Editors letter Whats inside

Welcome to total magazine issue two! Over 03 | 3dtotal this month

6,000 of you downloaded and enjoyed (how
could you not!) issue one, and we hope just as 11 | Learning the bony landmarks
many of you enjoy the latest issue. This months By Jahirul Amin
focus is squarely on anatomy, with a mix of
traditional, 2D, and 3D tutorials to get stuck into. 27 | Modeling hands in 3ds Max
So polish those tools, crack your fingers, and By Jose Lazaro
refine that muscle definition or nail that pose!
41 | Best of the 3dtotal Gallery
Jahirul Amin takes us through the bodys bony By 3dtotal staff
landmarks, Jose Lazaro models hands in 3ds
Max, Steve Rude take us through his process for 55 | Poses
drawing poses in Photoshop, Mike Corriero gives By Matt Smith
us a creature design 101, and Rafael Ghencev
sculpts a classic Greek sculpture. We also pick 69 | Creature design 101
out some of our favorite 3dtotal.com gallery By Mike Corriero
images from the last couple months!
81 | Greek sculpting
But first, turn the page to learn what the 3dtotal By Rafael Ghencev
team are up to at the moment...

Adam J Smith
Editor

02
03 | total 02 3dtotal this month | 04

Just off preorder is Beginners Guide to

ZBrush. We recruited the likes of industry
professionals Raul Tavares and Ruben Alba
to produce an amazing guide for newcomers
New addition to the team sites, so whenever youre chatting away to us to ZBrush. The book offers a thorough
To kick off this quarters round-up of 3dtotal in posts you could be speaking to Jess! She introduction to the program, with in-depth
activity, we have a new addition to our small says shes a real foodie and her favorite thing tutorials that guide the beginner through
team. Jess, a recent graduate, joins us as to do when shes not at work is to bake. Shell ZBrushs essential tools, using accessible
an online editor. She will be responsible for fit right in then as cake oclock is as regular techniques. Everything from organic and
online marketing campaigns, social media on the schedule as book planning meetings! hard-surface sculpting, to rendering and
posts, and creating content for our new mini (Or more so!) 3D printing, is covered in this high-quality,
informative volume.

New titles presented (if we do say so ourselves) receive an exclusive card game featuring the
Theres been a number of new titles added hardback of beastly illustrations. beasts; a game of strategy for two players,
to the line-up since the last issue some of designed by resident game magician Greg This guide breaks
which have been released already, and others Artists explore myths from around the Carslaw, where creatures are pitted against
on pre-order or coming soon. One of which globe to design and create a wide variety of each other, with the winner the first to kill four down valuable
was previously mentioned, but is proving to
be very popular: Mythical Beasts, a beautifully
creatures, from yeti to leshy, unicorns and
nue. Books purchased from our shop also
of the opponents creatures.
information that I
would have found
tremendously
helpful during the
A really beautiful early and even
hardcover book more recent phases
with insight in the of my career
design process James Paick
of a variety of Creative Director and Concept
Artist at Scribble Pad Studios
artists and full of
inspiring artwork
For a while now weve considered publishing jam-packed (seriously, weve never squeezed developing a social media presence; the
3dtotal customer a career guide (we came close on a couple so many words into so many pages) with practicalities of an art career within a
occasions) and finally weve done it! The expert insight covering topics that range from studio and freelance and handling the ups
printers are finishing up on The Ultimate launching and evolving a career; tips and and downs of a career in general. This will be
Concept Art Career Guide, a book absolutely articles about creating a winning portfolio; on pre-order from 13 November.
05 | total 02 3dtotal this month | 06

In addition, we saw GRAPHITE issue 05 and

Character Design Quarterly issue 02 head out
to subscribers. Character Design Quarterly
had a great start on Kickstarter, and were
excited that reviews have been really positive
for the first two issues, drawing in yet more
subscribers. Were also pleased to see that
a lot of GRAPHITE subscribers from the
first year went on to resubscribe for another
year we hope to be able to bring you these
publications for years to come.

Its simply
amazing! The
book has hands-
on tutorials
on designing
characters
and gives new
ideas to focus
your character
Brilliant design
magazine! Huge
attention has CDQ customer

been paid to
even the smallest
of details, ending
up with a high
quality product. I
would definitely
recommend
Graphite customer
07 | total 02 3dtotal this month | 08

Kickstarter success Eco-friendly

The previously mentioned At 3dtotal we have always strived to be as
Greg Carslaw, who created environmentally friendly as possible, which
the card game for Mythical is why we now always print on FSC paper,
Beasts, teamed up with the which is paper that is responsibly and
artists and writers from the economically sourced. In addition, we have
Scandinavia and the World teamed up with two UK-based printers to
webcomic for their Heap of offset the amount of travelling that our books
Trouble Kickstarter. Long-time need to do, printing locally whenever viable.
fans of the comic and fans Character Design Quarterly is printed just
of Gregs games flocked to down the road in Cardiff, and new titles are
pledge their support, and it was printed just up the road in Leicester. Our mail
a massive success in the end packaging is also as eco-friendly as we could
with over 3,000 backers. The make it, dropping the bubble wrap in favor of
3dtotal team will be working recyclable flatpacks and cardboard wrap. The
to bring this all together for figures are currently tightly packed in foam
an estimated delivery of next cut-outs, and we are also looking at eco-
March, and we cant wait for friendly solutions to ensure the foam used is
people to have fun with it. consistently recyclable and sustainable.

We couldnt mention Kickstarter

without mentioning Loish.
When this magazine goes out
the Loish Kickstarter will have
been over for nearly a month,
and well probably still be
rubbing our eyes in disbelief at
the total raised a whopping
383k (we like to convert it
to US dollars to say it raised
half a million!) Nearly 10,000
backers who cannot wait to
get their hands on the book
(and the stretch goals) such is
the warmth and support given
to Lois and her work. This
surpassed even the first one.
Our goal now is to repay the
Lois DELIVERS!
faith and ensure the highest Stunning every
quality book possible is printed
and delivered to the doorsteps
time... you wont be
of each and every backer. disappointed!!!
3dtotal shop customer, The Art of Loish
 shop.3dtotal.com

Anatomical reference figures

Whether you use pencil and paper, paintbrushes,
clay, ZBrush, Maya, 3ds Max, or Photoshop,
3dtotals anatomical reference figures are
invaluable if you want to understand the form
and structure of the human body. All figures are
cast in neutral gray resin to make the variation in
the surfaces easy to discern.

