ZBrush Character Creation - Advanced Digital Sculpting 2nd Edition

142 chapter 4 ■ ZBrush for Detailing

3. Once the stencil is placed, turn off Show under the Stencil menu to
   make your sculpting easier to see. I find it difficult to work with the
   Stencil visible; turning off Show keeps the stencil active but only
   shows it when you press the spacebar.


4. Change to Alpha 1 and keep the DragRect stroke on. Set the
   ZIntensity to 5. Draw a stroke on the model. The stroke will be very
   light because of the low ZIntensity. Use the Replay Last command
   under the Stroke menu to gradually build up the detail. The stroke
   will repeat and increment the depth of the eye wrinkles (Figure 4.49).
   You can continue to replay the last stroke to build up the wrinkles to
   an appropriate depth. 1 is the hotkey for the Repeat Last operation.
   Whenever you are using alphas as texture stamps, be sure to go
   back over the detail freehand sculpting. This helps tie the texture together
   with other areas of the face and avoids a “stamped” look. Here I have
   feathered the wrinkles at the corner of the eye and added a sense of direc-
   tion and flow that follows the secondary forms of the head in this area.

Wrinkle Dynamics

When you’re sculpting skin details like pores and wrinkles, keep in mind certain aspects of

how these tertiary forms tend to flow on the skin. The skin has a tendency to wrinkle in the

opposite direction of the muscle fibers beneath. Take the mouth area, for instance. As you

may recall from Chapter 2, “Sculpting in ZBrush,” the mouth muscle, the orbicularis oris,

runs around the mouth in a circular pattern (Figure 4.50). The primary wrinkles around the

mouth should radiate out and transverse the direction of the mouth muscles (Figure 4.51).

Wrinkles also have a tendency to be broken, sketchy lines and not straight grooves

carved into the skin (Figure 4.52). Be careful not to make the wrinkles too deep or too

regular. Crosshatch them with secondary wrinkles that run in the opposite direction. When

crosshatching wrinkles, give consideration to line weight (Figure 4.53).

Figure 4.49 The eye wrinkles
sculpted in

Figure 4.50 The orbicularis oris
muscle around the mouth. Wrinkles
in this area tend to run against the
direction of this muscle; as a result,
they radiate out from the mouth.

Figure 4.51 Mouth wrinkles run

transverse to the muscle fibers.

Figure 4.52 Notice how the wrinkles

in this image are composed of several

broken, sketchy lines. Also notice

how some are more visible than oth-

ers. This disparity in heaviness is

known as line weight.