ZBrush Character Creation - Advanced Digital Sculpting 2nd Edition

106 chapter 3 ■ Designing a Character Bust

4. You may choose to add a subdivision level at this stage, but be careful not to divide
   too high. At this point I have only three subdivision levels. Using a combination of the
   Claytubes brush and flatInflate to build up anatomical forms, as well as the Standard
   brush with a low Draw Size and ZIntensity to etch in hollows and catch shadows
   between, further develop the shape the head. In Figure 3.57 you can see the cheek-
   bone forms have been suggested as well as the forms of the forehead.

Figure 3.57 Further developing the forms of the head, including the forehead

and cheekbones

Move the eyes farther apart using the Move

brush (Figure 3.58). This helps break the standard

proportion between the eyes and mouth that you

see on a human face. Spreading the eyes is a great

way to make a character feel less human while

retaining points of interest where the viewer can

make an emotional connection with the character.

Try to find ways to make the head you sculpt be

relatable to the viewer without being too human-

oid in its proportions.

5. You add eyeballs to this head just as you did
   in Chapter 2. Simply select a polysphere from
   the Lightbox menu and append it to the ZTool
   (Figure 3.59). Use the Transpose tools to rotate
   and scale the eyeball into place. Be sure to use
   Transparency to help in placement. Use the
   Move brush to shape the eyelids to conform to
   the surface of the sphere (Figure 3.60). Mirror the
   eyeball using Subtool Master’s Mirror function
   as discussed earlier.

Figure 3.58 Use the Move brush to widen the space between
the eyes. By creating an obtuse triangular relation between
the eyes and mouth, you help push the head away from
conventional human shapes while keeping your character
relatable.