The range includes:

Male half-skin/half-corch

Female half-skin/half-corch

Male corch

Female corch

Male skin

Female skin

Male planar

Female planar

Adaptable male

Male half-basic/half-complex planar bust

Female half-basic/half-complex planar bust

 Learning the
bony landmarks
By Jahirul Amin
Web: jahirulamin.com

Featured in:

Beginners Guide
to Character
Creation in Maya

Available from shop.3dtotal.com

13 | total 02 Learning the bony landmarks | 14

01 The anatomical position is a pose in which

The supine the forms can be clearly examined and
anatomical position described. The body stands erect, face and
eyes looking forward. The feet stand 6 to 8
02 inches apart with the toes forward. The arms
The supine are down to the side with the palms forward
anatomical and thumbs pointing outwards. This pose is
position from the the supine anatomical position.
anterior aspect
02 The anatomical planes
We can now use anatomical planes to
describe and separate the different locations
of structures and see how they relate to
other structures of the body. The three main
anatomical planes are:

t he horizontal plane, which divides the

body into the superior (upper) and inferior
(lower) portions

the
 median plane, which divides the body
from the left to the right portion, creating
the midline

t he frontal plane, which divides the body

into the anterior (front) and the posterior
(back) portions

The terminology used to describe the

relationship of one structure to another
can appear complicated; so here is a quick
breakdown of some of the key terms used in
regards to position and orientation:
01
Term Description

Computer animation, whether hyperrealistic the skin, or the illusion is broken. What we 01 The anatomical position Superior/Cranial Closer to the head
or totally fantastical, must be believable; the need, therefore, is an understanding of Bones, muscles, and tendons can feel Inferior/ Caudal Closer to the feet
audience must be held or the illusion has not human anatomy and kinesiology, however daunting when the language of anatomy Medial Towards the midline
worked and we havent done our job. The key rudimentary it may be. is unfamiliar. Before we proceed, lets take Lateral Away from the midline
to this believability is the real-world basis a look at the anatomical position. This will Posterior/Dorsal Towards the back
for the work we do. At every stage of the CG This tutorial will be devoted to providing an allow you to develop an understanding of the Anterior/Ventral Towards the front
pipeline, be it modeling, rigging or animation, overview of human anatomy. Volumes could vocabulary used when describing the position Proximal Closest to
for example, theres some study which needs be filled about this fascinating, complex, and and orientation of different parts of the body. Distal Farthest away
to be done of the real-world background that surprisingly controversial subject. However, Supine Palm up
should feed and inform your work. as our objective is to recreate the human It will also give you a common language to Prone Palm down
form in CG, we will primarily focus on the communicate with other artists, rather than
A CG torso must move in such a way that bones that affect the surface and can be having to describe a part of the body as that 02
there is evidence of a rib cage lying beneath seen at the level of the skin. hard bit under there and to the left.
15 | total 02 Learning the bony landmarks | 16

03 The skeleton
At birth, the skeleton consists of 300 or so
bones. By the time we hit adulthood, many
bones have fused together, such as those of
the sternum and the cranium, taking that total
down to around 206.

For us, we need only focus on the bones

that are visible on the surface of the skin,
or the so-called "bony landmarks." These
landmarks, regardless of a persons physical
attributes, are pretty uniform from one person
to another, and are so prominent that they
can often be detected through clothes.

03a
The skeleton from
the anterior aspect

03b
The skeleton from 03a 03b
the posterior aspect
17 | total 02 Learning the bony landmarks | 18

04 The axial and appendicular

skeleton
Before we take a closer look at the bony
landmarks, however, lets divide the skeleton
into two major structures: the axial skeleton
and the appendicular skeleton.

The axial skeleton consists of 80 bones, and

for simplicity, lets go ahead and categorize
them into three main groups:

t he skull (cranial, facial, and

auditory bones)

t he vertebral column (the spine

vertebrae, sacrum, and coccyx)

the thoracic cage (ribs and sternum)

The appendicular skeleton consists of

126 bones, and again for simplicity, lets
categorize them into four main groups:

t he shoulder girdle (clavicles

and scapulae)

the pelvic girdle (pelvis)

t he upper extremity (arms humerus,

ulna, radius, carpals, metacarpals,
and phalanges)

the
 lower extremity (legs femur, patella,
fibula, tibia, tarsals, metatarsals,
and phalanges)

04
Dividing the
skeleton into two
major structures:
the axial and the 04
appendicular
19 | total 02 Learning the bony landmarks | 20

05 Axial bony landmarks

Lets start with the landmarks of the axial skeleton,
beginning at the skull and working our way down the
vertebral column.

S
 kull: The main bones that affect the surface of the
skin are the frontal bone, parietal bones, occipital
bone, zygomatic bones, and the body of the mandible.
Place your fingers against your forehead or cheek and
youll be able to feel the structures of the frontal and
zygomatic bones.

 C7: The seventh cervical vertebra (C7) sits close to

the skin, creating a very visible landmark. Bring your
chin towards the pit of your neck and place your hand
at the back of your neck, and you should be able to
easily feel this landmark.

S
 ternum: In adults, the sternum (breastbone) is
composed of three fused bones: the manubrium
(handle), gladiolus (blade) and xiphoid process (sword).
Just above the manubrium, we have the suprasternal
notch, a large visible dip at the base of the neck. The
xiphoid process has little influence on the surface, but
it can be sometimes notable in young children.

R
 ibs: The true ribs (1 to 7), attach via the costal
cartilage directly to the sternum, while the cartilage
of the false ribs (8, 9 and 10) each attaches to the
cartilage of the rib above. The inferior rim of the costal
cartilage creates the costal arch, which is what we
want to pay attention to. In males the costal arch forms
an angle of 90, while in the female it is closer to 60.
The floating ribs (11 and 12) have no cartilage and do
not meet the sternum, but are sometimes revealed as
the trunk moves.

S
 acral triangle: The sacral triangle is created by the
sacrum, which is wedged between the iliac bones of
the hip. The posterior superior iliac spines create two
indentations (the dimples of Venus) lateral to the
midsagittal plane, forming the sacral triangle in the
lower back (see the image for Step 06).

05a: Bony landmarks of the skeleton

from the anterior aspect

05b: Bony landmarks of the skeleton 05a 05b

from the posterior aspect
21 | total 02 Learning the bony landmarks | 22

05c

05c: Exposing some of the landmarks of the cranium, the mandible and the anterior aspect of the torso
23 | total 02 Learning the bony landmarks | 24

used to divide the upper body from the side of the knee: the medial and lateral
lower body. A triangle can be formed at condyles. A sharp ridge can be felt on
the front of the pelvis by creating a line the anterior side of the tibia, known as
that runs from ASIS to ASIS and down to the crest of the tibia, which can easily
the pubic symphysis. be felt under the skin. On the distal end
of the tibia is the very prominent medial
F
 emur: We now come to the longest bone malleolus (inner ankle bone).
in the human body: the femur. On the
superior lateral end of the femur, we have F
 eet: The foot and the toes display
the greater trochanter, which affects the similar patterns to the hands and fingers.
surface on the lateral side of the hip and There are three portions of interest:
can be easily spotted depending on the tarsals, metatarsals, and phalanges.
articulation of the leg. If you place your The calcaneus (heel) is the largest,
fingers against the lateral side of your most prominent tarsal. The metatarsals
hip, it can almost always be felt. and phalanges of the toes are most
noticeable on the dorsum of the foot,
K
 nee: At the distal portion of the femur, while the underside (palmar) of the foot
we come to the medial and lateral is cushioned for shock absorption.
epicondyles and the patella (kneecap).
These create plenty of surface change 06
that is of interest. In the straightened Some of the
leg, for example, notice the two dimples landmarks of the
either side of the patella. upper extremity and
the sacral triangle
L
 ower leg: The tibia (shinbone) and fibula
are the second and third largest bones in 07
06 the body. The tibias superior extremity The landmarks of
creates two bony landmarks on either the lower extremity

