Datasheet

■ Creating a Base Sculpting Mesh 23
4. Adding the arms is as simple as select-
ing the face pictured in Figure 1.46. The
placement of our vertices so far creates
a convenient edge that will run from
the bottom of the pectoral muscles in
the front of the figure to the back of the
armpit (also shown in Figure 1.46). We
will extrude the arms out to the sides
now but relax them a bit later in the
sculpting phase. This will keep the fig-
ure in a “neutral pose,” but also allow
us to add some gesture and spring to
the arms.
An important thing to note: The arm
span on a eight-head figure is equal to
the height (Figure 1.47).
Figure 1.43 Deleting the loops
5. The arms are built in the anatomically
neutral position knows as supination.
An easy way to remember this position
is the way you position your arm to
hold a bowl of soup. In this position the
flexors and extensors of the forearm are
relatively straight as opposed to their
position when rotated (Figure 1.48).
In this phase I extrude the fingers and
toes, taking care to place edges at each
knuckle. This process is best shown on
screen rather than described in text. I
encourage you to watch the accompany-
ing video to see this in action.
Figure 1.44 Drawing new edges at crotch
At this point we have the base geometry for the trunk and legs, but if we look at the
figure in profile, you can see it is essentially a column (Figure 1.40). We will start now to
edit the positions of the vertices in Z to start to suggest the profile of the figure.
1. Add edge loops and move the points only in the Z direction to start shaping the
body (Figure 1.41). By selecting and moving points back, we can create the taper of
the legs. At this stage also note the S curves and alternating rhythms of the body,
which are starting to take shape. To see this process in full, be sure to watch the
accompanying DVD.
2. We will now add a loop in the crotch area. By adding this in the geometry it helps us
define the tricky transition from the legs into the pelvis later on as we sculpt. This
is the simplest approach and allows the most freedom later down the line. Cut two
edges at the pelvis as seen in Figure 1.42. Delete the loops shown in Figure 1.43.
Now draw a connecting edge to allow the faces at the centerline of the body to turn
(Figure 1.44).
3. At this point, even out the edges to continue to define the volumes of the body
(Figure 1.45). The idea is to use the least number of edges possible to define shapes
and volumes. More edges now means fewer subdivisions later in ZBrush.
Figure 1.40 The figure as a column Figure 1.41 Shaping the body in profile
Figure 1.42 Creating the crotch loops
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