If you want to refine the surface further, use the Polish brushes to reinforce the planes of the skull. This skull remains rough since we are only interested in the form and proportions, not the surface quality. Figure 2.44 shows the skull to this point. If you want to take the skull to a finer level of finish, use the Smooth brush with a BrushMod setting of 100 to smooth the recessed areas and reduce the rake marks on the surface. We won’t add details like individual teeth since we just need the rounded shape of the mouth to serve as a basis for lips later.
#FORMATION ZBRUSH 4 SKIN#
Since we’ll add muscle and skin over this skull, don’t be concerned with taking it to a smooth finish. Using rakes over the entire skull, resolve the forms to a point that the major shapes are clearly defined. This reduces the roughness of the surface and begins to tie the shapes together.įigure 2.42 Pulling out the zygomatic bone from the side as well as from the bottom viewįigure 2.43 The rake strokes on the mouth area have been crosshatched.ġ2. If you use the rakes with ZAdd on clay, add in the recessed areas first. Crosshatching strokes helps to bring together the forms sculpted so far (Figure 2.43). Using this tool, crosshatch the strokes already on the model. This has the effect of making the rake smaller and the strokes finer. Select the Rake brush and lower the draw size. Remember to hold down Alt while you use the Move brush to pull the faces out in the direction of the surface normal.Ĭheck the width from the bottom as well as other angles to ensure it is correct (Figure 2.42).ġ1. To move this part out from the rest of the sculpture without disturbing the other forms, mask the zygomatic bone, then invert the mask by Ctrl-clicking somewhere off the model on the document window. The zygomatic bone should be the widest part of the skull when looking from the front. I take this chance to correct the angles in the face as well as the length of the jawbone (Figure 2.41).įigure 2.40 Mastoid process, beneath the ear holeįigure 2.41 Checking proportions with masking on one side of the head as well as the transpose measure line You may use the mask technique, transpose measuring, or both to find the midline of the head. Once again, check proportions between the halves, adjusting the face to compensate for the angles of the profile. Begin to sculpt the shape of the mandible or jawbone.ġ0. Delineate the cheekbone from the jawbone with the Standard brush set to ZSub.Ĭarve away between these two shapes to help separate them. The mastoid process will serve as a landmark later on when we sculpt the neck this is the insertion of the most prominent neck muscle, the sternomastoid.ĩ. Using the Move brush again, pull the mastoid process down from the auditory meatus. This is a small mound protrusion just behind the jaw. From beneath the auditory meatus comes the mastoid process (Figure 2.40). This constrains the movement and makes it easy to slide the faces into the head, creating the deep hole.įigure 2.37 Cheekbone hollow pulled back into the headĨ. Using Move, hold down the Alt key to move in and out from the point under the brush. It should be placed just below the end of the zygomatic bone. Remember that this hole in the side of the skull lies just behind the halfway line between the front and back halves (you can see it in Figure 2.24). Using the Move brush, create the ear hole, or auditory meatus. Create the shape of the glabella by sculpting against the mask (Figure 2.39).ħ. Mask the bridge of the nose so you can create a hard line between this form and the one we’ll now add. It wedges into the nasal bone from between the superciliary arches and creates the shape of the center of the brows (Figure 2.38).
The glabella is a raised trapezoidal shaped formation between the brows. This area is empty on the skull, but in this case tuck these faces deep into the head (Figure 2.37).Ħ. Using the Move brush, pull the underside of the cheekbones in to create the deep hollows seen there. Remember that these rake marks will be refined later with a combination of smaller, finer rake strokes and the Smooth brush. For now, focus on the integrity of the shapes you want to create. Don’t worry about the rough surface-we’ll refine that later. This region is called the temporal fossa, and we’ll fill it with an important muscle in the next section.ĥ. Using the Standard brush with ZSub on, carve away the hollows at the sides of the head (the temples). Figure 2.34 Adding the nasal cavity and nasal boneįigure 2.35 Adjusting the angle of the cheekbones to the brow ridgeįigure 2.36 Barrel of mouth seen from the frontĤ.
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