【ZBrush角色创建】_部分4.pdf

108 c h a p t e r 3 ■ Designing a Character Bust Figure 3.68: Refine side horns and cheekbones. Figure 3.69: Curve the side horns. Figure 3.70: Sculpting the forms of the eyelids 4. Using the flatInflate brush, build up the forms of the face. To avoid creating bloated forms, step down a subdivision level, smooth, then step back up to create more subtle shape changes. This has the effect of making the shapes at the higher subdivision level less pronounced because even though you smoothed the forms, the high level remem- bers the previous shape and tries to reintroduce the form. Move the light often to get a clearer picture of the shapes you are making. (I have a hotkey set for the Interactive Light utility. For more information on setting hotkeys, see Chapter 12.) ■ Working Back in ZBrush 109 Figure 3.71: Smoothing, then stepping up and dialing in transitions Figure 3.72: Refining the forms of the neck anatomy 5. Insertions and transitions can then be picked out using the Stan- dard brush to accentuate shadows (Figure 3.71). Use this method to refine the forms of the neck, dialing in the origins and inser- tions of the neck muscles, the collarbones, and the chest (Figure 3.72). 6. Following steps similar to those in Chapter 2, refine the ear using a combination of the flatInflate brush, Smooth, and Move. Use masking to isolate each part of the ear as you work on it. Don’t forget to take advantage of the polygroup to isolate the ear from the head. Figure 3.73 shows the final Stingerhead sculpture before fine detailing. I wanted to focus on form first since no amount of detail will help a sculpture with bad form. It is the primary and secondary shapes, the sense of bone and skin that gives a charact