![]() The character's face feels a little bit empty at this point, so I decide to give him a bit more character by adding some teeth with the Curve Tube brush. These are created when a person tilts their head. Fat that builds up on the neck tends to create folds that encircle the neck. Wrinkles going around the mouth are mostly seen on the lower jaw but can also be found less pronounced above the mouth. ![]() Wrinkles radiating from the mouth can be found above and below the mouth on an old human being, but here I've only sculpted them above the mouth. Fat pockets above the upper eyelid that I sculpt with the Clay Buildup brush. Fig.07 shows a few of the bone structure adjustments: 1. I continue to refine some of the details. I then use the SubTool Master (ZPlugin > SubTool Master > Mirror) to mirror the eye to the other side of the face. Fig.06 shows the highest and lowest point of the upper and lower eyelids (marked with arrows). When the eyeball is in place, it is easier to sculpt the eyelids. The Transparency button can be found in the lower right side of the document. It's helpful to activate Transparency when doing this. I add the Sphere 3D (Tool > Subtool > Append) into the model, scale it down and place it on the figure correctly (Fig.05). In order to sculpt the area around the eye, I always bring in a sphere to help me get the correct shape. I also add a small ear and more fat hanging from the jaw. This is something easily over-looked as the fat and tissue in this area hides the bone structure but I find it useful to exaggerate this at the start of a model to get the correct proportions. In Fig.04 I have marked in red the T overlap in the upper part of the eye socket. When working with DynaMesh, I usually set Blur to 0 in order to keep the texture of the model fairly rough. First, I re-dynamesh the model (Ctrl + drag on the document) and subdivide it into three sections. It's also good to work with the Standard brush at a low Z intensity (Fig.03).Īt this time, I feel that I have the general form of the character pretty much complete, so I want to progress a bit in the subdivisions. ![]() I do this quite often as you don't have to rotate the model around when using this feature. Don't forget that you can move the faces in the brush's direction by pressing the Alt button while moving. I then pull out the jaw with the Move brush. In order to make his lower jaw stand out, I mask it off with the Mask Lasso brush while looking at the model from the side. I continue working on the profile of the character with the Move brush. When I started I didn't really have any idea of what kind of character I wanted, but now there is an idea in my head that he should be an ogre-like brute. I also find it helpful to suggest the eye sockets and the cheekbones early on. I don't intend for these sketch carvings to stay there forever, so I can smooth them out later with the Smooth brush. These are used as a kind of sketch just to get my ideas flowing. I now start scribbling out some features on the face with the Dam Standard brush (Fig.02). I find it useful to use the Trim Dynamic and Clip brushes at this early stage to get some coarse features in the model. I start blocking out something that resembles a humanoid skull and chest. To avoid stretching, I convert the image to a dynamesh at a fairly low resolution (40), since I only want to work on the big forms at the beginning. I then pull this sphere a little with the Move brush, just to get basic shape to start off with (Fig.01). ![]() I start the model by loading the DefaultSphere from LightBox (hotkey ","). The majority of time (2hrs 45mins) was spent on modeling the rest, and more, (1hr 10mins) was spent on the render. For this image, even though it wasn't important to add details like small wrinkles and pores, I found that I had the time to do so later on in my 3 hour limit. This allows you to make a whole bunch of character or creature concepts for a client (or yourself) in a short period of time, without getting stuck on details. When doing a speed sculpt it's important to work on the big shapes and be loose and experimental. Improve your speed sculpting techniques in Zbrush with this popular eBook! Free chapter available here! Introduction ![]()
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