Upper appendicular bony Both the spine and medial border of H

 ands: Our final points of consideration
landmarks the scapula are of great significance in the upper extremity are the hands and
Now well move on to the landmarks of the when considering the attachment of the the fingers: the carpals, metacarpals, and
appendicular skeleton and look firstly at the muscles of the scapula and back. phalanges. We are primarily interested
upper extremity. in the dorsum of the hand, where we
E
 lbow: Between the medial and lateral can see and feel the protrusions of the
C
 lavicle: The clavicle (collarbone) is the epicondyles, the olecranon of the ulna bones affecting the surface of the skin.
only link between the upper extremity and (the elbow) is very prominent. Examine The distal ends of the metacarpals are
the axial skeleton. It is easily seen and felt your own elbow and take notice of the spherical, creating small knuckles, as
under the skin, especially on those with line created when your arm is extended, are the distal ends of the proximal and
less fat, and connects to the acromion and the triangle created during flexion. medial phalanges.
process of the scapula. The acromion
process forms the highest point of the F
 orearm: The shaft of the ulna helps to Lower appendicular bony
shoulder and is most noticeable when break up the flexor from the extensor landmarks
the arm is raised because a depression muscles of the forearm. At the distal end Lets move on to the landmarks of the lower
is created. of the ulna is the styloid process of the extremity, starting with the pelvic girdle.
ulna, which you can easily feel as you
S
 capula: Moving to the posterior aspect, press against the pinky side of your wrist. A
 SIS: The anterior superior iliac spine
we follow the spine of the scapula, which On the thumb side of the wrist, you have (ASIS) is a bony protrusion that sits in the 07
meets the medial border of the scapula. the styloid process of the radius. anterior end of the iliac crest and can be
Anatomy for 3D Artists is an essential teaching guide for sculpting human
anatomy. Non-software specific, it is packed with everything that todays 3D
artist needs to know in order to tackle the difficult task of recreating the human
form in 3D. Starting with the use of 2D references, and moving on to practical
and advanced 3D sculpting including topology the book covers every stage
in the creation of all kinds of male and female figures. Featuring established
artists such as Chris Legaspi and Mario Anger, Anatomy for 3D Artists also
includes several master projects for an informative and in-depth overview of
the 3D sculpting process of various forms, showing how the archetypal human
form can be adapted to fit any character shape!

3dtotalpublishing.com | 3dtotal.com | shop.3dtotal.com

Modeling hands
in 3ds Max
By Jose Lazaro
Web: josemlazaro.com

Featured in:

Modeling human
anatomy - 3ds Max
eBook
Available from shop.3dtotal.com
29 | total 02 Modeling hands in 3ds Max | 30

01

We should take care when modeling hands to compare the diverse types of hand, but
because it is very easy to make mistakes. dont forget to tell them its for reference!
The repetition of the fingers and poor quality
references can be confusing. As you can see Construction
from 01, it is best to have good references Keep in mind the arc that is created when the
as I do and at least two of them, one of the fingers are open. This will give you a much
top of the hand and one from the palm side. clearer idea of the proportion and distance
there should be between the phalanxes of
I would recommend that you always take into each finger (02a). Another important point
consideration that athletic men usually have is the size of the phalanges. The second
short, thick fingers and women have long, and third phalanx of the fingers is the same
thin fingers. Its a rule you can apply to make length as the first joint. When the fingers are
your hands look credible, but as you know bent at the first joint they are bent in half. 01
rules can be broken. If your hand is going to be animated, the Work with
riggers will appreciate you taking things like good reference
In fact my hands break this rule. My fingers this into account (02b). The thumb only has
are large and thin but thats because I have two phalanges (02c). Small details, such as 02
a basketball players hands! Ask your friends veins and wrinkles on the palm, can be solved Defining elements 02
to show you their hands, its a good exercise perfectly by texture (02d). of the hand
31 | total 02 Modeling hands in 3ds Max | 32

04

03

Modeling define the nail and one at the center of each

Put your image in the front viewport to phalanx. With the Freeform Shift tool you can
model it. Start by using Splines to create now change the shape easily, both in top view
the fingers as cylinders, and add a strategic and side view (04).
vertex in each section line and also add active
renderable parameters so you can see the Continue to add detail to better define the 03
Spline as a cylinder. An important thing to shape, making sure you use your references. Beginning to
change is the default number of sides to the Insert the nail. Remember that the finger will model the fingers
cylinder, changing 12 to 6. I work with a basic subdivide further later and this will change with Splines
mesh to make it easier to model quickly, then and smooth the shape of the fingers, so at the
later you can add a subdivision level and moment we are just trying to create the shape 04
collapse the model (03). of the finger using the reference (05). Converting the
model to an
The next step is to convert the model into an Tip: Learn to use the keyboard shortcuts to editable poly
editable polygon and begin to make a more change the size and strength of the brush,
defined first version of our index finger. This and to shift the parameters. Left mouse 05
finger is then copied to the other fingers. Add button + Ctrl is Falloff. Shift + left mouse Adding details 05
a few loops in the area of articulation, one to button is Strength. like fingernails
33 | total 02 Modeling hands in 3ds Max | 34

The next step is to clone the finger and adjust

each one of them to match the reference. Also
create the arc of the hand that I mentioned
earlier (06).

You can use the same technique to add the

thumb. You will need to change the mesh
a lot because the shape of the thumb is so
different to the other fingers, mainly because
there are only two phalanges but also
because it is shorter and fatter.

The next stage is to add a box for the palm.

As you can see in the wireframe in 07, Ive
tried to maintain a regular flow between the
finger mesh and the hand mesh. Keeping the
flow of the mesh helps to keep things clean.

Continue to adjust the hand, remembering to

look at it from as many different angles as
you can. Use your hand as the reference when
modeling any viewpoint not in your reference.
06

06
Cloning and
adjusting the
fingers to fit

07
Modeling the rest 07
of the hand
35 | total 02 Modeling hands in 3ds Max | 36

Detail
By now you should have created the first
version of your basic hand, just without much
detail. By having less geometry weve worked
quickly and kept close to our reference
without any problems. The next step is to go
a little further and add the detail that makes
our model more interesting.

