56 chapter 2 ■ Sculpting in ZBrush
- Using the Standard brush with ZSub on, carve away the hollows at the sides of the
head (the temples). This region is called the temporal fossa, and we’ll fill it with an
important muscle in the next section. - Don’t worry about the rough surface—we’ll refine that later. For now, focus on the
integrity of the shapes you want to create. Remember that these rake marks will be
refined later with a combination of smaller, finer rake strokes and the Smooth brush.
Using the Move brush, pull the underside of the cheekbones in to create the deep
hollows seen there. This area is empty on the skull, but in this case tuck these faces
deep into the head (Figure 2.37). - The glabella is a raised trapezoidal shaped formation between the brows. It wedges
into the nasal bone from between the superciliary arches and creates the shape of the
center of the brows (Figure 2.38). Mask the bridge of the nose so you can create a hard
line between this form and the one we’ll now add. Create the shape of the glabella by
sculpting against the mask (Figure 2.39). - Using the Move brush, create the ear hole, or auditory meatus. Remember that this
hole in the side of the skull lies just behind the halfway line between the front and
back halves (you can see it in Figure 2.24). It should be placed just below the end of
the zygomatic bone. Using Move, hold down the Alt key to move in and out from the
point under the brush. This constrains the movement and makes it easy to slide the
faces into the head, creating the deep hole. - From beneath the auditory meatus comes the mastoid process (Figure 2.40). This is
a small mound protrusion just behind the jaw. Using the Move brush again, pull the
mastoid process down from the auditory meatus. The mastoid process will serve as a
landmark later on when we sculpt the neck; this is the insertion of the most prominent
neck muscle, the sternomastoid. - Delineate the cheekbone from the jawbone with the Standard brush set to ZSub.
Carve away between these two shapes to help separate them. Begin to sculpt the shape
of the mandible or jawbone. - Once again, check proportions between the halves, adjusting the face to compensate
for the angles of the profile. You may use the mask technique, transpose measuring, or
both to find the midline of the head. I take this chance to correct the angles in the face
as well as the length of the jawbone (Figure 2.41).
Figure 2.37 Cheekbone hollow
pulled back into the head
Glabella Supercillary
ArchFigure 2.38 Glabella on a human skull Figure 2.39 Roughing in the glabella