Week 4: Sculpting Secondary Forms #1

I intend to design the character with a cleft palate/lip. As advised by my supervisor, I opened the character's mouth and set it up in a layer after baking the previous week's information onto the mesh. I used a free set of teeth from the internet as a base for my deformed gums and teeth.


I separated the teeth from the gums and deformed the gums and teeth to represent a cleft palate. I adjusted some of the teeth as they were clipping into each other when the jaw was closed




I added more fat to the neck and loosened the lower lip as if the lips were forced outwards by the teeth, in addition, I adjusted the chest forms.



I created an IMM brush that would help me draw ropes across the model. I created 2 alphas in Zbrush that would be helpful to achieve high-frequency detail either in sculpt, or during the texturing process.



The wraps on the arms and legs were created by masking areas on the body and using Group edge loops to smooth the mask and separate into different polygroups alongside Zremesher, I use the TopoMove Brush to manipulate the wraps to look like they wrap around and overlap each other, I use Zmodeler to clean the polyloops created in Zremesher and Qmesh the bandage after tucking it in place.


I created different sizes of bandages and intertwined ropes between wraps.




Comments

Post a Comment

Popular posts from this blog

Week 7: Sculpting Secondary Forms for the Face

Image
In this week, I focused on adjusting the asymmetry of the face after consulting with my supervisor, I drooped the right eye of the character and made his brows more pronounced, as well as sagging the side of his face similar to partial facial paralysis due to a stroke. I creased, pinched and cleaned up the creases after going up in subdivisions, loosened the connective tissue at the jawline to make a smoother transition to the neck. I sculpted an arrow injury that portrays a broadhead arrowhead going through the eyebrow without puncturing the skin on the end, forcing the giant to break the wooden end and ignore the arrowhead by leaving it to get crusty and infected. In addition, I sculpted an infected cleft lip and sculpted the chipped teeth and plague on top of them, I also created a small crusty tumorous growth on the cartilage of the ear. The main reason of me focusing on the bust of the character is the deadline for the brochure image print for Expotees, I want t...
Read more

Week 5: Sculpting Secondary Forms #2

Image
I finished up wrapping the character with ropes and bandages, then created a tileable chainmail nanomesh based on the hurstwic chainmail shape, the defining feature of hurstwic chainmail is that its made of wound around a wooden form to create a coil of iron wire, it is then cut along the length of the coil, finally sealed using a rivet. I created a metal plate for the chest armor in order to use nanomesh to place the plates in a conforming manner, I UV unwrapped it in order to achieve a pattern that projects the plates as if they were created from a single engraved piece of metal that was cut to shape. I bent the plates using bend deformers in Zbrush and cut them after laying the UVs in 3DS MAX. As for the leather clothing, I used Marvelous Designer to drape 3 layers of skirts that I can cut to shape after exporting from MD. In addition, I simulated the apron on top of the already simulated skirt. I used morph targets on the belt in order to create the bunching of t...
Read more

Week 8: Sculpting Tertiary Details on the face

Image
In this week, I wanted to pish the details of the face for the bust render used for the brochure image of Expotees. I used Texturing XYZ displacement maps to project details onto the face in Mudbox. I then split the RGB exported map to 3 different Grayscale maps (Secondary, Tertiary, Micro) to set up in Zbrush as separate layers. I created the arrow's fletching using an IMM brush and moved them to give it a frayed look. I projected skin textures onto the back of the character and used Mudbox to project textures onto the rest of the body.
Read more