108 chapter 3 ■ Designing a Character Bust
- Now add a subdivision level. Using the Claytubes brush, rough in the lips of the char-
acter (Figure 3.61). You may want to enable Topological Masking on the brush to help
keep the effect of the brush separate on each lip. Or you can mask your polygroup for
the lower jaw, and vice versa (Figure 3.61). Use the Standard brush to create the line of
demarcation between the lips and the rest of the face. This line is sometimes called the
shelf of the lips. - Use the Standard brush to accentuate the edges of the skeletal anatomy. The crest
of the eye socket, for example, where it meets the cheekbone and the jawline, is a
great place to accentuate the sharpness and bony quality of the skull under the skin
(Figure 3.62).
Adding Geometry for the Horns
In this section, you will use the GoZ plug-in to export
the model from ZBrush, add geometry, and then reim-
port and maintain the sculpted levels. If you try to pull
the horn from the existing volume of the head now, the
faces stretch (Figure 3.63). This will cause problems
when you sculpt and paint details on these areas later.
For this reason, you want to extrude new faces to
carry the detail of these new horns.- You will use the GoZ plug-in to extrude the
new faces. Step to the lowest level and click GoZ
(Figure 3.64). You may want to delete the low-
est subdivision level if it is too light to judge the
shape of the head. (I stepped to level 2.) Under
To ol → Geometry, click Delete Lower to remove
the lower subdivision level. - Clicking GoZ will load the mesh into Maya,
ready to edit (Figure 3.65). Select the faces that
you will extrude for the horns (Figure 3.66).
Figure 3.61 Rough in the lips with the Claytubes brush. The second image shows masking used to help isolate the lips.
Figure 3.62 Use the Standard brush to accentuate the
skeletal landmarks under the skin.