Modeling the Arm Steps
Fig. 6-22 Arm Steps 1 to 5. 1). Merging polygons between the shoulder and armpit and beveling it out. 2). Beveling the entire length of the arm. 3). Slicing across vertically to create more polygons. Moving points to give the arm a rough shape. 4). Adding details such as the surface characteristics of the elbow and wrist bones. 5). Mirror duplicating the finished arm.
Step 1 (Figure 6-22). It will be easier if you concentrate on modeling only one arm and then later mirror duplicate it to attach to the opposite side of the body. Find the group of polygons on the side of the torso from which the arm will be bevel extruded. Merge these into one and make the first bevel that forms the shoulder.
Step 2 (Figure 6-22). Bevel the arm polygon all the way to the wrist.
Step 3 (Figure 6-22). Slice in a vertical direction to split the arm up into smaller sections of polygons. Be sure to split the polygons across the elbow joint and once above and below it. Begin to shape the arm by pushing and pulling points.
Step 4 (Figure 6-22). Refine the arm by continuing to move points and splitting polygons where necessary. Add details such as the prominent bones at the elbow and wrist. Make the armpit and shoulder muscle more defined.
Step 5 (Figure 6-22). Mirror duplicate the finished arm and attach it to the other side of the figure.
Modeling the Hand Steps
Fig. 6-23 Hand Steps 1 to 6. 1). Beveling out the polygon for the hand. 2). Dividing the hand polygon so that 4 of them can be beveled out for the fingers. 3). Beveling out the fingers. 4). Beveling out the thumb and dividing it and the fingers into sections. 5). Beveling the fingernail polygon down and up and then splitting it in half. 6). Creating the rest of the fingernails.
Step 1 (Figure 6-23). As with the arm, you can con- centrate on modeling only one hand and then mirroring it so that it can be attached to the other arm. Select the polygon at the wrist and bevel it out for the length of the hand but not the fingers.
Step 2 (Figure 6-23). Divide the end of the hand polygon into four. Split across the hand so that you do not have any polygons with more than 4 sides.
Step 3 (Figure 6-23). Select the 4 polygons at the end of the hand and bevel them out for the length of the fingers.
Step 4 (Figure 6-23). Bevel out the thumb. Divide the fingers and thumb polygons by slicing across their joints. Be sure to also slice polygons where the fingernails begin.
Step 5 (Figure 6-23). Follow the steps in the illustration to model a fingernail. The top polygon is beveled down and made slightly smaller. It is then beveled up and increased in size. Slice across the middle of the nail polygon and finger tip. This will keep the nail from ballooning out in subdivi- sion mode. Improve the shape of the nail.
Step 6 (Figure 6-23). Continue modeling the rest of the nails or attach copies of the first one to the other fingers and thumb. Vary the nail according to the size and shape of the other digits.
Fig. 6-24 Steps 7 to 11. 7). Splitting the fingers and thumb across the top and pulling those point up to make the thumb and fingers more round. 8). Dividing polygons at the knuckles and pulling/pushing points. 9). Modeling the crease marks of the fin- ger and thumb joints. 10). Splitting polygons and moving points to make the major lines of the palm. 11). Bending the fingers into their more relaxed state. Mirror duplicating the hand and attaching it to the other arm
Step 7 (Figure 6-24). The fingers and thumb are still somewhat boxy due to them only having 4 polygons around each. Divide the fingers, thumb, hand across the top of their lengths. The white lines in the illustration indicates the location of these. The points on these new lines are then moved up slightly.
Step 8 (Figure 6-24). The white lines on the illustration shows where you should now split polygons to make the knuckles. Move the center point of each up a little.
Step 9 (Figure 6-24). The dark lines in the illus- tration display the location of the crease lines on the fingers and thumb. After splitting polygons in parallel lines like these, move the points of every other one down a little to form slight depressions.
Step 10 (Figure 6-24). Model the major creases on the palm by creating parallel lines (white lines in the illustration). Pull and push points until you get the slight concavities.
Step 11 (Figure 6-24). Bend the fingers and thumb into their more natural relaxed poses. Mirror duplicate the hand and attach it to the other arm.
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