Datasheet
6 chapter 1 ■ Blocking In the Mesh
(a) (b)
Figure 1.9 The rib cage: (a) basic forms, (b) the complete form
Form and Light
The perception of form is made possible only by the use of light and shadow. Figure 1.10
shows a figure (a) with no lights and (b) with lights. Notice that when light is off there is
no form, only silhouette. It is helpful to understand that when you are sculpting, you are
manipulating the effects of light and shadow on a surface. This is different than paint-
ing, where you are creating light and shadow by directly applying them to the surface.
Figure 1.11 shows how a shape can be changed and the resulting highlight and shadow are
altered as well. This is particularly important in the final stages of a sculpture when you are
refining the surface quality, the nuances of fat, muscle, skin, and bone. Often it is helpful in
remaining subtle in your approach if you remember that, at this stage, you are catching light
and casting shadow more than you are adding materials or carving away. Moving your light
can also illustrate the transitions between forms. Figure 1.11 shows two different transitions
between the same shapes. Notice the difference between them. While they may be subtle,
little details like this can add up to a great character sculpture.
Because of the importance of light and shadow to the subject of form, you will want to
be able to move your light as you work. There is a handy utility for this built into the ZBrush
interface. This tool is found under ZPlugin>Misc Utilities and is called Interactive Light.
(a) (b)
Figure 1.10 Form and light
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