ZBrush Character Creation - Advanced Digital Sculpting 2nd Edition

98 chapter 3 ■ Designing a Character Bust

8. Let’s make further refinements to the shapes of the face (Figure 3.40). Use the Smooth
   brush on a low intensity to soften the forms. Create tight puckers between the folds
   of flesh by using the Inflate brush along the space where two folds meet. This has the
   effect of creating the look of two folds of skin pressing together.
   9. Now use the Gravity modifier on the Elastic brush to add a sense
   of weight to the skin folds. Gravity is acting on our bodies at all
   times, but it is most apparent in loose-hanging skin like this char-
   acter’s jowls. Figure 3.41 shows two forms. The form on the left
   has no sense of gravity, whereas the one on the right has a sense of
   weight and drag. By adding more body to the bottom of the fold, it
   appears that the fatty tissue is being pulled down by gravity. This
   applies to skin folds, finer wrinkles, and even cloth. The Gravity
   brush tries to automate this process by adding to the surface in the
   direction of the Gravity arrow (Figure 3.42). You can use Gravity
   on any brush by simply raising the Gravity slider value under the
   main Brush menu (Figure 3.43).

Figure 3.39 Adding fat to the neck
with the Elastic brush

Figure 3.40 Stroke the Inflate brush between two folds to

draw them together in compression.

Figure 3.41 This figure illustrates gravity and its effect on

form. The right image is the sculpted form; the left repre-

sents the silhouette of the shape depicted. By adding more

visual weight to the bottom of a form, you can create the

impression that gravity is acting on it.

Figure 3.42 The

Gravity brush

modifier