Now we can add more detail and collapse

the model. We will use the Freeform tools
because having more geometry means we
can break and define the contour more easily.
Notice how I have improved the shape of
the nails in general, especially on the thumb
(08). Ive also improved the palm bulges. Now
they look much smoother and better built. To
do this Ive used the Freeform tools again (I
admit it, I love them especially tools like
Push/Pull or Relax/Soften).

After improving the general form, add more

detail such as the tendons from the Palmaris
Longus muscle and refine the knuckles. To do
that select the area you want to extrude and
bevel, then adjust them manually. Ive also
used a cut to create a wrinkle. They are not
really necessary because we can put those in
the texture, but it can help if the hand is going
to be animated (09).
08

08
Adding greater
detail to the hand

09
Adding wrinkles 09
and tendons
37 | total 02 Modeling hands in 3ds Max | 38

Finally, after an intensive modeling process,

you should have something that you are
happy with. This can be the point where you
clean your model, particularly on the fingers.
I added some small details like the end of the
Ulna bone in the wrist which can be visible
from the surface. All of these little details will
make your model look less flat and lifeless,
and will make it look like more than just a
piece of geometry (10).

10
The hands detailed 10
and ready for texture
A PRINTED QUARTERLY ART MAGAZINE
Subscribe now from just 35

www.characterdesignquarterly.com
 I Haz Bunnies
By Thiago Peyon
Web: artstation.com/tpeyon
I love this cartoon image because
I think its just so cute and it just
makes me smile. Also, there is
some great shading and lighting
technique and all the textures
are just right, making this image
another one of my favorites.

Best of
the 3dtotal
Gallery
Featured artists:
Thiago Peyon

Tamas Medve

Igor Kulkov

Michael Santin

Vincent Chai

Sergio Raposo Fernandez

Andrej Otepka
43 | total 02 Best of the 3dtotal Gallery | 44

Blockade #6
By Tamas Medve
Web: facebook.com/M3dve-563791784008616
With echoes of Blade Runner and an aesthetic which
reminds me of one of my own personal projects,
I had to pick this one. Tamass sci-fi cities always
present something a little different, and I like the
mystery present here of those distant buildings.
45 | total 02 Best of the 3dtotal Gallery | 46

Posts & Souvenirs

By Igor Kulkov | Web: igorkulkov.com
Im a sucker for detailed environments,
especially ones with an atmosphere.
Sometimes you dont need people in an
image to be able to tell a story. Here you
have subtle asset placement and aged
textures you can just imagine your grizzled
game character breaking in to explore.
47 | total 02 Best of the 3dtotal Gallery | 48

Snake Danger Noodles Male Strap

Left Above
By Michael Santin By Vincent Chai
Web: artstation.com/artist/msantin Web: artstation.com/vincentch20
I love cute cartoon images and I love ramen so when I saw The anatomy modeling here by Vincent is top notch
this I just had to include it. Its bright, colorful and all the the tension across those shoulders palpable. The colors
textures are spot on, though it is making me crave ramen. and lighting also highlight the details really nicely,
49 | total 02 Best of the 3dtotal Gallery | 50

Cartoon Spain
By Sergio Raposo Fernandez
Web: artstation.com/sergioraposo
What I think makes this artwork great is that without
even looking at the title, I could tell it was a depiction
of Spain. The bright colors and great textures make
this a really fun image and one of my favorites.
51 | total 02 Best of the 3dtotal Gallery | 52

Waghdas Journey - City

By Andrej Otepka
Web: andrejotepka.com
Love how theres a story being told in this scene;
some of the assets are typically cyberpunk
(the satellite dishes, advertising, military, the
cramped living conditions) but theres also
hope with the non-typical color scheme and
of course, the escape front and center.

Submit
your
gallery
images!
Click here for details
A P RI N T E D QU A RT E RLY ART MAGAZIN E | SU BSCRIBE N OW F ROM JU ST 35
 Poses
By Matt Smith
Web: mattksmith.com

Featured in:

Art Fundamentals

Available from shop.3dtotal.com

57 | total 02 Poses | 58

01

This section in the chapter will focus on how demonstrate the Reilly Abstraction, created
to correctly proportion and render individual by Frank Reilly.
muscles in a full figure pose. When it comes 01
to drawing full figure poses there are many The Reilly Abstraction is a method of drawing Basic posing
ways to go about doing it. based on a set of rhythmical lines to draw the using the Reilly
figure. 01 02 shows eight quick sketches Abstraction
Some people like to start with a simple stick- that demonstrate how the Reilly Abstraction
figure skeleton frame; others may start by can be adapted for different poses. The first 02
massing out the large forms of the body. five sketches are basic simple poses and the More complicated
While these are both good ways to go about last three sketches are more complicated poses with 02
drawing figures, I am going to talk about and poses with extreme foreshortening. foreshortening
59 | total 02 Poses | 60

03

There are many ways to start the Reilly the legs, the arms, and then the head. After The first three drawings are short, two to
Abstraction. You can begin by drawing out that I find the pelvis and the ribcage. In some three hour drawings. The fourth drawing is a
the ribcage and pelvis first, or by drawing the instances such as here, you can take the thirty hour drawing I did of a muscular model,
center line. I like to start out by finding the neck-hip rhythm line all the way down to the which is great for studying anatomy.
angle of the shoulders and the hips first (03). foot. Now we have something that resembles
a simple figure. 04 starts with the Reilly Abstraction. The
When using this method you will use three basic flow of the pose is a C curve, which I
types of lines: a C-shaped curve, an S-shaped If you are struggling to see the lines at first, have for my center line. Remember everything
curve, and a straight line. Next is to find the find a photo reference, take a piece of tracing in this step is simple: C curves, S curves, and
center line. If you imagine the shape of the paper and trace out the lines over your straights. My goal in the Reilly Abstraction
spine, it becomes apparent that the center reference. After that, it is simply a case of stage is to capture a nice flow in the figure and
line will be a C-shaped curve. practice until you are able to visualize those to get the correct placement and proportions
rhythm lines on live or imagined models. of the big forms. I am not concerned with the
Now connect the outer points of your contours of the body in this stage. 04 05
shoulder-line down to the crotch. Whatever The next four figures will demonstrate how
type of line the center line is, the shoulder to set up your simple figure using the Reilly After I am satisfied with my initial lay in, I start
lines will match. For example, the three lines Abstraction, how to flesh out the figure from to add a 3D element, still using only lines. I arm. You have to be aware of where some the lower legs, the shoulders, and sides of the 03
in 03 are C curves; you will never have a C your base, and an example of a finished also start to focus a bit more on the contour. parts of the body overlap others as it helps body, but still keep it simple. Next I start to Use the Reilly Abstraction to begin a pose
curve center line and S curve shoulder lines. rendered figure drawing. First I will create overlapping lines to get the to add solidity, believability, and complexity to add cross-contour lines to the body to give
feel of one form in front of another. your drawings. it a more 3D look, and begin figuring out the 04
Next, take a rhythm line from the neck down I have also included an anatomical diagram angle and perspective of the limbs. Notice Refine the lines
to the hips. Here we have an S curve on the for each figure using all of the notes For example, on the right side I create a line While I am working on adding solidity to my how the cross-contour lines appear in the
left and a C curve on the right. Now we have mentioned throughout this chapter, as a for the chest muscle overlapping the arm to piece, I will also be working on the contour arms and legs; these give me an indication of 05
something that resembles a torso. Next I add reference. show that the chest muscle is in front of the a little. 04 shows how I add more shape to how the angles change. Finished drawing
61 | total 02 Poses | 62

I also create a box for the pelvis. This isnt

a necessary step; I simply want to show
the perspective of the pelvis, which is often
mistakenly depicted at a consistent 90 angle
to the spine, and thus looks too rigid and
uncomfortable.

