Throughout this ZBrush tutorial we'll explore how to sculpt models to look more realistic by understanding fat allocation on the human body. We'll aim to challenge your anatomy skills and make you think outside the box in regards to what is 'realism' by adding weight to our characters. First we'll focus on character archetypes, then move on to studying where fat deposits on the body and more importantly how it differs in men and women. By the end of this ZBrush training you'll have expanded your knowledge of the human body and be ahead of the curve when it comes to adding realism to your sculpts. Software required: ZBrush 4R6.
Inside "Sculpting the Femme Fatale", John demonstrates how to sculpt the fantasy oriented, sexy, dangerous female character. Beginning with a concept sketch and an understanding of gesture and balance, students will quickly learn the essentials of female anatomy through a comparative study using a live female model. Students will also learn the seven major differences between the female and male figures. John also meticulously covers sculpting form fitting clothing and accessories like boots and helmets. What makes this sculpture training title unique is its results-oriented theories and techniques that teach students how to analyze the body's forms properly, and to see and correct their own mistakes. By gaining a sharper eye, students will become equipped to extrapolate the figure's forms with respect to the rudiments and fundamentals of anatomy, enhancing their ability to design and develop their own sense of style.
Christian will teach you a holistic approach to studying anatomy which you can use no matter what you're sculpting. He will then demo the techniques by blocking in and sculpting a human arm and torso. On the torso, Christian will show you how to change the basic male physique to muscular, skinny, fat, and female, to demonstrate how the figure changes based on muscle and fat distribution - something that is far too often overlooked when studying anatomy.
First of all, I have to say that it was an amazing course with an excellent instructor. Christian's always very calm and took his time to properly explain all the areas of the human body in detail. Of course, the topic is ultimately complex and there's always something that will not be covered but overall I'm very satisfied with the class and what I got from it.
For the class we were supposed to create at least one entire human model in an anatomical pose in ZBrush, building it up from a basic proportion blockout over the skeletal system, muscles, fat, and skin over the course of ten weeks. Each week we focused on a different body part, creating first the bones and then the muscles on top for each body part. There were also some special weeks with different topics at the beginning and end of the class.
The first week's exercise was very fun and liberating. Christian provided some models of made-up skeletal structures, nothing that reflects actual existing anatomy. We were supposed to think about functional anatomy and place muscles on the bones accordingly. We learned about antagonistic muscle groups and basic organic design principles. The results among the students were very diverse and it was interesting to see what everyone came up with. I also noticed that I wasn't entirely able to forget what I already knew about human anatomy and stuck a bit too close to normal human musculature in areas that I knew about. Christian used this week to give us some basic understanding of how anatomical shape language works and how we make our sculpts look natural. He gave us tips like avoiding completely parallel lines, losing and finding lines, all things that I didn't really do sufficiently in these sculpts but it helped loosen up a bit and get in the sculpting mood.
One thing I learned and had always overlooked somewhat in my prior anatomy studies was the influence of bone on the shape of about every structure on the human body. Of course, bone shapes the entire body and holds everything where it's supposed to be but I completely neglected that some parts of the body are almost entirely a bony mass. Hands and feet are always parts that people seem to struggle with. For me, it was especially the feet, because I hadn't really studied those properly before. You usually need to give a character hands when drawing or sculpting, but feet are just hidden in shoes most of the time. But with the workflow we used here, bones first, then muscles on top, I realized that hands and feet are both very bony structures, so once you got the bones about right, you were about 80% there and it was actually almost easy. The same thing for the rib cage, it shapes the entire upper body. The hips are somewhat different though. You see some bony parts poking through to the skin, like the iliac crest and the ASIS (anterior superior iliac spine) and PSIS (posterior superior iliac spine) but overall the bone is pretty much hidden with large muscle and fat masses on top. But it was still super interesting to study how hip bones are shaped. Humans have crazy complicated hip bones and that was definitely one of the more difficult areas to sculpt.
Week number nine was very interesting. We took our finished sculpts from the last week and changed the body types by varying the amounts of body fat and muscle mass. It was actually faster and easier to do than I expected because all the groundwork had already been done. I just had to add fat in the right areas, add muscle mass or carve away a bit of it. We did this with layers and morph targets, so we could use the sliders to see the before and after and everything in between. I made four more body types for the male anatomical pose and one for the female. And of course, this doesn't cover the extent of variation in human body shapes, the bone structure and overall proportions stayed the same for all of these models. And here it was also quite interesting to see how drastically a body can change while keeping the same skeleton. It's practically the same people under very different living conditions.
About Benjamin Leitgeb:Benjamin Leitgeb is a young Italian 3D-artist and digital sculptor who is working as a freelancer for a few years. He is specialized in high-poly modeling and sculpting of human characters. He discovered his interest in computer graphics as a teenager and never stopped producing CG art since then. He constantly try to improve my skills and workflow. For Benjamin, making drawings, paintings and sculptures is a simple and direct process of giving emotions form.
By the end of this course, you will be confident in sculpting or drawing the body in proper proportions. You will be a master at muscles and where they attach. You will be able to sculpt or even draw the human figure from imagination. 2b1af7f3a8