■ Sculpting the Skull 71- The two heads of the sternomastoid are sug-
gested at the pit of the neck in Figure 2.86. With
a combination of raking and smoothing, you
can gradually build up the form. By smoothing
as you work, you can make the shapes flow into
one another in a graceful and subtle manner. - Using the Move tool, adjust the shape of the
shoulders. Then use the Claytubes brush to fill
in the recessed areas a bit so the shadows are
not as deep. - The goal is to change the character of the shad-
ows so they are less pronounced, thus making
the appearance of the neck anatomy less overt.
We want to make the muscle appear to be under
a layer of skin, not inflated out from its surface.
We will now move on to the ears, the final step
in sculpting our head from a sphere.
Sculpting Ears
We’ll now sculpt the ear directly from the side of the head. Since we began with a low-poly
sphere, we can easily divide the geometry up to millions of polygons. In the case of this
mesh, it is currently 2 million polys. The secret to pulling protruding shapes such as ears
and noses from a sphere is to ensure the underlying edges are evenly distributed in this
area. In cases where the underlying geometry is stretched to the point of artifacting, then
the ZBrush tool Reproject Highres Details can be used to correct these areas. We’ll use
Reproject Higher Subdiv later in this section.
Figure 2.84 Adding the collarbones Figure 2.85 Raking across the neck
Figure 2.86 Refining the sternomastoid