|
Gnomon - Digital Sculpting Human Anatomy |
|
|
|
15.06.2008 г. |
BLOCK-IN MAYA MESH AND CUSTOMIZE ZBRUSH INTERFACE
INITIAL DEVELOPMENT: GESTURE AND TORSO
INITIAL DEVELOPMENT: LEG AND FOOT
INITIAL DEVELOPMENT: ARM AND HAND
INITIAL DEVELOPMENT: HEAD
FINALIZING: TORSO
FINALIZING: LEG AND FOOT
FINALIZING: ARM AND HAND
FINALIZING: HEAD
GESTURE TWEAKS AND SUPERFICIAL VEINS
CREATING AN ORGANIZED MESH AND RE-APPLYING ZBRUSH DETAILS
1. BLOCK-IN MAYA MESH
AND CUSTOMIZE ZBRUSH INTERFACE
Utilizing simple poly modeling techniques in Maya, we generate a base mesh that meets the technical
requirements for import into ZBrush (see points below). This mesh allows us a great deal of creative free-
dom when developing our digital sculpture. By adjusting ZBrush's tools and interface, you can create your
form with a smoother, more predictable surface.
Reference books:
Anatomy For The Artist by Sarah Simblet (superficial anatomy)
An Atlas Of Anatomy For Artists by Fritz Schider
Anatomy Lessons From The Great Masters by Robert Beverly Hale
Notes:
All Quad poly mesh from Maya for import into ZBrush
No muscle definition in mesh
Edge loops around areas we might want to relocate later, i.e. elbow
OBJ import options in Maya set to False- avoids mesh point re-order
Adjust Mouse Average and Edit Curves in ZBrush to improve results
2. INITIAL DEVELOPMENT: GESTURE AND TORSO
We use ZBrush to evaluate and modify the initial gesture of our digital sculpture while examining the re-
lationships between the masses and forms. Our sculpture's gesture is its foundation for establishing life
and realism. We construct the torso by developing general forms: Keeping the mesh at a lower subdivi-
sion level, we avoid focusing on specific muscle definition until a later stage of development.
Notes:
Exaggerate the gesture to avoid straightening out of the sculpt
Look at the rhythms created by the masses
Stay at lower levels of subdivision
Do not focus on minor details
3. INITIAL DEVELOPMENT: LEG AND FOOT
We create approximate leg and foot masses by evaluating the overall shapes created by the muscles and
underlying bone structure.
Notes:
From rear view the lateral form of the quadricep is still visible
Look at how muscles interrelate, i.e. the Hamstring to the Calf
Evaluate the rhythm of the overall form: Muscle mass shifts from the lateral side denoted by the thigh
to the medial side at the knee
Try the Inflate brush on tight areas like the toes
Don't over-develop the foot or toes: develop them at the same level as other parts
DIGITAL SCULPTING: HUMAN ANATOMY ZBrush-to-Maya Workflow with Zack Petroc 4. INITIAL DEVELOPMENT: ARM AND HAND
Using a similar approach, we create a rough arm, establishing landmarks such as the elbow (olecranon of
the Ulna) to help place other muscles. Using the hand as an example, we reimport the mesh to Maya, ma-
nipulating and changing its gesture before bringing it back to ZBrush for further refinement. (This process
is applicable to any part of your sculpt.)
Notes:
Exaggerate the curves of the arm
Landmarks, Olecranon of the Ulna, & Medial Epicondyle of the Humerus
Try the inflate brush on the fingers to begin adding mass
Export mesh at any level for evaluation in Maya or other software
5. INITIAL DEVELOPMENT: HEAD
Simplifying the head and face into basic masses and forms makes it easier for us to take this area of our
sculpt to a rough level. We avoid all secondary facial features and focus on the overall structure of our
head to use as a foundation. We sculpt lips and eyes, defining the character of the face at a later time.
Notes:
Focus on the over-all form of the head, locate the masses of the features
Avoid secondary detail of the features i.e. lips, eyes and nostrils
Establish general character of the face, round or narrow
6. FINALIZING: TORSO
We examine ways in which individual muscles form larger shapes, fitting together to define our figure's
final surface. We gradually develop our forms over the entire torso.
Notes:
Notice how the muscles are suggested, not academically represented
Use the smoothing of the division process to aid in gradually refining your form
Do not be afraid to smooth out detail and then redefine the area
7. FINALIZING: LEG AND FOOT
Finalizing the leg and foot, we are now able to refine the details created when we established our figure's
initial gestures. Focusing on the details, we see how the underlying anatomy of the knee--including bones,
muscles and tendons--affects the surface.
Notes:
Proper gesture and placement of rough forms aids greatly when defining detail
Placement of muscle masses define rhythms of the leg
Use the bones of the foot and toes as visible surface landmarks
When refining the form, do not straighten the bones
Look at the character of the toes: are they straight from any view?
8. FINALIZING: ARM AND HAND
Having returned our mesh to ZBrush, we are now ready to finalize the hand's gesture and pose. Note that
the muscle masses form curves that intersect throughout the upper and lower arm.
Notes:
Orientation of the arm makes tricep visible in front view
Notice how the forearm curves in both the front and top views
Adjust the pose of the hand to add character to your sculpt
Examine how the arm inserts to the torso under the cradle of the shoulder
9. FINALIZING: HEAD
We developed facial features and established the basic forms of the head simultaneously during the set-
up stage. By not overworking any specific area of the face, we were able to focus on the relationship of
the features, which really define our perception of the head.
Notes:
Surface around lips is not consistent or flat when mouth is closed
Look at how the muscle forms under the check bones flow down to the mouth
Mass of the mouth sets out from the skull in side view
Use view from underneath the chin to evaluate lips and mouth area
Evaluate the contour while sculpting with "X" symmetry on
10. GESTURE TWEAKS AND SUPERFICIAL VEINS
Evaluating the sculpt as a whole, we can adjust the relationship of the individual parts, ensuring that their
respective masses and proportions coincide. We use the Projection Master tool to add superficial veins.
Notes:
Adjust the gesture by using ZBrush's ability to step back down in divisions
Use the Move tool to reposition parts of your sculpt
Hide areas you don't want to alter
Avoid adding superficial detail like veins until you are satisfied with the larger forms
11. CREATING AN ORGANIZED MESH
AND RE-APPLYING ZBRUSH DETAILS
Using ZBrush's texture tools, we create a texture representing our curve network. Returning to Maya, we
use this as a reference template to define our organized poly mesh. Using the xyShrinkWrap.mel script
(which you can find at highend3d.com), we wrap our organized mesh to the detailed mesh we initially cre-
ated in ZBrush. If you know you will need an organized mesh, generating one in ZBrush at an earlier stage
will quicken this process.
Скачивать могут только зарегистрированные пользователи |