After I am happy with this stage of the drawing,

I start to work on rendering out the figure. I
create an anatomical diagram to study from
and show that it can be difficult to work with
the body in different poses. I always keep the
anatomy in mind when drawing, and knowing
the correct anatomy is very important to
make your drawings believable. If there is an
ambiguous shape you are trying to render out
on the figure, knowing your anatomy will help
flesh it out.

06 shows a female back pose. The flow of this

drawing is a subtle S curve. The twist caused
by the ribcage and pelvis create the S curve.
As I mentioned before, keep this stage simple
by using nice, flowing, rhythmical lines.

In the next stage I create an overlapping line to

separate the pelvis and ribcage, bringing the
pelvis forward and tilting it out a little toward
the viewer. The legs are a little more difficult,
as a certain amount of foreshortening is
required. A sound grasp of anatomy is
imperative here, as the way that the muscles
bulge out or create crevices at certain angles
will affect the shape of the silhouette more
dramatically in foreshortened forms.

06
A female back pose

07 06 07
Finished drawing
63 | total 02 Poses | 64

08 again shows the process of sketching a

figure using Reilly Abstraction. To reiterate
and summarize: start your figure with simple,
flowing rhythm lines to create a rough pose
and then create contour lines to flesh out
the body and give a little perspective and
direction. This may sound repetitive as the
concepts are simple, but it takes practice and
repetition to truly understand this process.

08
The lines of a male

09 08 09
Finished drawing
65 | total 02 Poses | 66

In 10 the figure is primarily at a side view,

which causes us to change our use of the
Reilly Abstraction a little. After drawing in
your center and shoulder lines, you will notice
that the neck to hip lines change. While you
can still follow the neck down to the hip, as
demonstrated in the drawing, it does not help
the pose. In this particular pose, I follow the
neck down to the front of the pelvis instead.

In the next step, I create several overlapping

lines to show that the deltoids and forearm
are ahead of the bicep. I also add a line for
the back passing ahead of the right arm, and
a line for the lower leg being ahead of the
upper leg. These lines may not seem much,
but they add a definite solidity to the image as
the limbs and forms interact spatially.

As I mentioned before, stay aware of the

underlying anatomy of the human form at all
times in your artwork, and you will be able to
use them in your Reilly Abstraction-inspired
sketching to create perfectly proportioned
and anatomically realistic figures.

Also, dont be discouraged if it at first you

make mistakes. It will take practice and
constant observation to achieve those first-
class renders.

10
The lines of a male
pose from the side

11 10 11
Final drawing
A back-to-basics look at the fundamental concepts, conventions and theory
that should be considered when creating art.

Art fundamentals are the bread and butter of any artist and a clear
understanding of the various elements is essential when it comes to
producing a successful piece of work. Art Fundamentals addresses a number
of key basic subjects such as color and light, composition, perspective and
depth, and anatomy in a series of insightful chapters. Written by some of the
most experienced artists in the games and film industries, including Gilles
Beloeil (Assassins Creed) and Andrei Riabovitchev (Harry Potter films), this
title gives newcomers the tools they need to get them started on their artistic
journey, and offers veterans a chance to brush up on their theory. Its a must-
have for anyone who is pursuing a career in an artistic industry.

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 Creature
design 101
By Mike Corriero
Web: mikecorriero.com

Featured in:

Creature Concept
Design eBook
Available from shop.3dtotal.com
71 | total 02 Creature design 101 | 72

01
Using anatomical
knowledge to create
something new

02
Breaking down the
elements of the head

01

In this lesson, well be exploring how to boasts gods and creatures like that, in reality mentioned that birds and reptiles are close in
create naturalistic, imaginary creatures by it wouldnt flow well. It is possible to give a relation to dinosaurs, as well as amphibians. 02
drawing on similar aspects of design and fish-like creature distinctive features that So, think of creature design just as you would
anatomy that exist in real-world animals. would resemble a tigers face, but you need a step in evolution!
A naturalistic approach to creature design to keep in mind how the eyes work under point out how they affect the overall nature of balance during running and it also serves to of the jaw), molars (which are at the back)
abides by certain rules to coincide with water, how it breathes under water, and why Another class that shares reproductive traits a creature. In this design, youll notice that the cool the body down and fend off annoying and canines (which are usually in between
that of true animal anatomy. Naturalistic a fish contains scales, not fur. So, when you are mammals, who carry their young within overall body shape resembles something of insects. Its important to think about why the two). Each type of tooth has its own job
creatures are unique and original designs mix and match aspects of one animal with the womb until they are strong enough to a warthog or miniature pony. Although every youre incorporating something into your for chewing, tearing, ripping, crunching or
but they stick to the traits of each class type, another, remember what is actually plausible enter the world. There are exceptions of area of this design was conceived through the design, even if its simple decoration. Think grinding food. (02) The much larger pointed
be it mammal, bird, fish, reptile, amphibian, and the defining attributes of the class the course, such as the kangaroo or Tasmanian understanding of how animal anatomy works, about the skin texture, the body height, the teeth are canines, though they could be
insect, crustacean, or arachnid. This means creature falls under. Devil, where the baby leaves the womb when it was not referenced from either of those strength of the animal, where it stands on considered tusks. They are not visible in the
that, although they are creatures, they wont they are no bigger than your pinky. Some animals. Its body construction consists of a the food chain, how it defends itself, how it full body sketch because they are fitted into a
be devils; they wont be aliens or completely Classes of animals that share similarities species of mammal, like rodents, keep their hip bone and shoulder blade that are more or reproduces and so on. hollowed section between the lower canines
fictional in body structure. in reproduction, such as laying eggs babies in the nest until their eyes are open less at equal height, a lengthy abdomen, and and the extension of the mandible (04). By
(birds, amphibians and reptiles, and as a and they start to grow fur on their pink skin. a short neck with generally short legs. This, This is also something I will go into in more extending this portion of the lower jaw it gives
With an understanding of how animals within sub-category: insects, crustaceans, and Usually, larger mammals give birth to their along with the spiked vertebrae on its dorsal depth in the later parts of this series, so Ill just the creature a unique look but it is actually
our own world work, between the different arachnids), will often share other features too. young out in the open and the young need hump (01), are all designed for protection cover the basic reasons behind the design serving a purpose. (03) A third set of canines,
types of bone structures and body types, The three classes of invertebrates are closely to be capable of walking, and even running, in a defensive form. The spiked vertebrae of the face now (Fig.02). Its very important to be used more like tusks, are positioned at
it will be much easier to design something related in their biological designs, consisting almost immediately. protect the back of the neck from predators. that you think about the construction of the the lower front of the jaw and extend past the
that doesnt exist. You can mix and match of multiple body parts and exoskeletons. The tufts of fur on its forearms (02) help keep mandible, how the jaw will manoeuvre, how muzzle. All sets of the large tusk-like incisors
portions of animals, although its important to Birds, reptiles, and amphibians also have There are certain measures to be taken when those thinner limbs warm, while also acting the teeth, tusks, or top and bottom portions are meant to crush bone and pierce flesh.
make sure that they blend well together. You similar body traits, so mixing and matching thinking about the proportions of a creatures as a bit of a shock absorber and soft padding of the muzzle will connect when opening and Although, as this creature is a herbivore, they
dont want to just slap the head of a tiger onto their limbs, skin textures, and features is a anatomy (Fig.01). I will go further into this when it lies down. The tail, which very much closing. (01) First and foremost, the teeth are used purely for defense much like those
the body of a fish because, while mythology good idea. In retrospect, it has already been in the later parts of this series, but I want to resembles that of a horse (03), is there to help consist of incisors (which are at the front of a Hippo.
73 | total 02 C r e a t u r e d e s i g n 1 0 1 | 74

