book

ZBrush Digital Sculpting Human Anatomy

Name: ZBrush Digital Sculpting Human Anatomy
Author: Scott Spencer
ISBN: 9780470450260

by Scott Spencer

January 2010

Intermediate to advanced

415 pages

12h 12m

English

Sybex

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Copyright
Dear Reader,
Acknowledgments
About the Author
Introduction
Essential Anatomy ResourcesWho Should Read This BookWhat You Will LearnHardware and Software RequirementsHow to Use This BookThe Companion DVD VideosHow to Contact the Author
1. Blocking In the Mesh
1.1. Sculpting the Figure1.2. Gesture, Form, and Proportion1.2.1. Gesture1.2.2. Form1.2.2.1. Form and Light1.2.3. Proportion1.2.4. From Basic Forms to Complex Shapes1.3. Anatomical Terminology1.4. Creating a Base Sculpting Mesh1.4.1. Building a Sculpt Mesh in Maya1.4.2. Building a Sculpt Mesh in ZBrush1.5. What's Next?
2. Gesture and Masses
2.1. Looking at the Figure as a Whole2.1.1. Crests and Valleys2.1.2. Plane and Profle Analysis2.2. Sculpting a Basic Figure2.2.1. Getting Started2.2.1.1. Sketching in the Torso Masses2.2.2. The Legs2.2.3. The Chest and Shoulders2.2.3.1. The Arms2.2.3.2. The Hands2.2.3.3. Final Stages2.2.3.4. The Head2.2.4. Analyzing Planes2.3. What's Next?
3. The Head and Neck
3.1. The Skull3.1.1. Proportions and Placement of Facial Features3.1.2. Placing the Features3.1.3. Sculpting the Basic Skull3.1.4. Refining the Initial Sculpt3.2. The Facial Muscles3.2.1. The Masseter and Temporalis Muscles3.2.2. The Zygomaticus Major and Minor3.2.3. The Orbicularis Oris3.2.4. The Triangularis and the Mentalis: The Chin3.2.5. The Frontalis: The Forehead3.2.6. The Orbicularis Oculi3.2.7. The Buccinator Muscle3.3. The Facial Features3.3.1. The Nose3.3.2. Closing the Mouth3.3.3. The Neck Muscles3.3.4. Refning the Surface3.3.5. Sculpting the Ear3.3.6. Adding Character and Refning Forms3.3.6.1. Refning the Lips3.3.6.2. Correcting Problematic Geometry3.4. Final Adjustments3.5. What's Next?
4. The Torso
4.1. Changing the Torso Masses4.1.1. Model Preparation: Storing a Morph Target4.1.2. Adjusting the Chest Mass4.2. Sculpting the Torso4.2.1. Pectoralis4.2.2. Abdominal Muscles4.2.3. Serratus and Oblique4.2.4. Muscles of the Back4.3. What's Next
5. The Arms
5.1. Basic Forms5.2. Muscular and Skeletal Anatomy5.2.1. Skeletal Landmarks Addressed in This Chapter5.2.2. Muscles Addressed in This Chapter5.3. Sculpting the Arm5.3.1. Shoulder and Upper Arm5.3.2. Triceps5.3.2.1. The Parts of the Triceps5.3.2.2. Sculpting the Triceps5.3.3. Lower Arm5.3.3.1. The Parts of the Lower Arm: Elbow5.3.3.2. Sculpting the Lower Arm5.4. What's Next?

6. The Pelvis and Legs
6.1. Basic Pelvis and Leg Forms6.2. Skeletal and Muscular Anatomy6.2.1. Muscles of the Pelvis and Leg Addressed in This Chapter6.3. Sculpting the Pelvis and Legs6.3.1. Adjusting the Leg Position6.3.2. Sculpting the Pelvis and Buttocks6.3.3. Sculpting the Upper Leg6.3.4. Sculpting the Knee6.3.5. Sculpting the Lower Leg6.3.6. Sculpting the Finishing Pass6.4. What's Next?
7. Hands, Feet, and Figure Finish
7.1. Anatomy of the Hands and Feet7.1.1. Relative Proportions7.1.2. Skeletal Structure7.1.3. Anatomical Direction7.1.4. The Surface Anatomy of the Hand7.1.5. The Surface Anatomy of the Foot7.1.6. Block Forms and Planes7.2. Sculpting the Hand7.2.1. Adding Flesh Folds and Details7.3. Sculpting the Feet7.4. Finishing the Figure7.4.1. Overall Form Changes7.4.2. Adding Flesh and Fat7.4.2.1. Using Brushes to Add Fat
8. Remeshing
8.1. What Is Remeshing?8.2. Why Remesh?8.3. Introducing the ZBrush Topology Tools8.3.1. Polypainting8.3.1.1. Remeshing the Head8.3.1.2. Drawing the Shoulder Topology8.3.1.3. Drawing the Hand Topology8.3.1.4. Drawing the Core, Legs, and Feet8.3.1.5. Opening the Mouth8.3.2. Using the ZBrush Topology Tools8.3.3. Remeshing the Face8.3.3.1. Remeshing the Shoulders8.4. Remeshing a Head with NEX8.4.1. Creating the Initial Mesh with NEX8.4.2. Adding the Eye and Mouth Bags8.5. What's Next?
9. Texturing
9.1. UV Texture Coordinates9.1.1. Mapping UV Texture Coordinates9.1.2. Preparing the Model for UV Texture Mapping9.1.3. UV Mapping with headus UVLayout9.1.4. Editing UVs9.1.5. Importing UVs into the Tool9.2. Creating Texture Maps for Skin9.2.1. Creating Textures for Subsurface-Scattering Shaders9.2.1.1. Subsurface-Scattering Shaders9.2.1.2. Painting the Back-Scattering Layer in ZBrush9.2.1.3. Painting the Subdermal Layer in ZBrush9.2.2. Mottling the Skin9.2.3. Painting the Epidermal Layer9.3. Exporting Textures from ZBrush9.4. Surface Noise9.4.1. Activating Surface Noise9.4.2. Converting Bumps to a Normal Map
10. Creating a Costume
10.1. A Costume Workflow10.2. Creating the Mask10.2.1. Preparing the ZBrush Topology Tools10.2.2. Making a Base Mesh10.2.3. Generating a Hero Mask from the Topology10.3. Sculpting the Costume Details10.3.1. Sculpting the Mask10.3.2. Sculpting the Shirt10.3.3. Adding a Repeating Pattern to the Sleeves10.3.4. Sculpting the Pants10.4. Storing, Recalling, and Editing Masks as Alphas10.5. What's Next
A. About the Companion DVD
A.1. What You'll Find on the DVDA.1.1. Chapter FilesA.1.2. Extra VideosA.2. System RequirementsA.3. Using the DVDA.4. TroubleshootingA.4.1. Customer Care

Content preview from ZBrush Digital Sculpting Human Anatomy

Chapter 5. The Arms

In this chapter, you'll move from the torso into the arms. In Chapter 4, I touched on the transitional areas of the shoulder into the arm. Muscles such as the Deltoid as well as the Teres major of the scapula were shown, but only in surface detail. In this chapter, you will revisit these areas and look at the manner in which they interconnect into the form of the arm. Examining the origins and insertions of these muscles will, I hope, clarify the mechanism of the shoulder area.

Figure 5.1 shows the arm as it will appear when you've ...

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ZBrush Digital Sculpting Human Anatomy

by Scott Spencer

Chapter 5. The Arms

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