is a valuable workflow in a production pipeline as it allows you to work free and unencumbered by concerns with the base mesh. If you ever need to adjust the topology or add new geometry to support new appendages, that’s possible. Let’s take a look at the process used to create the Demon Beast. Please see the DVD for a video of the process of creating this character.
1. Polygroup the lower jaw as shown earlier. You’ll use this technique as well as Topological Masking to work the mouth and lip area. Using the Move brush, begin to pull at the mesh. Make sure that X Symmetry is turned on. At this point you are most concerned with the overall silhouette and the form of the creature. Pull at the forms of the back of the head, elongating the mesh to give the character a long spiked back to his head (Figure 3.51).
2. Using Transpose, lengthen the neck. You can use Transpose with masking to rotate and scale parts of a mesh rather than the mesh as a whole. Mask out the head, leaving the neck unmasked. Step up to level 3 and press the W key to enter Move mode. To soften the edges of the mask, Ctrl-click the mask a few times. This will feather the edge. Draw a Transpose line from the base of the skull to the shoulders. Select the lower ring center and pull to stretch the neck out (Figure 3.52).
3. Begin to rough in the basic forms of the neck and shoulders using a custom brush I call flatInflate. This brush is available to you on the accompanying DVD. It is a variation of the Inflate brush that adds form in a flattened gradual buildup. I find it most useful when trying to subtly build up forms over the progress of a sculpture. In Figure 3.53 I am using this brush to rough in the shapes of the collarbones (clavicles) and the neck muscles (sternomastoids).
You can also experiment with the Claytubes brush with no alpha for a similar effect. On the DVD is a custom Claytubes brush for you to experiment with. The brush will build up in a flattened manner, but it treats the surface slightly differently as it tends to fill in recessed areas. Experiment with both brushes to determine which you prefer.
Figure 3.51 Use the Move brush to pull new shapes from the generic head mesh.
Figure 3.52 Use the Transpose tool to rotate and extend the neck.
Figure 3.53 Starting to suggest the anatomy of the neck and collarbones
Removing all surface shading and looking at just the silhouette allows you to concentrate on the overall silhouette of the character. The silhouette is an important aspect of design since it is the first read, meaning the first thing your mind processes when you look at a character. Figure 3.55 shows examples of character silhouettes and how they affect the read of the character.
Figure 3.54 The flat Inflate brush’s Edit curve
Figure 3.55 Various silhouettes
A useful trick when trying to judge the overall proportions of the character is to switch from the current material to the Flat Color material. Doing so allows you to spot the silhouette of the character quickly as well as sculpt while looking just at the profiles (Figure 3.56). Reducing to the overall outline can help you see when a shape needs to be pushed to help communicate the feeling you are trying to inspire or depict in the anatomical form you want to represent.
It is possible to snap to an orthographic view and move the mesh in Flat mode, manipulating just the overall outlines without being distracted by internal details. When you are ready to view the whole mesh again, simply select another material.
Figure 3.56 The character bust with the Flat Color material applied
4. You may choose to add a subdivision level at this stage, but be careful not to divide too high. At this point I have only three subdivision levels. Using a combination of the Claytubes brush and flatInflate to build up anatomical forms, as well as the Standard brush with a low Draw Size and ZIntensity to etch in hollows and catch shadows between, further develop the shape the head. In Figure 3.57 you can see the cheekbone forms have been suggested as well as the forms of the forehead.
Figure 3.57 Further developing the forms of the head, including the forehead and cheekbones
Figure 3.58 Use the Move brush to widen the space between the eyes. By creating an obtuse triangular relation between the eyes and mouth, you help push the head away from conventional human shapes while keeping your character relatable.
Move the eyes farther apart using the Move brush (Figure 3.58). This helps break the standard proportion between the eyes and mouth that you see on a human face. Spreading the eyes is a great way to make a character feel less human while retaining points of interest where the viewer can make an emotional connection with the character. Try to find ways to make the head you sculpt be relatable to the viewer without being too humanoid in its proportions.
5.Simply select a polysphere from the Lightbox menu and append it to the ZTool (Figure 3.59). Use the Transpose tools to rotate and scale the eyeball into place. Be sure to use Transparency to help in placement. Use the Move brush to shape the eyelids to conform to the surface of the sphere (Figure 3.60). Mirror the eyeball using Subtool Master’s Mirror function as discussed earlier.
Figure 3.59 Placing a polysphere as the eyeball
Figure 3.60 Use the Move brush to conform the eyelids around the eyeball.
It is important to work over all views of the head at this stage and never take any one point to completion. This approach keeps the sculpture unified and vibrant. If you work one area too long, it becomes overworked and no longer “fits” with the rest of the sculpture. You will have to work harder trying to make it match the rest of the character.
6. Now add a subdivision level. Using the Claytubes brush, rough in the lips of the character (Figure 3.61). You may want to enable Topological Masking on the brush to help keep the effect of the brush separate on each lip. Or you can mask your polygroup for the lower jaw, and vice versa (Figure 3.61). Use the Standard brush to create the line of demarcation between the lips and the rest of the face. This line is sometimes called the shelf of the lips.
7. Use the Standard brush to accentuate the edges of the skeletal anatomy. The crest of the eye socket, for example, where it meets the cheekbone and the jawline, is a great place to accentuate the sharpness and bony quality of the skull under the skin (Figure 3.62).
Figure 3.61 Rough in the lips with the Claytubes brush. The second image shows masking used to help isolate the lips.
Figure 3.62 Use the Standard brush to accentuate the skeletal landmarks under the skin.