A quick glance and the viewer might identify

this creature as some sort of pig, hog or
even a bat-like faced design (Fig.03). It has
a stout little body; its short and bulky with
hoofed toes and a thick almost scaly hide. A
much more muscular body and longer legs
in comparison to the body weight allows this
fictional creature to run much quicker than
an actual pig. It has a much shorter muzzle
comprised of two sets of horns, one which
is still embedded beneath the skin causing
small protrusions and the other much larger
twisted horns (03). The larger horns serve as
a means of defense and male rivalry during
mating season. (02) Large thin bat-like ears
are very sensitive, alerting the creature of
any nearby danger. (01) Similar to the first
creature, the lower jaw has hollow pockets to
fit slightly oversized canines that the creature
uses to crush bone and tear flesh.

Fig.04 shows the female version of the

creature in Fig.03. As you can see, the female 03
differs from the male in both large and subtle
ways. There are reasons for this, which Ill
explain through the design choices that Ive
made. One of the main differences is the
size of the horns, shape of the horns or even
lack thereof. Many male deer have antlers 05
whereas the females do not, though the males
will shed their horns. The female face of this
creature consists of much smaller horns the opposite sex of lions, deer, birds, pigs, eyes or nostrils to breech the surface. (04) for the creature to move from one location
(02) that are only slightly curved and not as goats, and elephants to name a few. Although this creature resembles a frog or a to another if a pond becomes dry. (07) A
twisted as the males larger horns. They are crossbreed between that and a newt, it has pair of fin-like appendages are found on the
meant for defense against predators, but not Fig. 05 is an amphibian-based creature, some modified differences that set it apart rear to act as rudders and allow for quick
as rivalry fighting. The female also lacks the which is also an egg-laying species. They will from any known amphibians. The longer, maneuvering underwater.
secondary set of horns and warty, larger nose usually lay clusters of tiny soft eggs stuck webbed legs allow for quick swimming and
of the male. Overall the female has a slimmer, together in clumps (01) until they hatch as leaping but also serve as a defensive kicking
less bumpy face and a thinner, sleeker body. tadpoles or larvae. (02) A large sack of loose mechanism with the addition of a spiked 03
(01) In addition, the females have a long tip skin under the lower jaw and neck allows poisonous spur. It also has a heavier, more A male pig-
at the end of each ear with a bulbous tip that the creature to create a distinctive vocal sturdy jaw lined with rows of sharp flesh- like hybrid
heightens their senses. There is a lack of hair call which echoes through the night. This is tearing teeth. (05) Similar to species of newt,
atop the head and along the back and they their way of communicating with others of it has external gills as well as fish-like gills 04
have smaller canines. In short, it has more its kind, and for mating calls. (03) The eyes (06). This makes it capable of surviving in The female of
feminine features that are more appealing are found at the top of the head not at the low oxygenated water pools as well as larger the species
than the males. sides like most mammals and birds. The lakes and ponds. The frilled gills around the
reason for this is because amphibians, and neck region can be tightly closed and internal 05
These differences, along with overall size, 04 some reptiles like crocodiles or turtles, will gills can allow the creature to breath air for An amphibian hybrid
weight, and color variations, can be seen in rise to the top of the water, only allowing their long periods of time. This makes it possible
75 | total 02 Creature design 101 | 76

06

Heading on to the wonderful world of sketch that can be changed easily. Youll (02) In addition to this defense, once the sack
conceptual insects (Fig. 06), we have a notice the repositioning of the limbs on this has burst it is still equipped with a poisonous
creature that consists of an exoskeleton with creature from the initial line work to the more stinger until it is capable of reproducing
multiple limbs (03) and eyes. Creatures that refined sketch. another membrane. If cornered the creature
resemble invertebrates can be much more will continue to face its rear toward any
decorative in design without there having to be (02) This long thin tube contains a proboscis predator, lifting its stinger as a warning.
as much reasoning behind it. Spikes, bumps, much like that of a butterfly. Its face is
and other imperfections in the exoskeleton harmless but that doesnt mean the creature
can serve many purposes, but may also just doesnt have other means of defense. (04) In
be there for a unique design. (01) Generally the current state the sack is half full.
for all creature designing Ill use something 06
similar to the sketching method of leaving In Fig. 07 when the creature is startled, or Creating a
your pen on the paper and working the design feels threatened, it will quickly disperse a fowl new insect
out in one stroke. and very powerful gas that fills the sack to a
large bulbous shape (01). This thin membrane 07
Then there is always the method of laying is capable of stretching to an enormous size The insect utilizes its
the design out in major shapes to later refine until it bursts and releases the noxious gases defense mechanism,
them in detail. Whichever result works best, inside allowing the critter to quickly scurry revealing a 07
its usually helpful to work out a clean line off, unharmed. backup plan
77 | total 02 Creature design 101 | 78

