If you look at the lower back of the character and press A to see the Adaptive Skin, you will notice that the polygons of the waist are much bigger than the ones in the legs (Fig.05 - 06).
- Add a ZSphere at the back to add some more polygon density there.
At the front of the character we have an even bigger problem. Notice that the edge flow in the belly area is disturbed by a rhombus shape that prevents the existence of a continuous line at the center of the object.
- Add a ZSphere at the pelvis and this
problem gets fixed.
At the top and palm of the hand we can also find a geometric distribution that is very hard to sculpt.
- Add a ZSphere at the top of the hand and another at the palm. You will get a very high density mesh there, but it is better than the previous topological nightmare.
The ZSphere base is ready.
- In the Tool menu, go to the Unified Skin pull down menu and click on Make Unified Skin.
- ZBrush will generate a new Tool starting with the prefix "Skin_”.
- In this exercise we will not need the ZSpheres anymore, but if you want to keep them, press the Append button from the Subtool pull down menu and choose the new "Skin_” tool. Now you have the ZSpheres and Skin as Subtools of the same tool.
- Choose the "Skin_” Subtool and hide the ZSpheres Subtool (Fig.07).
I have decided to create a character without clothes on the upper part of the body in order to deal with anatomy issues and with wrinkled pants on the lower body to deal with cloth modeling (Fig.08).
Press the X key to activate Symmetry for the new "Skin_” Subtool. In the Geometry menu increase the number of subdivisions to 4 (when you create the skin, it already has 2 levels of subdivision).
- Select the Clay brush and start adding volume to the muscles. Use the Clay brush to add volume, the Shift key to smooth, and the Alt key to remove volume. Add the volume as if you were adding clay to a wire skeleton.
You can see that I have added a lot of volume near the feet as if the character was wearing bell bottom trousers. I have also added some clay at the trapezius muscles, deltoids, triceps and forearms. The back of the head was filled and some marks for the eye cavities, also the nose and jaw were added.
- To fix the hands, use the mPolish brush and rub it on the top of the hand and palm. Also use the Smooth brush. After reducing the volume, use the Clay brush to shape the volume. As the finger and palms are quite thin I would advise turning on the BackfaceMask button; you will find it in the Auto Masking section in the Brush menu. This will prevent the Clay brush from editing both sides of the finger at the same time.
- Subdivide the geometry twice more, increasing the total number of subdivisions to 6.
- Choose the ClayTubes brush and sculpt by applying strokes along the muscles following the muscle fibers. Use the Smooth brush to soften the forms (Fig.09 – 10). We can use this techniques for all the detailing, including the trousers.