08

Striving for something between the Jurassic (04) Its three pronged beak can produce a Its clear that the next species is based 09
and the modern day birds and dinosaurs, deadly wound acting more like downward on a genetic lizard (Fig. 09), but there are
this creature contains elements of both with facing tusks or large canines. (05) It is also additions that set it apart from true reptiles
a few conceptual twists in its anatomy (Fig. equipped with rear facing horns to defend or any existing lizard. (01) Its an egg-laying cavity is split into three sets of nostrils, each tough scaled and spiked hump leading
08). A large bipedal bird of prey, containing and protect the back of its head and neck breed, usually small, soft-shelled eggs in leading to distinct sets of lungs to conserve down to a thick powerful tail. (06) To set the
large talons on the ankles of its feet and a during attack. Adding yet another means of groups of three to six which are hidden in oxygen, allowing it to breath in and out of one creature apart from any reptile or dinosaur, it
deadly fork pronged beak, this is a dangerous attack and defense, it has a tail reminiscent grass-covered nests (02). Setting it apart set while it stores air in the others. contains a pair of mammal-like ears for extra
species. (01) Like its ancestors and the of a dinosaur or lizard containing a split tip. from modern day lizards, it has the body sensitive hearing. 08
inspiration for its design, it is an egg laying structure of a mammal, with short nails (04) A pair of long, thin antenna-like Envisioning a
creature. (02) It creates a nest underground (07) It also has two small, vestigial limbs or hoofed-like toes split in sets of two and appendages act as extra sensory limbs which I hope the information in this part of the series dinosaur-bird hybrid
that is lightly covered with dirt and a much like a T-rex. These are used to help it three toes. Longer legs are designed for an are also flickered in a quick back and forth has opened your eyes as to why its important
poisonous species of plant (03) is placed up when its lying on its side, if knocked down upright running position, unlike the sideward motion to ward off predators and confuse to relate to real-world animals, and also why 09
nearby to ward off any herbivores that might or sleeping, as well as for clasping on to prey motion and position of lizards legs, which are them. (05) Usually the most vulnerable part of there needs to be clear reasoning behind your The reptile has
trample the eggs. during attack. generally lower to the ground. (03) Its nasal an animal, the back, is lined with an extremely design choices. mammalian traits
Sketching is a versatile medium used by artists of all backgrounds and
disciplines, from the old Renaissance Masters to modern concept artists
today. Learning from other artists is one of the best things you can do to
improve your own technique, and it is with this in mind that Masters of
Sketching brings you a wide range of inspiring sketches and insightful pearls
of wisdom from twenty incredible artists. Through fascinating and unique
step-by-step breakdowns, these master sketchers share how they approach
and think about their sketching process, making this book an impressive
compendium for any artist who wants to expand their creative horizons.

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 Greek
sculpting
By Rafael Ghencev
Web: artstation.com/rafaelghencev

Featured in:

Classical
Sculpture eBook
Available at shop.3dtotal.com
83 | total 02 Greek sculpting | 84

We must understand that CG modeling is

only a tool, like a pen or carving tools used
for sculpting. Nowadays I see a lot of guys
starting CG thinking that the only thing
you need is to read comic books and know
ZBrush. They have forgotten that sculpture
is more than that; you need to study your
whole life to improve your artistic skill and
think about your motivation, background, and
feelings. Remember to always study classical
arts, like drawing, sculpture, and photography.
This will make you a better artist.

Starting the process

First of all we need to collect references
a lot of references! This is to understand
the style and the process. We need to study
the poses, feelings, and emotions that the
classical artists achieved with their pieces.
You can do this with a simple internet search.

Planning the piece

Before we start to build the model we need
to plan what well do. The first thing I did
was to think about the subject. I decided to
In this tutorial we are going to study some In this tutorial Ill be focusing on the During the Renaissance period artists were represent Mans fall in the Garden of Eden. My
approaches to creating your own classical Hellenistic style and the Baroque period as in inspired by their predecessors from the idea was to show Adam on the ground with
sculpture. Im not a history of art professional, this period, expression was used to dramatize Classic period. And then on the other hand, the fruit at his side. Once you have an idea,
but Ill try to give a short explanation of the sculpts. in the Baroque period, the inspiration was start planning how you will build the piece
Greek history. Ancient Greek sculpture is Hellenistic sculpture. and make it strong and dramatic.
traditionally divided into six basic styles: In the Hellenistic period, sculptors felt less
compelled to portray the ideal world like At this stage a large driving force in sculpture We have a couple of options. Firstly, we could
D
 aedalic Greek Sculpture their ancestors. They started to introduce was religion, and Christian artists absorbed draw something and make a few sketches
(c.650 600 BCE) topics such as pain, death, and sleep, offering a variety of classical techniques and used to get an idea of what we want, but I know
new forms and expressions to explore. The and revitalized them. The vast repertoire of theres a lot of good artists that cant draw, so
A
 rchaic Greek Sculpture aim was to portray expressiveness and postures, gestures, and expressions that had in this case Ill show you a different approach
(c.600 500 BCE) atmosphere, something which is particularly been founded by the Greeks enriched their to plan your model. In the past artists used
obvious in the portraits, where these were own genius, and they applied these resources to build simple maquettes to understand
E
 arly Classical Sculpture used alongside an accurately sculpted face when illustrating saints, martyrs, myths, and and test the idea, pose, drama, and so on. So
(c.500 450 BCE) to capture the character of the subject. the heroes of the time. For this tutorial I will thats what well do.
inspire myself with the Hellenistic style and
High
 Classical Greek Sculpture After the Hellenistic period Greek traditions the Baroque period, as in this time period
(c.450 400 BCE) went into obscurity and only in the there was a lot of movement and drama in
Renaissance (1300 c.1602) and Baroque the sculptures, and that is what well try to
L
 ate Classical Greek Sculpture (1600 1730) periods did the Greek traditions reproduce here.
(c.400 323 BCE) re-emerge, this time in Italy. We know this
period for famous artists like Michelangelo, ZBrush is only a tool
H
 ellenistic Greek Sculpture Benvenuto Cellini, and Gian Lorenzo Bernini. Theres something very important for
(c.323 27 BCE) This is the most famous period of sculpture. everyone to understand from the beginning.
85 | total 02 Greek sculpting | 86

Preparing our mannequin

Open ZBrush and go into Light Box > Project
> Mannequin and choose 8headMan Ryan
(01). This is a simple mannequin that is easy
to manipulate. This will help you create poses
and layouts, and decide how the final model
will look (02).

Using Move (W) and Rotate (R) we can play

with the character, manipulating the arms,
hands, legs, and head (03). Using these tools
I created three different poses while trying
to improve my idea and make it strong and
dramatic. I decide to go for the pose in 05
(04 06). 01 04

02 05

01
Open a new file

02
Use a mannequin
to pose

03 06

03 06 Experiment with
different poses
87 | total 02 Greek sculpting | 88

Starting the Model

Now we have decided how the model will
look, we can start to build it. The first thing
we need to do is make a simple mesh, which
I like to use because there are no generic
shapes in there, and nothing is pre-made. We
need to think and transform the base into a
unique model (07). With the base mesh in
your hands you can now start to build the
basic shapes.

There is something we can use in our favor,

and that is symmetry. We dont need to build 10 11 12
one side at a time. However you do need to
know the right time to use it and when to turn 07
it off and start working without it. I will show
you when its time to turn it off. By pushing
the X button you will activate the symmetry
and then by using the Move brush you can
start blocking in the basic shape of the
model. At this point, the important thing is to
reflect correct human proportion.

TIP: The important thing here is to work on

the structure of the model. Fewer polygons is
better when working on the big shapes and
defining the silhouette. Only divide the mesh
if you have already made all the possible 13
corrections in that level of division.

Once you have added one more division, you 08

can start to use the Standard brush to make
some muscle mass and the basic form of
the head. By adding one more division you
can start to use the Clay brush to refine the
individual forms, always checking if the
proportions are correct. You can also add a 14 15
little information on the head, like the mass
to represent the hair. At this stage we can see
the structure of the model is already done. All For the body we need to create a more natural the hands and feet than the face, because
the important volumes are in place (08). look by adding more muscle information and they knew that these parts were important
by trying to balance the bones, muscle, and when it came to showing power and emotion. 07 Flesh out the model
Refining muscles and members fat (10 15). This is a good point to start
Now you can add one more division and use working on the hands and feet. When working Now its time to turn off the symmetry and 08 Add more mass
the Clay brush to continue to work on the on these parts you should always try to use a start to pose your character. You should
muscles and refine the face and head. This lot of references, because these parts are very always finish the structure of the model 09 Model the face
is important as we can now see how the important and expressive. If these elements before you turn off the symmetry, and then
expression on his face will look (09). 09 are not done well the model will not be strong you can put the detail on each side differently, 10 15 Work on the
enough. Classical artists spent more time on to show some imperfections. hands and feet
89 | total 02 Greek sculpting | 90

16
Begin to pose using
the earlier reference

17
Remember bone
structure when
transposing

18 19
Start big and
work towards the
smaller details

16

18

17

Posing Create a layer for our pose in Tool > Layers thinking about how the bones work in real life.
The next part is the bit that scares everyone. and name it pose. This is important to Without this knowledge you cant get a good
This would be very difficult if we hadnt protect the original model in case you make result using Transpose (17).
planned before. With our simple mannequin any errors. After this press the R button to
made, everything from this point will be activate Transpose (Rotate). To organize the transpose process better
easier to do. The first thing to do here is to get I always transpose by starting with the big
our mannequin on the screen and do some With the Transpose button activated we need areas and moving on to the smaller ones. The
snapshots with Shift+S. to create a mask to start the posing. So hold first thing to do is transpose the torso, legs,
down Ctrl, and click on the part of the body arms, and head, but do not try to perfect the
You should get some different angles to help you are going to edit. The important thing pose on the first try. Start by working on the 19
as references (16). here is to always create the mask while basic form of the pose (18 19).
91 | total 02 Greek sculpting | 92

TIP: It is always important to fix the

proportions and muscles when working with
Transpose tool, because sometimes this tool
changes the model a lot and we need to fix
things at the same time. In the image we can
see a lot of errors in the proportions caused
by using Transpose like the size of the
chest, which is too stretched so we need to 24
fix these using the Move brush (20).

After that we start refining the pose, adding

more drama in the arms and back, and flexing
the legs a little (21 22). When every part is
in place you can start to correct the pose of 20
the hands and fingers (23 25). And then do
the same thing to the feet. Its important to do
these parts patiently (26).

23 25

21

20 26
Slowly refine all the 22 26
elements of the pose
93 | total 02 Greek sculpting | 94

Adding skin details

With your pose complete, its time to finish
the piece. Using the Clay brush, refine each
element. Create the area where the skin
compresses on the neck and back (27). Also,
at this point you should continue to refine his
face and expression, and work a little more
on the hair (28). This part of the process is
a little complicated and took some time to
do, because we need to know how the skin
behaves when pressed, and how the muscles
work in that pose to improve the natural look.

Creating the base and apple

28 Next its time to create the base to your
model. You should be asking: why didnt I
do the base from the beginning? I didnt do
this at the beginning because I didnt want to
limit my pose to the base. I prefer to try to get
the best pose I can without worrying about
the shape of my base. So now we can build
a base and fit it onto the model. To create
this, we want to build a cylinder in another
3D package, bring it into ZBrush, and push it
around using the Move brush to fit it to the
model (29).

After you have done this start to work with

the Clay brush and adjust things to add some
volume. Then flatten these to make it look like
29 a rock (30).

27
Add skin details

28
Improve wrinkle
and face detail

29
Add a base

27 30 30
Refine the base
95 | total 02 Greek sculpting | 96

We can start to use the great Noise tool. This

tool will help us a lot when creating the look
of a rock. By playing with the curve and its
strength you can create a good result (31).

Using the Planar we can create some flat

areas in the middle of the rock (32).

To finish our prop, get a simple sphere and

use Radial symmetry to start creating the
shape of the apple (33). With the basic shape
sorted turn off the symmetry and bring some
asymmetry to the apple.

To do the bite I used Claytubes and carved a 31 34

hole; for the rest of the model the Clay brush
will do the job. The only thing left to try to do
is create some kind of teeth marks to create
a little realism. Then I used the Noise tool to
add a little more texture to the interior part of
the apple.

This time we need to paint a mask on the

external part to avoid the noise being applied
to the whole apple. Then press apply to
mesh to bake the noise to the polygons (34).

Finishing the model 31

Almost everything is finished, we only need to Use the Noise
put the apple in its place (35). I decided to add tool on the base
some little veins to his arms, not too much 32 35
just a subtle touch. We can do this using the 32
Standard brush and then use Smooth to make Create flat areas
some areas show up more than others (36). with Planar

33
Create the
apple prop

34
Add realism to
the bitten apple

35
Set the scene

36

33 36 Add some final

touches like veins
97 | total 02 Greek sculpting | 98

37

39

We can do more work with the Clay brush We can see how we dont need a hyper- 37 38
by adding some volumes to the skin, and detailed model to see great quality in our Final touches
use Inflat to compress the skin a little more work. The beauty of this art is that it is in the
38 against itself, for example by the fingers (37 form not in the details. 39
38). And here we have our piece finished (39). Finished piece
Accessibly written and lavishly illustrated by respected concept artist
Kan Muftic, this book celebrates the common ground between traditional
life drawing and the fast-paced world of the concept art industry. Learn
about the skills, techniques, and mindset needed to make successful life
drawings, how to capture the forms of the human body on paper, and how to
improve your character and concept art with a dynamic approach to figures
and anatomy. Figure Drawing for Concept Artists offers a unique, up-to-date
perspective on classical skills, with the contemporary practitioner in mind.

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